Tales of the Manuvu Returns in 2026: Why Alice Reyes’ Legendary Rock Opera Ballet Still Matters

On February 25, 1977, a packed house at the Cultural Center of the Philippines witnessed something unprecedented: a Filipino rock opera ballet rooted in indigenous mythology, scored with rock and pop music, and carried by the vision of National Artists.

Forty-nine years later, Tales of the Manuvu rises again.

In 2026, Alice Reyes Dance Philippines (ARDP) restages the country’s first Filipino rock opera ballet, beginning at the University Theater in UP Diliman on February 27–28 before moving to the Proscenium Theater in Rockwell, Makati on March 28–29.

This is not nostalgia programming.
This is cultural recalibration.


What Is Tales of the Manuvu?

Tales of the Manuvu is a groundbreaking Filipino rock opera ballet first premiered in 1977. It merges:

  • Indigenous mythology drawn from the folk tales of E. Arsenio Manuel

  • Contemporary rock and pop music

  • Classical and modern dance vocabulary

  • Live singers and a rock band

  • Full theatrical staging

The original production was a historic collaboration between:

  • National Artist Alice Reyes (direction and choreography)

  • National Artist Bienvenido Lumbera (libretto)

  • OPM icon Dero Pedero (music)

  • Rock band Afterbirth (additional music)

It also featured icons of Philippine theater and music including Boy Camara, Anthony Castelo, Haji Alejandro, Celeste Legaspi, and marked the debut of Leah Navarro.

This was not a small experiment.
It was a declaration.


Why the 2026 Restaging Matters

Alice Reyes has reflected on how the folk tales inspired what was then a new dance concept in the Philippines. Nearly five decades later, the work returns not as revival for revival’s sake, but as affirmation.

Dance changes.
Audiences change.
The country changes.

But certain works endure.

The 2026 version is restaged by ARDP Ballet Master Lester Reguindin, with new set and costume designs by award-winning director and designer Loy Arcenas, and lighting design by Barbara Tan-Tiongco.

This is not replication.
It is continuation.


2026 Cast and Creative Ensemble

One of the most exciting aspects of this production is its rotating cast, allowing audiences to experience different artistic interpretations per performance.

The Singers

Manama / First Man: Joshua Cadeliña alternating with Adonis Villanueva
Ogassi: Almond Bolante alternating with Greg De Leon
First Woman: Christy Lagapa alternating with Toni Carm Santos

The Dancers

Manama: John Ababon alternating with Renzen Arboleda
Ogassi: Earl John Arisola sharing the role with Erl Sorilla
First Man: Renzen Arboleda and James Galarpe
First Woman: Krislynne Buri and Francine Beltran

This structure ensures that no two performances are exactly the same.


Performance Dates and Venues

University Theater, UP Diliman

February 27–28, 2026
Admission: Free (Registration Required)

The UP Diliman leg offers free admission on a first-come, first-served basis, reinforcing accessibility and public engagement with the arts.


Proscenium Theater, Rockwell Makati

March 28–29, 2026

March 28 – Fundraising Gala (7:30 PM)
Orchestra Center: 5,000
Orchestra Side: 4,000
Dress Circle: 2,500

March 29 – Regular Performances

Matinee (2:00 PM)
Orchestra Center: 2,500
Orchestra Side: 1,800
Dress Circle: 1,800

Evening (6:00 PM)
Orchestra Center: 3,000
Orchestra Side: 2,000
Dress Circle: 2,000

Early Bird Offer: 10% off for a limited time
Discounts: PWD (20%), Senior Citizen (20%), Student (50%)


Why This Production Still Feels Urgent

In 1977, staging a rock opera ballet rooted in indigenous mythology was radical.

In 2026, restaging it remains radical.

We are in a time where attention is fragmented and cultural memory is short. Bringing back a 49-year-old work asserts something powerful:

That Filipino myth remains contemporary.
That dance can still provoke national consciousness.
That collaboration between National Artists continues to resonate.

Live performance demands presence. It resists scrolling. It insists on witness.


Where the Proceeds Go

All ticket sales help cover production expenses and provide financial support to ARDP dancers, musicians, and artists.

Buying a ticket is not just attending a show.
It is sustaining Filipino dance.


Why You Should Watch It

Because this is the first Filipino rock opera ballet.
Because it bridges indigenous storytelling and OPM history.
Because it is a rare restaging of a National Artist masterpiece.
Because heritage survives only when performed.

Nearly five decades later, Tales of the Manuvu does not simply return.

It reminds us who we are.

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