BALLET MUSICAL. “Rama, Hari,” a groundbreaking ballet musical, will be staged at the St. La Salle Coliseum in Bacolod City on Oct. 12, 2024. The production is “a collaborative genius of five national artists” – Alice Reyes for direction and choreography, Ryan Cayabyab for music, Bienvenido Lumbera for the libretto, Salvador Bernal for production design, and Rolando Tinio for English lyric translations. (Image courtesy of The Negros Museum)
BACOLOD CITY – Negrenses will be treated to a visual and musical masterpiece as “Rama, Hari,” a highly-acclaimed ballet musical created by five national artists, will be staged at the St. La Salle Coliseum in this city on Oct. 12.
Presented by the Alice Reyes Dance Philippines with the Cultural Center of the Philippines Arts Education Program, the production is a collaborative genius of national artists Alice Reyes (Dance), Ryan Cayabyab (Music), Bienvenido Lumbera (Literature), Rolando Tinio (Theater and Literature), and Salvador Bernal (Theater Design).
Ilonggo theater artist Audie Gemora, the show’s King Dasaratha, said the audience would enjoy the “Rama, Hari,” which “brings to life a story of love, honor, and destiny, set against the rich tapestry of Philippine culture and heritage.”
“I’ve done so many shows, but this is probably one of the most incredible shows. Don’t miss it because instead of you going to Manila, it’s going to come to you,” Gemora said in a video invitation on Thursday.
The cast includes Arman Ferrer as Rama, Shiela Valderrama-Martinez as Sita/Kaikey, John Mojica as Ravana, Marynor Madamesila as Kooni/Soorpanakha, and Jon Abella as Lakshmana/Hanuman.
“Rama, Hari,” inspired by Ramayana, one of the world’s largest ancient epics, “not only fosters a deeper appreciation of national identity, history, and values but also promotes art appreciation and encourages critical thinking through its transformative, timeless performance.”
According to its profile, the production is “celebrated for its fusion of poetry in Filipino and English, music that combines classical, pop, kundiman, and Asian influences, and a set design that transports the audience from majestic palaces to mystical forests, village squares, and even the underworld.”
It also “features dynamic choreography, from breathtaking pas de deux to action-packed fight scenes, comic interludes, and grand ensemble pieces by some of the finest dancers in the country, and the artistry is further complemented by music that ranges from intimate solos to sweeping orchestral arrangements.” (PNA)
