Dance review: 'Kenkoy' is 'easy to love, entertaining' dance showcase

Kenkoy. Erica Marquez-Jacinto

Braved the Friday-night traffic to catch the premiere of Alice Reyes’ "Kenkoy" at the Areté Theatre. Hurried steps entering the theatre, and lo and behold — a rather unconvincing audience count.

It was unfortunate that on that very day, there were several world premieres that were likewise worthy of the trip. But in an instant, I realized that this seemingly exclusive, invite-only performance had gathered an audience of serious artists, real balletomanes, and art aficionados. It quickly became apparent that this was perhaps the most important audience of their theatre run. Four National Artists were present on gala night: Nonoy Froilan, National Artist for Dance; Alice Reyes, National Artist for Dance; Nic Tiongson, National Artist for Literature; and Ryan Cayabyab, National Artist for Music. Joining them were a fair number of dance icons, including Myra Beltran and Edna Vida, along with theatre critics and other serious art aficionados.

Four National Artists were present on gala night. Erica Marquez-Jacinto

Suddenly, the small audience count didn’t seem so unfortunate.

This was an audience of quality. And so it was a company of 17 dancers performing for one of the toughest crowds imaginable. With that kind of crowd, I whispered a short prayer rooting for each of them.

The curtains rose to a restaging of Adam Sage’s "Holberg Suite," with the petite, tidy dancer Monica Gana as the centerpiece, surrounded by boys whose steps framed her quick-footed executions, dancing to the classical music of Edvard Grieg. From its group dance, it shifts into pas de trois, pas de six, and duets in a series of classical vignettes. Choreographically, my favorite part was the trio where dancer Krislyn Buri is partnered by both Dustin Igares and John Ababon at the same time. The ballerina’s lines are further emphasized as she connects with the two men’s lines in her arabesques and every extension. This particular section has so many linked steps, creating a sophisticated architecture of the body that is easy on the eyes.

Dustin Igares, Krislyn Buri and John Ababon in 'Holberg Suite.' Erica Marquez-Jacinto

I’ve seen this ballet before, when it premiered at the International Dance Day Ballet Gala, and it was performed so eloquently. At the time, I described it as a refreshing addition to its repertoire, showcasing a sophisticated vocabulary of dance that carried a sense of elegance and restraint. The performance had a quiet confidence, and I could even say eloquence. It did justice to the choreographer’s work.

In this staging, the choreography remains beautiful. But the confidence and the pull were absent.

At first, I thought they had added to the choreography, or perhaps increased the number of dancers. But as I reviewed my photos and asked around, that wasn't the case. Perhaps this cast needed to believe in themselves a little bit more. It needed a bit more polish. And this is ballet — arabesques need to be the same height, the same breath, the same line. In a choreography built on such intricate connections, the beauty lies in how precisely the bodies come together. I still loved this ballet. I only wished I had seen it performed with a little more confidence, a little more polish, and the quiet assurance that made its first performance so memorable.

My favorite piece of the evening was Lester Reguindin’s "Somewhere."

Reguindin, who has achieved great success with strong pieces anchored in social commentary and narrative, took a leap of faith this time. He went abstract, accepting the gentle advice of National Artist for Dance Alice Reyes. What good advice that was.

Francia Alejandro in 'Somewhere.' Erica Marquez-Jacinto

To this author, it seemed that he leaned toward something familiar: his own choreographic roots, his own aesthetics, with the music as his primary inspiration. What made this piece special was his ability to draw the audience in with soothing, mandala-like patterns, where lines suddenly weave into a circular tornado and dancers emerge from a beautiful chaos of intricate steps, only to suddenly fall into a collective unison. There were so many picturesque moments that, as an audience member — and a dancer — it was hard not to appreciate the creativity.

The piece also highlights Reguindin’s leadership style. It takes a lot to perform a contemporary piece with that level of precision, and ARDP’s dancers showed remarkable discipline. Beautifully showcased in this piece was Francia Alejandro, who gave her own silken texture to her solo and performed a visually arresting pas de deux with her able partner EJ Arisola.

In a quick interview, Reguindin recounted choreographer and dancer Fred Fernandez and teacher Breshnev Larlar as major influences in his choreographic journey. When I saw this Reguindin masterpiece, I saw it. I saw their touch — their concept of composition, their techniques of surprise, those unexpected spotlight movements. Perhaps, as Reguindin leaped into uncharted territory, he held tightly to his past and his mentors as his compass.

He took his new mentor's advice, letting it change a part of him while remaining his authentic self. For a choreographer, perhaps no greater achievement exists than finding the courage to venture somewhere new without losing where you came from.

And for a change, it gives the choreographer a chance to present work that allows the audience to interpret — or appreciate — what is in front of them.

Dan Dayo in 'Soliloquy.' Erica Marquez-Jacinto

"Soliloquy," choreographed by Norman Walker, was performed by Dan Dayo, dressed in red and dancing in a sea of darkness, with flames eventually creeping up the wall. It is a quick piece, and Dayo capitalized on this, embracing the emotional complexity of the work. Committed to every bit of the part, he impressed me not only with his artistry but with his athletic physicality and precision, articulating the specific poses and steps that have made this dance last a lifetime.

Closing the show was "Kenkoy," choreographed by ARDP artistic director Ronelson Yadao. I am a huge fan of undiscovered gems resurfacing, and so I loved the concept of collaboration behind this piece.

"Kenkoy" was created by writer Romualdo Ramos and illustrated by Tony Velasquez, who is largely regarded as the founding father of Philippine comics. Frankly, I loved the contrast of a comedy ballet carrying so much weight in terms of representation. It not only lets us revisit our history under colonization, but also highlights issues from the past that remain ingrained in our society today.

"Kenkoy" was created in 1929 as social commentary on colonial mentality and inequality. In this staging, Jerry Respeto’s dramaturgy and Guelan Luarca’s libretto take us through how Kenkoy, played by Renzen Arboleda, and his sidekick Binong, played by Dan Dayo, navigate American influence as they copy the swagger — from clothes to hair to flirtation. Kenkoy tries to win at life by capturing the attention of his desired lady love, Rosita, played by Monica Gana. Their chapter-like scenes also touch on how Filipinos can look every bit American and still be treated as the “brown monkeys.”

Despite its comedic approach, I thought the piece was relevant and something young audiences, in particular, can relate to and learn from. Filipinos will ultimately be picked because of our unique selves. Yadao was every bit the entertaining storyteller, using movement that was engaging, accessible, and fun.

Kenkoy. Erica Marquez-Jacinto

I particularly loved the mad pants scene, where the boys join in on the American trend and rush to put on their American trousers. They play with something very Filipino — the sampayan, or clothesline — and turn it into a childlike playground, incorporating jump-rope sequences, rolling in the mud, and all sorts of delightful mischief. Arboleda and Gana’s interactions were equally cutesy and fun, almost like watching a light comic unfold. The characters were caricature-ish as they should be, and every single dancer was just as Kenkoy as they should be.

I do want to comment, however, that the circus scenes, while interesting, were too long and could have been more dynamic. Some characters could have been developed further. The Nutcracker Prince and Sugar Plum Fairy, for instance, seemed more like decorations than integral parts of the story. The monkeys, giants, and feathery women were interesting to watch, but at times felt like required divertissements rather than characters serving the narrative.

I live by National Artist for Dance Alice Reyes’ words: “Every part should have a distinct purpose.” If aesthetics were the purpose, a little editing could have helped.

The music of Krina Cayabyab, who handled both music direction and composition, was just the right touch of lively, period flavor to make the ballet work. D. Cortezano’s production design, matched with Joyce Garcia’s video projections, transformed the stage into a living comic book, allowing us to connect even more deeply with Kenkoy as a comic character. Even the projections were witty, playing with text and exposing Tagalized English words like “weitaminit.”

The collaboration succeeded on so many levels — accessible without being shallow, and entertaining without losing its historical weight.

Overall, "Kenkoy" was an articulate piece of storytelling — easily digestible and easy to love. It also made for a well-balanced show, with the first act carrying a more serious tone and the second act offering an easy, entertaining ride.

Looking at the repertoire, it feels good to know ARDP gives its choreographers the respect and space they need to grow. They are given mentorship, opportunities to collaborate, and the freedom to evolve in their art. They also show proof that they will preserve all pieces as they see fit. I think that is a recipe for success. That kind of approach can only bear good fruit.

ARDP gave their VVIPs a good show to talk about. "Kenkoy" was fruitful and definitely worth the trip.