‘La Revolucion’ Dramatizes Filipino History

Philippine Independence Day falls about three weeks before July 4th. Since the two republics have had such a tangled history, and Los Angeles has the largest population of Philippine-Americans living on the West Coast, it seemed fitting that Ballet Philippines picked the City of the Angels to make its first U.S. appearance since 1970.

It was doubly fitting to make it with “La Revolucion Filipina,” Friday at the John Anson Ford Amphitheatre.

Choreographed by Agnes Locsin to a libretto by Dennis N. Marasigan, with music by Ryan Cayabyab, the full-length dance-drama covers the years from prior to Spanish colonization in the 16th century to just after the islands are ceded to the United States following the Spanish-American War of 1896, and the revolution for independence is betrayed.

Three historical personages figured prominently: Apolinario Mabini, the “sublime paralytic” theoretician (danced by the feline Alden Lugnasin); Andres Bonifacio, who created the first secret revolutionary society (the muscular Gerald Mercado), and Emilio Aguinaldo, the general who assumed power and had Bonifacio shot on trumped-up charges (the charismatic Nonie Buencamino).

Locsin draws on modern dance and ballet, especially ballet-in-the-heroic-mode for the important statements. Think of the Chinese revolutionary ballet, “The Red Detachment of Women.” The company dancers proved well-trained, fervent and committed.

Even so, anyone not familiar with the country’s history could find parts confusing. Mabini’s significance and his vacillations had to be taken on faith. Bonifacio’s falling out with Aguinaldo seemed to come out of nowhere.

In fact, the largely Philippine-American audience seemed to have no trouble following and applauding this vibrant pageant of pride and drama.