Dulaang UP: Review of NANAY BANGIS (TDR): Motherhood and Management

November 10, 2024

It was 1971, and Mindanao was being rocked by a violent conflict between the Christian military and Muslim rebels. Nanay Bangis (Geraldine Villamil) pushed a cart around the roads to sell her goods to the soldiers on both sides. She had three children: Elvis (Ethan King), Kesong Puti (Raymond Aguilar), and a mute girl Christine (Khay Eva). Over the next ten years, she met various people along the way: the prostitute Ynez (Air Paz), the minister Brother Mike (Jigger Sementilla) and the cook Pedrong Tabako (Ronah Rostata- de la Pena).

"Nanay Bangis" is based on Berthold Brecht's "Mother Courage and Her Children," a play often hailed by critics as one of the greatest plays of the 20th century. Prolific playwright Rody Vera had adapted it in Filipino, transposing the original setting of Europe in the 17th century during the bloody Thirty Years' War, to Mindanao from 1971 to 1981 during the bloody Muslim separatist movement there.  Both of these destructive wars were rooted in religious conflicts -- Catholics vs. Protestants in Europe, Christians vs. Muslims in Mindanao. 

I was invited to what was called the Press Preview of this show last Saturday, November 9, 2024, 2:30 pm. However, when Dulaang UP Artistic Director Issa Lopez Manalo gave her welcome remarks, she called the show a Technical Dress Rehearsal. So, essentially the show I saw was not yet the actual show. There were technical elements which were not yet final, I guess depending on what worked or didn't work during this run-through. 

As of now, I can only describe what I saw in this open TDR. When you read this, keep in mind that what I saw was just a rehearsal and not the final show. The pacing felt off, where the transitions between subsequent scenes seemed to take too long. For example, it was announced repeatedly at the start that the show will run for 2 hours and 4 minutes with an intermission. This TDR ran for almost 3 hours, or at least felt like it.

The individual main scenes were very well-performed, especially during Act 2, by which time the viewer would have already gotten drift of the story, and there was already more action than exposition. However, the transitions between these main scenes still felt awkward, and needed tightening and streamlining. The singing parts felt jarring because they seemed so out of place, but later I would read that these songs were really there in the original after all. 

I have to admit that the acting style felt strange while I watching, rather aloof and unengaging. The characters here were all very flawed, such that I did not really like any of them, not even, or especially Nanay Bangis herself, who was particularly incorrigible. I would later learn that in Brechtian plays were written purposefully to alienate audiences from the characters emotionally. Therefore, expect this play to be a different experience, as I did.

Also unique for a Brechtian play is breaking the fourth wall. King and Aguilar went out of character to do narration. There was a part when Villamil took a break as Nanay Bangis, so the narrator King begrudgingly took over, as instructed by the stage manager. Brecht did this technique in order so audience would realize that they were only watching a play now. It reminds the viewers that the real fight happens outside the confines of the theater.

Brechtian epic theater is meant to be a living newspaper, where issues of society and politics are presented on stage. This aspect of a Brechtian play was definitely well-reflected in this play. The detailed narrations about the history of the Muslim separatist movement in the 1970s, complete with all the personalities and events, were very educational, thanks to the dramaturgical research work by Jonas Garcia and Popo Amascual.  

Nanay's Cart on the Road Stage

Directing this play with its specified rules and expectations must have been a welcome challenge for veteran director J. William Herbert Sigmund Go. Having Angel Dayao's musical score played by a live band with traditional Muslim instruments was an excellent idea. Mark Daniel Dalacat designed a stage formed like two wide intersecting roads on which Nanay Bangis's cart moved all around. Go did not limit the action on that main stage, but he also involved the rafters above, which can be accessed by a rope ladder. He even set major death scenes up there. 

Again, the only version of this play that I've seen was only a TDR, not a real full run of the play. There was even no curtain call at the end of the show for us to be able to show appreciation to the actors. Like ure that the full play will proceed more smoothly, exactly how director Go had envisioned it to be. I hope I still have the chance to go watch this play full-fledged, if not during this run, then a future rerun. 

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Dulaang UP's "NANAY BANGIS" runs from November 15 to December 1, 2024 at the Ignacio B. Gimenez - KAL Theater, UP Diliman.

Showdates and times are as follows: November 15, 22, 28 (7:30 p.m.), November 16, 23, 29 (2:30 p.m. and 7:30 p.m.), and November 17, 24, December 1 (10:30 a.m. and 2:30 p.m.).

Regular ticket price is P1000, with appropriate discounts as warranted.

Non-UP student tickets are priced at P750. PWDs and senior citizens may also enjoy a discounted rate of P800, while regular tickets are available for P1,000. 

TA: Review of MEDEA: Motherhood and Murder

November 11, 2024

Medea (Miren Alvarez-Fabregas) was deep in despair and rage. Her ambitious husband Yason (Yan Yuzon) had left her and their two sons to get married to the princess of Corinth, daughter of King Kreon (Chot Kabigting). Fearing for the safety of his daughter, Kreon ordered Medea to be exiled out of Corinth. Medea pleaded for one more day, which the King granted begrudgingly. Medea knew that was enough time for her to set her plans into action.

"Medea" is a classic tragedy play written by ancient Greek playwright Euripides which was first performed in 431 BC. It was about characters from Greek mythology -- Jason, leader of the Argonauts and hero of the Golden Fleece, and Medea, the sorceress who helped him obtain it. I did not hear the word "sorceress" last night, but the play mentioned that Medea was from Asia, and played a big role in Jason's rise to prominence in society. 

Joseph dela Cruz, Katski Flores, and 

Joel Macaventa

This adaptation of "Medea" was translated into Filipino by none other than National Artist for Theater Rolando Tinio. It stars some alumni of Tanghalang Ateneo who had just been spurred back to activity by the death of their inspirational mentor Ricky Abad. I was in awe when I watched Miren Alvarez-Fabregas, Yan Yuzon, Joseph dela Cruz reunite after a 20-year acting hiatus in "Mga Multo" last July, and I made sure I will not miss this new show.

Miren Alvarez-Fabregas was a force of nature here as Medea. We only hear her eerie cries of anguish and woe from offstage for the first fifteen minutes, and it was already giving us goosebumps. From the moment she appeared on stage, she owned our full attention the whole time. We felt her wrath and desperation escalating to the point of madness, until they peaked in that spectacularly-staged, smoky and chilling climax on her chariot. 

Pickles Leonidas and Goldie Soon

Yan Yuzon possessed a very strong and confident stage presence, with an easily malleable and expressive face. Yason's emotions were at a constant high in the last thirty minutes of the play, so he was practically shouting in rage, incredulity and shock the whole time, for which he would need ample quality voice rest afterwards to recover. We hated him as the scornful philanderer at the start, just as we can still empathize with his bereavement at the end.

The supporting cast likewise gave strong performances -- Joseph dela Cruz as Medea's supportive friend Egeo who also witnessed the outcome of her act of vengeance, Katski Flores played Medea's old Yaya who worried about her mistress, Joel Macaventa (Mark Aranal alternates) played Medea's sons' Maestro who worried about his wards. The chorus of two -- Gold Soon and Pickles Leonidas -- helped the story along with their narration and as Medea's friends. 

Yam Yuzon and Miren Alvarez-Fabregas

Under the direction of Ron Capinding, the show ran for 1 hour and 40 minutes without an intermission. Tata Tuviera's rectangular stage was the courtyard of Medea's house set in between two raised bleachers on both long sides for the audience. Don't take those seemingly textured walls on both short ends for granted. Tuviera's costumes and Ara Fernando's makeup gave a Central Asian vibe. Zak Capinding's sound and music evoke tension and danger.

What a strong central female character who took agency, no matter how divisive or controversial her decisions are, this classic is feminist at its core. Even up to the present time, in any corner of the world, women are still often in situations where they are caught between a rock and hard place. While Medea's dilemma may be an extreme example of agency, her story remains a thought-provoking piece that will always invite debate anytime and anywhere. 

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Tanghalang Ateneo's production of "MEDEA" runs from November 12 to 24, 2024 at the FA Black Box Theater in the Old Communications Building of the Ateneo de Manila University. Shows at 7 pm, with 2 pm matinees on Saturdays and Sundays. Tickets available via this LINK. Basic price is P700, with appropriate discounts as the case may be.

Review of SA TAHANAN NG AKING AMA: Wrecked by War

October 26, 2024

On New Year's Eve of 1941, the Santamaria family was gathered together in their opulent ancestral house fronting the church in Dumaguete. The patriarch was Don Carlos Santamaria (Gie Onida), and his wife was Dona Amanda (Katski Flores). Their eldest son was lawyer Miguel (Gino Ramirez), whose wife was Isabel (Bea Jose), Their second son was politician Franco (Johnrick Noynay), whose wife was Cristy (Chase Salazar). 

When the United States declared war on Japan after the latter attacked Pearl Harbor, the Philippines was very much part of the arena of that war in the Pacific. It was only on that New Year's Eve that the Santamaria family began to realize the impact that this war was going to have on their family. The youngest son, medical student Carlito, had just been drafted into the army in Luzon, while Miguel and Franco were about to join the troops in Cebu. 

This play was originally written in English by Elsa Coscolluela. She graduated with a degree in Creative Writing in Silliman University, which had been mentioned many times during this play. It was first staged by the UP Playwright's Guild in 1988, to critical acclaim. Coscolluela had written the play based on real stories of the war as told by her own father and father-in-law, which is why it resonated strongly with those who had lived through the war. 

Bea Jose (Isabel) and Gino Ramirez (Miguel) take their bows,

as Louis Paguia (Marissa), Jeremy Mayores (Emilio)

and Adrianne Ungriano (as mayordomo Benito) look on.

Even if the title referred to the father (based on bible verse John 14:2), but Don Carlos was absent in several scenes, purportedly out playing chess with the parish priest. Gie Onida's highlight was when he angrily confronted Franco about his unpopular decision. Johnrick Noynay was able to give heart to Franco's antagonistic stand. You'd think Jeremy Mayores's houseboy Emilio was just comic relief in Act 1, but he would ace his very serious scene in Act 2.    

The heaviest dramatic scenes of the play belonged to the women characters. Chase Salazar's highlight was that confrontation scene between Cristy and Franco about their marriage. Bea Jose's highlight was Isabel's mental torture after three days of walking to find food for her children.  Louis Paguia's Marissa only had a few scenes, but we are deeply moved by her trauma witnessing her teachers' deaths and her shame as sex slave to a Japanese officer. 

Over and above everyone was Katski Flores' emotionally-devastating turn as the family's matriarch Amanda. Flores was so totally possessed by her character, such that her every facial expression and her body language all spoke volumes about Amanda's pain. When she protested about her sons joining the war, we felt it. When she stopped her son's friend from telling his news, we felt it. When she issued a silent scream at the end, we all heard it. 

Gerald Morfe (as Japanese Capt. Haroda), Chase Salazar (Cristy), Johnrick Noynay (Franco)

with Katski Flores (Dona Amanda) and Gie Onida (Don Carlos) 

Jerry Respeto translated Coscolluela's play into eloquent Filipino.  I have not read or seen a staging of the original play in English, but I expect that this shift of language from English into the local tongue should make the drama even more heartfelt and the anguish even more palpable. It made the bitter sentiments against the enemy drip with more contempt. It made the declarations of heroism and patriotism ring even more sincere. 

As director, Respeto prefaced each chapter of the Santamaria family story with actual WWII newsreels to put the events in proper historical context. Essentially this play is a 2-1/2 hour summary of the Japanese occupation in the Philippines. Aside from expected tragic stories of victims of various atrocities, it also told about those who became guerillas and those who chose to serve as government officials, and the price their families had to pay. 

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"Sa Tahanan ng Aking Ama" runs from October 9 to 27, 2024 at the Doreen Black Box Theater, 3/F Soledad V Pangilinan Arts Wing. Areté, Ateneo de Manila University, with 7 pm shows on October 9-13, 15-20, 23-27, and 2 pm matinees on October 12-13, 19, 20, 26-27. Regular adult tickets are priced at P850, with applicable discounts. 

 

 

Review of REQUEST SA RADYO: Introvert's Introspection

October 15, 2024

When the first announcements about this play starring Lea Salonga and Dolly de Leon came out four months ago, everyone was abuzz was excitement. We would soon learn that they won't be sharing the stage at all. This was actually a one-woman play without any spoken lines. This meant that the actress would only have to use her facial and body language to tell the central character's story. Watching this play promised to be a very different experience. 

When you go into the theater early, you would be seated in a waiting area first, where you saw huge metal shipping containers stacked up. About 30 minutes before showtime, the viewers were led into the main staging area inside the containers. They arranged the seats theater-in-the-round, surrounding a fully-furnished studio unit with no walls, which we will later see had water faucets and electric outlets that worked. At almost exactly 7 pm, she would enter, and the play began.

It would be best to watch the play with a clean slate, without knowing anything about what was going to happen. The next paragraphs would have spoilers so you may want to stop here and continue reading after you watch the play. 

Upon entering her house and taking off her coat, the first thing she did was to go to her kitchen and prepare her dinner. This was not pretend cooking -- she prepared all the ingredients and turned on the appliances, which all worked. After a few minutes, we see the steam coming out of the rice cooker and the saucepan on the stove. She would later eat the very rice and viands which she cooked in front of us. This all happened in real time. 

Since she did not say a single word, we can only deduce things about our central character's life by context clues. We knew she was in a foreign country, because she wore a thick coat in February. She wore a scrub suit, so she is in the health care industry, likely a nurse. She is a Filipina who missed her home country, because she listened to a radio program that featured Filipino pop songs, and her favorite song was "Hallelujah" by Bamboo. 

We surmise that she was an obsessive neat freak, because we saw her wash the dishes, cookware and even the toilet right after using them. She also sharpened her colored pencils right after using each one. So basically for the first 1 hour and 10 minutes, we see her puttering around her studio unit mundanely -- cooking and eating dinner, bathroom rituals, her artwork hobby, prayers to her Sto. Nino, bedtime and lights out.

However, something unexpected happens in the last five minutes that put everything that transpired in the last 70 minutes in a different light. If at first you thought that watching our character do her nightly routines had no point, or a case of much ado about nothing or "The Emperor's New Clothes," the last five minutes will give you pause and make you reflect on everything you've just witnessed and how they actually made sense.  

The show I watched featured Ms. Dolly de Leon. Based on the plays and films I have seen her do before, there was no doubt in my mind that she could pull this challenging project off. As expected, she was riveting, not a dull moment, even if it felt like I was just peeping into the private life of a next door neighbor. With her sad eyes and hunched stance, De Leon made us feel the loneliness of the character, but not without hints of her sense of humor. 

Lea Salonga may have the more stellar name on the marquee, but we know her more as a powerful singer and articulate speaker. Acting alone in a wordless hour-plus-long one-act play is way out of her usual comfort zone. Her fans would be very curious to see her in another form of theater other than a musical. I may not be able to see a Lea Salonga show any more, but knowing her work ethic, she will surely give her performances her 100%.

Director Bobby Garcia and co-producer, set and costume designer Clint Ramos devised Franz Xaver Kroetz’s 1973 play "Request Concert" in the point of view of a Filipina nurse overseas, living alone and exhausted from work. This made the character's sadness feel more organic for local audiences, so that the ending did not feel random as it reportedly did during its original German run. It would also have been interesting if an alternate actor was male.  

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"Request sa Radyo" runs for 20 shows only from October 10 to 20, 2024, at the Samsung Performing Arts Theater in Circuit Makati. Tickets cost P9000 and P8000, available on Ticketworld via this LINK. Those seated in the F section seemed to have the best view.

The ticket prices are formidable, but this 7 pm show I watched on a Tuesday night was almost full house. Latecomers will not be admitted anymore once the show has begun. It has themes, issues, and references that may be triggering to some audience members, so rated R-15.

Rep: Review of JEPOY AND THE MAGIC CIRCLE: Feast of Filipino Folklore

October 14, 2024

Jepoy and his washer-woman mother Aling Barang may be very poor, but they managed to lived happily together with their pet dog Galis in their cottage at the edge of a big forest. One day, Galis ran off with a dress Aling Barang was washing, so Jepoy ran after his pet. To his amazement, his dog jumped into a mysterious circular portal floating in mid-air. Jepoy jumped right in with him and they ended up in another dimension called the Underworld.

"Jepoy and the Magic Circle" is the first of two original Filipino musicals Repertory Philippines is staging during this, their current 87th season.  The second one is "Going Home to Christmas," featuring the songs of Jose Mari Chan, timed for the holiday season. This continues Rep's initiative to stage original Filipino shows which started with "Miong" and "The Quest for the Adarna" in 2019, only to be interrupted by the pandemic. This new musical is directed by Ms. Joy Virata, the creative director of Repertory Theater for Young Audiences.

Rody Vera adapted the script from the children's book "The Magic Circle" by Gilda Cordero-Fernando, while the original music and lyrics were written by Ejay Yatco. Yatco is on an extraordinary creative roll this year. He was the musical director of Full House's Parokya ni Edgar musical "Buruguduystunstugudunstuy" (while Vera wrote the book). He was the composer of "Pingkian," Tanghalang Pilipino's musical about Emilio Jacinto. This makes "Jepoy" the second totally original full-length musical composed by Yatco in a single year. 

The play opened with a short introduction to endangered indigenous fauna, like mouse deer, warty pig, Philippine eagle, tarsier and pawikan. The first half of the play was expository, building up the real world where Jepoy and mother lived and teasing a brief taste of the Under-world on the other side of the portal. However, it was during the second half when the wondrous world of Filipino folklore bloomed in full color right in front of our eyes, featuring the fantastical costume designs of Raven Ong, and cute puppet work of Kayla Teodoro. 

As we joined Jepoy as guest of a Tikbalang wedding officiated by the elegant Dona Geronima, we get to meet the Tres Marias -- Maria Makiling, Maria Sinukuan and Maria Cacao, the duwendes in blue and the tiyanak in pink, the two manananggals in flight, the sirena who guides the sailors, and finally, the Kapre. There was also a guy carrying a blind guy, a mute guy and a lame guy on his shoulders (not sure who he was). Like Galis, there were other talking animals in attendance, like Cat, Frog, Monkey and Cockroach.  

Elian Dominguez as Jepoy

In the show I watched, Jepoy was played by Elian Dominguez in his first lead role in a major musical production. His Jepoy was full of energy, with a slight rascally vibe, which was a nice comic touch. His singing voice had a wide range, so he should have a promising career in musical theater ahead of him. As he is an environmental scientist by profession, he got his wish to merge his two interests with this play. (Alternating as Jepoy are theater veteran at age 20 Noel Comia, Jr. and former "Batang Rizal" Yhuan Gatbunton.)

Aling Barang was played by Mikkie Bradshaw-Volante, as bubbly as ever. (Ring Antonio alternates as Aling Barang.) Host Paqui was played by Luis Marcelo, who should be more careful with his intro spiels for the kids. He mis-defined the word "nocturnal" in the show I watched. (Joshua Cabiladas, Franco Ramos and Stephen Vinas alternate as Paqui.) Dona Etang and Dona Geronima were played by Pinky Marquez, her soprano as solid as ever. (Abi Sulit alternates as the Donas.) Real-world Galis was played by Francis Gatmaytan (Czar Decena as alternate), while Under-world Galis was played by Cara Barredo. 

A featured character that deserves special mention is that the Kapre, portrayed by Hans Ekstein in the matinee show I watched. You barely see the actor at all, as he had dark green face make-up on and a full-body costume of green leaves. He had to carry the giant's head and torso (with a moving mouth and arms!) above him, while wearing elevated clogs on his feet. The actor had to rely on his deep resounding voice to act and convey the Kapre's sad plight, and Eckstein delivered. (Juliene Mendoza and Joey G. Vargas alternate as Kapre.)

In the show I watched, the Tres Marias were played by Jay Barrameda, Barbara Jance, Paula Paguio (Mica Fajardo alternates).  The ensemble included Lance Soliman, Ayla Garcia, Nyla Festejo, Francesca Mata, Alyanna Wijangco, Ayam Eckstein, Cheska Quimno, Chan Rabutazo, Franco Ramos, JV Fulgencio, Kenny Isidoro, Pablo Palacpac, Broey Divinagracia, Sebastian Katigbak, and Dindo Divinagracia. (Sean Nicolas, Monica Tulio, Chesko Rodriguez, Ado Villanueva, Deo Dela Cruz, VJ Cortel, Jay Pangilinan, Jae Valencia, Gabo Tiongson, Ian Hermogenes, Bea Remollo, Katie Bradshaw, Jacqui Jacinto, Meg Salud, Jalea Cabiladas, and Daniella Albano alternate in the Ensemble). 

For the rest of the artistic team: Cara Barredo was the assistant director. Stephen Vinas and Francis Gatmaytan did the choreography. Mio Infante designed the set. John Batalla designed the lights. GA Fallarme and JM Jimenez designed the projections. Johann dela Fuente designed the hair and makeup. 

Marquez, Gatmaytan, Dominguez, Barredo

and the colorful ensemble

Parental guidance is needed so the kids can get the messages of this show straight.  Traditional Filipino dark monsters were portrayed here as colorful friends. Their continued "existence" remains valuable only for our heritage and cultural identity as Filipinos, certainly not as fact. Discrimination against those regarded by society as different is correct. However, calling everyone "all a little weird" (and having Jepoy proudly declare himself as a "weirdo" as the final line) can be confusing for kids and should be explained to them properly. 

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"Jepoy and the Magic Circle" is Rep's first play staged in their new home in the fourth floor of the Eastwood City Walk. Tickets are available at Ticketworld. For ticket reservations, send a message at: 09626918540 & 09669054013. Orchestra Center and Loge seats go for P1500 each, while Orchestra Side seats cost P1000 each. 

CAST: Review of OTHELLO: Jumbling in Jealousy

October 8, 2024

Venetian army ensign Iago (Reb Atadero) was furious that his Moorish superior officer Othello (Tarek El Tayech) had promoted an aristocrat Cassio (Davy Narciso) to the position he aspired for instead of him. Recruiting unwitting accomplices in his wife Emilia (Maronne Cruz) and his lovesick friend Roderigo (Rafael Jimenez), Iago executed a devious plot to plant a seed of doubt between newlyweds Othello and his virtuous bride Desdemona (Gab Pangilinan).

"Othello" was one of William Shakespeare's more popular plays that I have not read nor seen performed on stage. When I learned that CAST was going to stage this classic, I immediately bought a ticket once they were released for sale. I had known about CAST's previous staged readings and productions, but unfortunately, I never got a chance to see any of them yet. I made sure I was not going to miss this one anymore. 

Before watching any play by Shakespeare, I was afraid that I may not be able to comprehend the Old English verse since I did not have any idea about the story. These apprehensions doubled when it was announced that the play would run for a formidable 2 hours and 45 minutes, with 20 minute intermission. However, once the play started, my worries were unfounded, the language was clear and the pace was engaging.

Reb Atadero and Tarek El Tayech

Tarek El Tayech was effortlessly intimidating as Othello, towering over everyone with his hefty frame. When his rage reached its peak, his big eyes were aflame, and we would cower in fear.  Paired with the waifish Gab Pangilinan as his Desdemona, she was like rag doll in his massive arms. The skilled wrestling choreography made the rough violence that transpired between them feel so shocking and real, as we helplessly watched on the sidelines. 

At the center of everything was Reb Atadero, who played the sly, cunning Iago with sinister relish. We needed to understand Iago to be able to understand the whole play, and Atadero's clear delivery of his lines gripped us and drew us into the complex web he spun without much difficulty. He was able to balance the duplicitous nature of his character, appearing like loyal and honest friend on one side, while being relentlessly ruthless traitor on the other. 

Emilia was Iago's wife and Desdemona's maid, a role which may feel small with a lesser actress, but Maronne Cruz definitely made sure she would make her mark on that stage. She and Pangilinan shone in that scene where the worldly Emilia advised naive Desdemona not about their husbands, but also their self-worth. Emilia memorably called men "stomachs", while women were the "food" which their men eat, and belch out when they're full. 

 

Maronne Cruz and Gab Pangilinan

Veteran actor Jaime Del Mundo was featured as Desdemona's father Brabantio. The rest of the cast also donned military fatigue uniforms like Othello, Cassio, Iago and Emilia, including Dippy Arceo as Cassio's lover Bianca, MC Dela Cruz as Desdemona's cousin Lodovico, and director Gomez as Venetian official Montano.  Jimenez wore humor t-shirts as the play's dark comic relief. Panganiban radiated innocence, virtue and purity with her flowy dresses.  

Director Nelsito Gomez was very bold to stage a big play like this in the limited space of the Mirror Theater Studio. The stage was just a flat square floor, with the audience seated on all four sides around it. This close proximity of actors and audience in this tiny black box venue added to the suffocating atmosphere of percolating toxic jealousies. These emotions just erupted in full hurricane-force into our faces at the climax. I was left gasping for breath. Whew!

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CAST's "Othello" runs only for two weekends, from October 4 to 13, 2024 at the Mirror Theater Studio, on the 5th floor of the SJG Building, 8463 Kalayaan Avenue, Makati City. Tickets were sold at P1000 each. The whole run is already sold out.

Today, in response to the overwhelming demand, another performance date has been added on October 19 at 8 pm! Go and watch this!

Review of 3 UPUAN: Dealing with Death, Looking at Life

September 28, 2024

Three siblings come together when their father passed away from esophageal cancer. Eldest son Jers (Jojit Lorenzo) was a philosophy professor who quoted Plato and Nietzche in his daily conversations. Second son Jack (JC Santos) was a visual artist whose dream was to interpret Rolando Tinio's poetry into paintings. Youngest was Jai (Martha Comia), a journalist who migrated to the US while advocating for indigenous peoples.

This new play written and directed by Guelan Luarca runs for 1 hour and 40 minutes without an intermission. However, during that single act, the story was not told in a linear manner, as the scenes jumped forwards and backwards in time. At one point, it went so far back into the "juicy" past that even the big bang entered the conversation. A guest narrator would indicate the passage of time, but sometimes it was just a whooshing sound effect that did so.   

As if to embody the title, the set only consisted of three simple chairs, one for each of the three characters. They not only sat on their chairs, they carried them around, or also stood on them. Further elaborating on the theme of chairs, there was an interesting and enlightening discussion about Joseph Kosuth's 1965 installation called "One and Three Chairs." A popular Burt Bacharach song about a chair was sung in a karaoke segment.   

The siblings contemplated on broad topics, like life and death, words and language -- parts where Luarca displayed the breadth of his knowledge on philosophy, religion and literature. However, the tearjerking moments were those parts when they reminisced about their parents and about each other. Luarca knew how to write beautiful lines which can hit raw nerves, be they in Filipino or English, giving each actor a highlight moment of raw emotion.

JC Santos's best moment as Jack was that scene when he was listening in on a bonding moment between Jai and her daughter Jackie. Jojit Lorenzo's best moment as Jers was when he shed tears as he talked about being ashamed that his children saw him shedding tears.  Martha Comia's best moment as Jai was that scene when she read a text another death in the family. It was her Jai who became the central focus of the play, and Comia owned it.

The play was staged at the Arete in Ateneo, but not in the big theater spaces. It was held in a humble second floor dressing room of the Hyundai Hall, the entrance of which was a side door, probably for the use of the cast and crew. The room can only accommodate an audience of 30 people, 10 of whom were seated on the floor. Being so up close to the actors, we can see every little gesture, facial tic and rolling teardrop -- intimate theater at its best.

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"3 Upuan" ran only for 8 shows, September 22, 24, 26, 28 and 29, at 8 pm, with 4 pm matinees on Saturdays and Sundays. Regular tickets cost P700 each, subject to appropriate discounts as warranted.