The people of Amianan were all very devout Catholics, loyal to their Frayle (Carlon Matobato). They did not want to associate themselves with the Itneg natives, like elderly Tagaben (Jasper John Jimenez) and his mute daughter Kunyap (Mika Regis), who sometimes came down from the mountain to sell their wares. At the same time, the Alcalde (Jon Abella) and his sidekick Principalia (Jules de la Paz) were demanding the residents to pay their due taxes and tributes, lest they suffer the pain and indignity of public whipping, in case they fail to do so.
Young Diego Silang (Myke Salomon) was a popular guy in their neighborhood. Because he worked as a messenger or courier, he got to travel out of their village, all the way to Manila. His close friends Miguel Vicos (CJ Navato) and Sebastian (Kerr Allen) idolized him and his exploits. One day, he met and was smitten by Gabriela (Gab Pangilinan), a tough opinionated woman he met incidentally on the road. She did not know how to ride a horse, so she went out on foot trying to draw maps of the surrounding areas, and this fascinated Diego.
Gabriela Silang is a familiar name in Philippine history as the first Filipina to lead a revolt against the Spanish colonizers. She was called the "Joan of Arc of Ilocandia." We see a statue of her in the Makati Business District in a defiant pose wielding a bolo while riding a horse. Her name is used by a party list organization who advocates for women's rights. However, we do not really know much about her life apart from being the wife of Ilocano revolutionary warrior Diego Silang, of whom we also do not know much about.
She is the central figure in Barefoot Theater Collaborative's latest original Filipino musical. The book was written and painstakingly researched by Pat Valera, with dramaturgy by Katte Sabate. The music and songs were written by Musical Director Myke Salomon, The main set piece designed by Julio Garcia was a multi-tiered structure with several stairs and steps on which the actors would run around. The costumes of the Kailian and the Itneg were designed by Arvie Santos and Kath Anne Baillo. The rousing choreography was by JM Cabling.
For most in the audience, including me, this show was practically a full introduction to this Ilocano female historical figure, as it traced her family history, how she met and married her husband, and the local battles that they fought against the Spaniards in their area 130 years before the Katipunan was even founded. This was the first show I've watch that even mentioned the 1762 British occupation of Manila. We also get a rare visit to an Itneg village and explore their rituals with their leader / shaman Dawak (Delphine Buencamino).
The iconography of Gabriela Silang always included a horse, so there were multiple iterations of horses seen onstage. This was accomplished by way of puppetry as designed by Aina Ramolete, and puppeteers Karl Salenda, Raphne Catorce and Jherom Villanueva. At first, there was a dream horse made of straw floating across the stage like an ephemeral vision. There was a puppet of a horse's head during the scene where Diego taught Gabriela how to ride it. If you wanted to see Gabriela actually riding on a horse, just you wait and see.
Of course, Gab Pangilinan poured her whole heart and soul into this character that she was originating, the defining image of Gabriela Silang most of us are bound to remember for our lifetime. When she was singing Gabriela's epiphany song "Ako ang Tala," we also feel the triumph of Pangilinan's portrayal. Her chemistry with real-life husband Myke Salomon as Diego was unmistakable. We also learn a lot about Diego Silang here, particularly his political stand about the British, and the violent circumstance in which he met his end.
The supporting cast were all excellent. CJ Navato had the difficult challenge of essaying Miguel's turnaround in loyalty. Kerr Allen was a joy to watch as the optimistic and exuberant Sebastian. John Jasper Jimenez's Tagaben had unswayed dignity and evoked respect. Mica Regis imbued Kunyap with courageous innocence, and in a surprise second role, we see her as Gabriela's mother in an afterlife encounter. Delphine Buencamino mesmerized with Dawak's mystical energy, and that heavy ball (?) at the end of her long wig.
My personal favorite scenes were those two upbeat celebratory song and dance numbers. "Waya Waya" was set during a joyous village fiesta, complete with puppets for swine and fish. The term is historically significant in Ilocano culture as their collective aspiration for freedom. "Ay Ay Salidumay" was set during an Itneg feast. This was a traditional song sung among Kalingas and other Cordilleran tribes to symbolize unity in the community. The familiarity of this folk tune will make you want to stand up and join in the fun.
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GABRIELA THE MUSICAL runs at the Hyundai Hall of Arete, in the Ateneo de Manila University campus from November 13 to December 6, 2026. Two shows every Saturday and Sunday, 2 pm and 730 pm. Ticket prices: VIP Orchestra - ₱3,199.00, Orchestra 1 - ₱2,699.00, Orchestra 2 - ₱2,199.00, Mezzanine 1 - ₱2,199.00, Mezzanine 2 - ₱1,699.00 and Mezzanine 3 - ₱1,299.00. Show lasts 3 hours, with a 15 minute intermission. Do bring a jacket with you, as the air conditioning of the venue is very cold.
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