Journey of Eros

Tanghalang Pilipino, in cooperation with Bright Eyed Boys Events&Ideas, Inc., brings back the ALIW Awards Best Play for 2003 “Insiang”.  The stage production also bagged the Best Stage Actor, Best Stage Actress, Best Director and nominations for the Best Supporting Actor. From October 5 to 7 and 12 to 14, INSIANG will have a limited run at the Tanghalang Huseng Batute (CCP Studio Theater) with matinees at 3:00 P.M. (Saturdays / Sundays) and evening shows at 8:00 P.M. (Fridays / Saturdays / Sundays).
 
Award-winning writer, director and actor, Mario O’Hara’s masterpiece was originally written for radio then developed as a teleplay for the TV series “Hilda” directed by Lino Brocka.  It was adapted by O’Hara into a screenplay for the 1976 Manila Film Festival, starring Hilda Koronel in the title role, with Mona Lisa, Ruel Vernal and Rez Cortez playing key roles. The movie version became the first Filipino film to be shown at the Cannes Film Festival and went on to win plum awards for its director and leading actress Hilda Koronel.
 
Nearly thirty years after, Tanghalang Pilipino mounted the stage version in 2002 as part of its 16th Theater season. Directed by Chris Milado, the “live” theater version attracted full houses and became the box office hit of the season. 
 
Sheenly Vee Gener (Insiang), Ricky Davao (Dado), and Mae Paner (Toyang) and the Tanghalang Pilipino Actors Company reprise their award winning performances.  Mailes Kanapi joins the production as Pacing, the mother of Insiang.
 
Director Chris Millado leads the creative team in recreating the riveting 2002 production from the ensemble acting down to the highly detailed “hyper-real” staging.   Hesus Bobot Lota designs the wrap-around set, with Joey Nombres and Jethro Joaquin doing lighting design and soundscape respectively. The production also includes fight scenes skillfully choreographed by Jack Yabut.
 
INSIANG is a stirring drama about the transformation of a teenage girl from innocence to malevolence as she finds herself trapped by a life of poverty in the slums. Abused by the very people she trusts, Insiang rises from destitution and takes revenge against her abusers.
Due to strong language, adult themes and brief nudity, parental discretion is advised.

On each performance a limited number of seats are available which offer an exciting and unique way to experience the performance with the action of the show taking place all around the viewer.   A Q&A session with select members of the cast and creatives can be arranged specially for class, community or company groups regarding themes in INSIANG i.e. gender, women, poverty, “soap opera” and advertising, design, stage fight, and corruption.
 
For tickets, reservations, group bookings and special discounts, please call the Bright Eyed Boys at 521-0412 or 0922-8712007. Tickets are also available at all Ticketworld outlets.

Normal people don’t laugh when there’s nothing to be amused about. Normal performances don’t start late. Normal actors deliver normal acting. Normal  blogger doesn’t talk about being normal in one paragraph.

There are two main reasons why I didn’t like watching the play "Art." But I liked the play itself. The form and content, that is. But not really the performance. I’m not sure if the reaction is valid.

I thought the lady who sat beside our seat was harmless so I shook my head when she asked if the seat was taken. My nightmare started when Jett Pangan delivered his first line. After that, she would laugh at every dialogue. The first giggles were tolerable since other people also found the scene quite funny so I assumed it was normal. I could only looked at her in disbelief. I was sure she couldn’t see me.

The play was supposed to start at 8pm. The audience might have noticed the delay so some clapped their hands to get the attention of the production people. I could have been more satisfied if there were cat-calls. Oh, I really hate delays. Sir Dennis Marasigan told us the show would start at 9pm. He added that only CCP does follow schedules. I agree. It’s unfair for those people who came early. 

Allan, a Palanca winner, gave me his extra, free ticket. He asked if it’s okay to write negative review about the play if the ticket’s free. I said, I couldn’t say for sure.  

The play, written by Yasmina Reza, is about three long-time friends, Serge, Marc, and June. Serge (Michael de Mesa), indulging his penchant for modern art, buys a large, expensive (PhP200,000), completely white painting. Marc (Jett Pangan) is horrified, and their relationship suffers considerable strain as a result of their differing opinions about what constitutes "art." June (Ricky Davao), caught in the middle of the conflict, tries to please and mollify both of them.

Davao was the most applauded actor in the cast. De Mesa was always De Mesa. Pangan was kinda flat, especially in monologues. They all deserved a pat or a hug or a bouquet.

I’m sure I looked like a haggard shopper that night when I got off from the cab, with plastic bags full of books on both hands. But I’m also sure I looked proud with those bags.

As usual, going inside the CCP premises was a breath of fresh air – whatever that means. My friend Anna says her artistry is revived every time she comes inside CCP. I guess I share the same feeling too. Mine is more of nostalgia and inspiration though. The building’s interior has this familiar feel of calmness.

And the foods in the canteen always give delight to us. Eating with artists and performers is never intimidating. It’s, in fact, exciting. One time, a friend related to us Regine Velasquez was beside the table he was occupying and he couldn’t concentrate. I said I wouldn’t care much if I was there that time. I easily get “starstruck” with thespians but not with movie stars.

Anyway, prior to meeting Anna, I spent one fourth of my salary buying books at the International Book Fair at the Word Trade Center. Being an obsessive compulsive buyer that I am, I ended up buying titles by Jack Kerouac (On the Road), Ian McEwan (Atonement), Henry James (What Massie Knows), Roy (The God of Small Things) and local ones by Tony Perez, Jessica Zafra, Carlos Bulosan and an anthology of Palanca winning one act plays. Anna helped me calculate the total amount I spent for those books – me, somewhat regretful and she, beaming.

While I was busy looking at the receipts to sum up my loss and Anna browsing some of the books, we overheard from an adjacent table remarks about the play we’re about to watch. It sounded as though they didn’t like the play because of the director. I made a meaningful glance at Anna but she missed it. 
 
Pilipinas Circa 1907 is a landmark sarswela by Nicanor Tiongson revived by Tanghalang Pilipino. The first play of the season, the production, set prior to the national election in 1907, tells about political  conflict and family relations getting in the way of two pairs of star-crossed lovers when America was more in the heart.

I admit I was not that excited to watch the play because the subject is not at all interesting. I guess I was not the only soul in the audience who felt like sleeping when the characters turned into divas and singers. I understand perfectly that it’s a musical so those scenes were inevitable: they’re just boring or not outstanding.

As usual, Dido de La Paz, who played Pardo, was exceptional. He was great in Ang Mga Huwad too. Roeder Camanag, the American lad, was believable. His American accent and twang would make him a great call center agent. Nazer Salcedo whose powerful voice brought the audience to life deserves a standing ovation.

I’m not sure what’s wrong with the play but it didn’t work too well.