PAG-IBIG ANG PANG-ANIM (REVIEW)

© Ma'am Faye Martel-Abugan

“Kapag tinitignan mo siya, ‘wag mo siyang titignan nang kung paano mo ako tinignan.” This is one of the lines that really struck me after having the privilege to watch Pag-ibig ang Pang-anim— a production of the Faculty of Arts and Letters’ very own Artistang Artlets.

The performance was set in a small stage in one of the rooms inside the Buenaventura Garcia Paredes, O.P. building. The whole space was enveloped in darkness and only two bulbs were used to bring light to the faces and bodies of the actors. At first, it gave me an impression of a horror-themed performance (despite the title) because of the uncanny set-up. But when the director explained that it was a depiction of a poor man’s theater, I understood the concept right away and I have to give them two thumbs up for the interesting set. I just hope that they ensured the silence inside the room so the audience had the chance to put more attention to the performance rather than the noise outside.

And since we are already talking about the venue, I might as well share my thoughts about the design elements already. The crates which were scattered in an organized way and the apple boxes which were used as the main set design fit the poor man’s theater concept very well. Take the first one as an example. The boxes served as the seats inside the jeepney. They were then used as tables for the second and third scenes. And for the fifth and sixth, they became chairs for the couples.  The team behind the play really knew how to create a great production even with minimal props. As for the costume, I honestly did not see the connection between the pristine white clothes and the concept of the poor man’s theater but it gave way for the audience to set their eyes on the body movements and facial expressions of the actors and not on the unnecessary designs and style of their clothing. Now when it comes to the sounds, the effects and music were nice but they could have added more to help the viewers get in the mood and really feel the lines and emotions of the performers. Lastly, the stage management was good because of the proper blocking and quick transition.

But disregarding all that and just focusing on the story itself, I must say that this, by far, is one of the most moving performances I have ever watched and it interestingly has the most quote-worthy lines. The play was divided into six stories with each scene representing a certain sensory faculty. The latter was not explicitly shown or stated but with full attention given, one will immediately know what sense they were appealing to.

Each actor is worth noting. But for me, the ones who stood out were the artists for the first and last scenes (Pandinig and Pang-amoy). For the first act, Jill and Aya were really funny even without trying. However, despite the comedic portrayal, the lines they uttered left a pang in my heart. Now for the last act, the couple whose names were Ryan and Pepper surprisingly knew which button to hit. Tears welled up in everyone’s eyes upon realizing that their story was about the unconditional love of a girl who said goodbye a long time ago but never really had the courage to let go. Their portrayal was simple but very realistic and relatable. Perhaps that is the reason why the audience felt the connection.

A pat on the back should be given to the director for having a job well done. The play was moving and all the scenes seemed really connected. Disregarding the minimal flaws, I can say that the crew did a great job for pulling off such a wonderful performance. They have shown that even with a small space, minimal props, and simple costume, a good production can be executed. The whole performance left my heart aching but somehow craving for more.

STEPPING OUT (REVIEW)

© Ronette Miclat

In a room filled with varying personalities, different life stories, and contrasting ideas and points of view, will there ever be unity and harmony? This is the story of eight tap-dance students who seem to be in chaos mode every week, a teacher who dances both to live and to earn a living, and a pianist who is always there (literally and metaphorically).

© Ronette Miclat

The performance was set in the proscenium stage of Greenbelt’s OnStage Theatre. They actually had three set-ups: dance studio, bar, and café. What made things interesting are the movable props and set design. Add to that the proper lighting that made everything aesthetically pleasing. The music team did a pretty great job as well. However, the songs were not as exceptional as I thought they would be. They did not have a recall and that is probably the reason why no one from the audience had a last song syndrome from the play.

But all those aforementioned things only apply to the physical aspects of the whole story. They are all but secondary factors to be considered. The part that we really should focus on is the critique of the thespians’ performances.

All the actors actually deserve two thumbs up not just for portraying their roles well, but also for touching the hearts of the viewers by sharing both their talents and life stories in a very realistic and moving way.
Mavis, as portrayed by Angela Padilla, portrays the role of a tap-dance teacher who gives too much but gets nothing in return. She is the character whom people will like at first sight, then hate as the story progresses, but will eventually love at the end. She seemed very fit for the role because of her natural grace and dancer-like posture.
Same is true for Shiela Francisco who gave life to Mrs. Fraser’s witticisms and wonderful piano skills. Though unnoticed at times, we really felt her motherly love most especially during the quiet moments in the story.
And speaking of love, why don’t we talk about the intimate moments (sans the physical contact) of Andy and Geoffrey? Christine Flores as Andy depicted the story of a lonely wife who only finds happiness in taking different lessons. Her sweet and fascinating moments with the awkward and newly widowed Geoffrey, as portrayed by Raymund Concepcion, are something to look forward to.
Natalie Everette as Dorothy gave the audience the same excitement. As a small girl with big gestures who is eager to be loved, she is one of the characters who brought joy to the whole performance and smile on the lips of the viewers. The girl who seemed closest to her in the story is Lynne, portrayed by Cara Barredo, a nurse by day and a dancer every Friday night. She conveys her message well not through speaking but through dancing— something that she seemed really good at.
We also have the two oldest women in the group who refused to be left out by their younger tap-dance group mates. The first one is EJ Villacorta who played the role of Maxine, an opinionated woman who provides everything— from hats and clothes to stories about the people in the class. The other is Vera who was portrayed by Joy Virata (the artistic director of the production). The class got annoyed with her because she kept meddling in everyone’s affairs. Little did they know that she just wanted to give the attention and affection she has always longed to have and to give to her family who seemed to be shutting her out all the time. She had one of the greatest performances in the play.
But the two actors who really stood out for me are Sylvia and Rose. Sarah Facuri who brought Sylvia to life is the stout housewife who became the audience’s apple of the eye because of her remarkable quips and natural sass. Bituin Escalante as Rose, on the other hand, is a bold and fearless Haitian with the voice of a belter. Her song numbers left people in amazement.

But the characters will not be able to execute their roles well if they did not have a good story to begin with. The text was pretty simple but what made it quite remarkable for me is the fact that it somehow gave the audience a refresher course on trying to know and understand people beyond what their eyes can see (a.k.a. “no judging a book by its cover 101”). Each persona had a façade far different from reality and that alone gave the audience something they can relate to. The whole performance may not have a complex story line or shocking plot twists, but it did have authenticity and sincerity that left people in awe.

It was truly an entertaining show. Jaime Del Mundo deserves two thumbs up for directing and for putting together such an amazing production. Although there were parts which I failed to appreciate just like the scene in the bar where their backs were facing us, the performances seemed flawless and are truly worthy of the audience’s cheer and applause.

Post-show photo op with the cast.

PAANO BA MAGLUTO NG ADOBO?

Manok, baboy, sitaw, kangkong, pusit, at okra— ilan lamang ‘yan sa mga pinaka-kilalang klase ng isa sa mga itinuturing na pambansang pagkain sa Pilipinas— ang adobo. Dahil sa angking sarap na taglay nito, marami ang nagtatanong kung paano nga ba ito niluluto. Simple lamang. Kakailanganin mo lang ng isa sa mga nabanggit na sahog sa itaas at dagdagan ng ilan pang mga sangkap upang maging mas malasa at malinamnam.

Ngunit para makagawa ng isang masarap na putahe, hindi lamang magagandang klase ng rekado ang kailangan. Importante rin ang taga-lutong may puso sa kanyang ginagawa. Tulad ng isang relasyon, hindi maaaring isa lang. Kailangan dalawa kayong nagtutulungan.

Ngayon, halimbawa ay gagawa tayo ng isa sa mga paborito ng mga Pilipino— ang adobong baboy. Para sa unang hakbang, paghaluin ang bawang, karne, toyo, paminta at dahon ng laurel. Hayaan muna itong nakababad ng kalahating oras. Ilagay sila sa kawali na may mahinang apoy upang lumambot ang karne. Dagdagan pa ng tubig kung kinakailangan. Apatnapung minuto ang hihintayin bago ihalo ang suka at panibagong sampung minuto uli hanggang sa ito’y kumulo.

Katulad ng mga sangkap na nabanggit, ang pagkakaroon ng isang matatag na samahan ay nangangailangan ng panahon at pagdaan sa iba’t ibang karanasan. Nariyan ang mga sandaling kagaya ng paminta na magpapa-anghang sa pagsasama. Nariyan din ang maasim na suka na maihahalintulad sa mga pangyayaring nagdadagdag ng sabik sa mga kaganapan sa buhay niyong dalawa.

Matapos ang mga hakbang na iyan, maaari nang magdagdag ng asin at asukal nang naaayon sa iyong panlasa. Ngayong kumulo na ang pinagsama-samang sangkap, hanguin muna mula sa sabaw ang karne at ito ay iprito sa kawali hanggang magkulay-kayumanggi. Pagkatapos ay maaari na uli itong ihalo sa sabaw at pakuluan ng isang minuto. Kapag nakita at nalanghap mo na ang mabangong ulam na ito ay maaari na itong ihain sa hapag kainan.

Ngunit tulad ng dalawang sangkap na nabanggit sa itaas, hindi mabubuo ang isang magandang relasyon kung walang maalat at matamis na mga alaala. Hindi pwedeng laging masaya. Hindi pwedeng laging perpekto ang pagsasama. Kailangan ding dumaan sa mga mapapait na karanasan at problema upang mas tumatag ang dalawang taong nagmamahalan. Dito kasi masusubok kung gaano nila pinapahalagahan ang bawat isa at kung gaano sila ka-determinadong patagalin ang relasyong binuo nilang magkasama.

Simple lang naman ang paggawa ng adobo.  Ang mga sangkap na nabanggit sa itaas ay maaaring madagdagan o mabawasan. Kahit nga ang estilo ng pagluluto nito ay maaaring magbago. Mula rito, makikita natin na hindi lamang sahog o proseso ang importante. Binibigyang halaga rin ang kagustuhan ng isang taong makalikha isang masarap na putahe. Tinitignan dito ang puso na nilalagay niya sa pagluluto. Katulad lang nito ang pagkakaroon ng relasyon. Bukod sa oras, karanasan, kaligayahan at kalungkutan, dapat na isinasaalang-alang din ang kagustuhan ng dalawang tao na talagang magsama. Importante ang dedikasyon sa pagpapalago ng relasyon at sa pagtupad ng pangako sa isa’t isa na magsasama sa hirap man o sa ginhawa.