How much of old Manila, in all its charm and magnificence, sinking in its own distinct culture, has been left to this generation I belong? Not much. All its glorious years were only to be relieved through old history books usually accessible through the Filipiniana corner of your local library. And occassionally, through documentaries and newspaper articles.
"To remember and to sing. That is our vocation." That was the evocative last line from Repertory Philippines' latest act, a tribute to Nick Joaquin's celebrated piece of literature, "Portrait of the Artist as a Filipino". A play that was passed on from one generation to another by a family that not only shares the same blood, but the same passion for theater. Directed by Jose Mari Avellana, son of Lamberto V. Avellana -- director of both Barangay Theater Guild and the film version of the play -- and Daisy Avellana -- a National Artist for Theater best remembered for her portrayal of Candida Marasigan, one of the main characters of the story. His brother, Lamberto Avellana Jr., was the musical designer.
A Filipino family living in the beautiful Intramuros before the start of World War I. Two sisters struggled to keep the house they grew up in, and their father's last painting - his last gift for both of them. A painting that was both a gift and a curse. A piece of art that became the item of greed and divided a family. As the story progressed, several family secrets were revealed. Secret desires. Secret agenda. And the disturbing secret behind the painting.
With the projection of black and white images of old Manila as the backdrop for the narration, one can see the beauty and the breakdown of the old Manila before and after the World War. And as the red curtains rolled, the audience was mesmerized by the grandeur of the set, the living room of the Marasigans. An old piano, the typical capiz sliding windows, wooden narra furnitures, white curtains, old photos hanging on the walls, the chandelier. The baro't saya worn by Paula and Candida Marasigan. The leather black and white shoes worn by the actors. The tobaccos used. Even the lighting was spectacular, making the time of the day easily distinguishable, whether it be early morning, late in the afternoon, the practice blackouts, or even the explosion of a bomb that meant the World War already started. Only one stage design was used, but every space and corner of it was maximized. Even the actors/actresses' accents were tailored so it will sound very Filipino in the time of Spanish colonization. I have seen some of them in last year's Hamlet and they had this near-perfect enunciation for Shakespeare's poetic lines. The entire play was like a time machine that brought us to the era of our grandparents, even for just nearly three hours.
It has been a year since I last watched a stage play. And A Portrait of the Artist as Filipino did not disappoint. As expected, Repertory Philippines mounted another excellent and world-class act, a great start to its 72nd season. A drama, a bit of suspense, and loads of humor all stirred into one production, mixed with superb stage actors and actresses, injected with loads of authentic Filipinoisms rarely found with todays fast-paced urban-centered modernization. Sometimes, it feels rejuvenating to trace our old roots, so we know what we were made of.
To remember and to sing. That should as well be our generation's vocation.
-JK-
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