Original Philippine

Operas

Submitted by:

Mariecolle G. Collado

Submitted to:

Mrs. Yolanda B. Sanchez

Ms. Cherrylyn F. Romarate

Submitted on:

February 5, 2018

Grade & Section

G10- Agoncillo
 La Loba Negra
La loba negra (The black she-wolf) Translated by Hilario A. Lim. Edited with notes by
Teodoro A. Agoncillo. Introd. by E. San Juan, Jr.
Main Author: Burgos, José Apolonio, 1837-1872.
Other Authors: Marco, José E.,
Language(s): Spanish ; English
Published: Quezon City, Malaya Books [1970]
Subjects: Philippines > History > 1521-1812 > Fiction.
Note: Authorship has also been attributed to "a certain
José Marco, a known copyist." Cf. Pref.
Physical Description: 67 p.
Locate a Print Version: Find in a library

https://www.scribd.com/presentation/323807542/La-Loba-Negra

Noli Me Tangere
The Philippines’ first full-length opera, Noli Me Tangere, The Opera, which premiered at
the Far Eastern University (FEU) in 1957 and made
its Cultural Center of the Philippines (CCP) debut in
1974, will mark its 60th anniversary with a limited six-
performance run at the CCP’s Tanghalang Nicanor
Abelardo from Jan. 28 (gala premiere) to Feb. 3.

It is co-presented by the CCP and J&S Productions, Inc., in cooperation with Ayala
Foundation.

The 60th-anniversary production of Noli Me Tangere, The Opera is chaired by

philanthropist Mercedes Zobel.

Based on Dr. Jose Rizal’s 1887 classic novel of the same name, Noli Me Tangere, The
Opera was written by National Artist for Music Felipe de Leon (Payapang Daigdig,
Sarong Banggi) and was set to a libretto by National Artist for Sculpture Guillermo
Tolentino. Both creators, who were obsessed with Dr. Rizal’s landmark novel, finished
the opera in 1957. According to New York-based dramaturg Randy Gener, the opera
was, however, “not the first Filipino opera ever written. That honor belongs to
Sandugong Panaguinip, a 1902 work with a Spanish libretto by Pedro Paterno, which
was translated into Tagalog by Roman Reyes, and music by Ladislao Bonus.
Sandugong Panaguinip was a one-act opera made up of five scenes, while De Leon’s
Noli opera was written in three acts, making it the country’s first full-length grand opera.”

This production, which earlier had critically-acclaimed engagements in N.Y.,

Washington D.C. and at the Resorts World Manila, will feature more than 200 opera
singers, musicians and crew, 16 scene changes and a brand-new staging under the
directorial reins of debuting stage director Jerry Sibal, a sought-after event designer in
New York City, who is also designing new sets and costumes.

The show’s score and orchestrations, arranged in the Western operatic tradition with
overflow passages reminiscent of Mozart, Puccini and Wagner, and sung in Tagalog
(supertitles in English to be provided), will be played by the newly-formed 53-piece Noli
Symphony Orchestra under the baton of Maestro Herminigildo Ranera.

Entertainment ( Article MRec ), pagematch: 1, sectionmatch: 1

This writer with the opera producers Jerry, Edwin and gala chairperson Mercedes
‘Dedes’ Zobel
Renowned tenor Ronan Ferrer in the role of Crisostomo Ibarra will lead the cast,
together with Bianca Camille Lopez (Maria Clara), Stephanie Anne Aguilar (Sisa), John-
Andrew Fernandez (Padre Damaso), Greg de Leon (Elias), Mari Yapjoco (Basilio) and
Santino Juan Santiago (Crispin).

Besides musical director Ranera and stage director Sibal, who is also designing the
new sets and costumes, the production’s creative team also includes assistant director
Jose Jeffrey Camanag, sound designer Edwin Mendiola and lighting designer John
Batalla.

Noli Me Tangere, The Opera follows the story of Juan Crisostomo Ibarra, who returns to
the Philippines after pursuing scholarly studies in Europe. He plans to open up a school
and marry Maria Clara, his betrothed. However, parish priest Padre Damaso, the
archenemy of the Ibarras, is out to hinder Crisostomo’s plans, which creates a dramatic
storyline of forbidden love, betrayal and revenge.

Both the novel and the opera depict the abuses suffered by the native Indios at the
hands of Spanish tyrants. Both forms also paint a clear picture of the so-called “social
cancer” such as the rotten system of governance, the illicit ways of the church and the
unfavorable trade of the privileged class, which is still very much relevant today. “We’d
like to instill in the youth that nationalism is very important. We’re very educated,
talented and skillful. The only problem we’re facing right now is the love of country,”
explained Sibal.

“We’d also like to create more appreciation of the opera art form.
The opera is highest form of art because it has architecture, literature, theater and
classical music combined together. The beauty of Noli Me Tangere, The Opera lies in
its use of our own language, Tagalog and the Filipino love song kundiman combined
with Western opera influences,” he said.

Dr. Raul Sunico, CCP president, said, “We’re glad to welcome back Noli Me Tangere,
The Opera to the CCP main stage after 30 years since Fides Cuyugan-Asensio’s Music
Theater Foundation staged it in 1987. Theatergoers and music lovers shouldn’t miss
this rare musical experience; it’s every Filipino’s story
set to one of Felipe de Leon’s finest scores.”

http://www.philstar.com/entertainment/2017/01/21/1664485/noli-me-tangere-opera-
turns-60

El Filibusterismo
“Noli Me Tangere” and its sequel “El Filibusterismo” were two novels written by Dr. Jose
Rizal. Originally written to show the millions of Filipinos the atrocities done by the
Spanish government during their rule of the Philippines, both novels eventually sprung
into a life of their own when Dr. Rizal was executed for being an enemy of the state. His
execution led to a bloody revolution against the local government, and led to the
Spanish eventually letting go of the Philippines for good.

Both novels put great emphasis on what Dr. Rizal called “the cancer of society,” and
unfortunately, his works are more relevant than ever: it seems that we as a people
never really moved on from the corruption and greed of the past, merely transferring the
sin from the Spanish officials to our own.

Much like the rest of the world, the Philippines is going through a tumultuous time. It is
then very timely that “Noli Me Tangere: The Opera” was recently shown in the Cultural
Center Of The Philippines. The Opera, originally written by renowned sculptor and
National Artist Guillermo Tolentino, with music provided by fellow National Artist Felipe
Padilla de Leon, was once again brought to life on stage by Master Producers Jerry
Sibal and Edwin Jose as well as Master Conductor Herminigildo Renera.

The Opera was opened to the public at the Gala Night held at the CCP last January
As I previously said, I am a neophyte to the world of classic opera, and as such, I am
largely unable to understand the libretto. Thankfully, subtitles both in Filipino and in
English were present above the stage. However, the subtitles were largely inaccurate—
they were either not in sync with the current libretto being sung, or were absent
altogether. Surely, this put off many of the viewers, who most likely were newcomers to
the operatic world like myself.
Another gripe I had, which had nothing to do with the production, was the etiquette (or
lack thereof) of much of the audience. People seated beside me were continuously
chatting with each other, and one in particular was constantly checking her phone and
taking calls, while the opera was in motion. This rudeness can be attributed to lack of
education: because there are very few operas and musicals in the country, Filipinos are
not privy to how one must act within the sacred halls of the theater.

However, in spite of some hiccups in the opera’s production, its overall message stands
clear: the cancer of society is still very much alive and festering in this day and age, and
we as a people need to see it, in order to move forward and cure it.

Apart from that, the actors’ voices and the orchestra were superb. In particular, my
favorite was Stephanie Anne Aguilar, who played the role of the tormented and crazed
Sisa. Despite being largely an outsider to the plot of Noli, she painted the most accurate
picture of the common Filipino today: a victim of circumstance, unable to move up in
society because of the poverty caused by widespread and deeply-entrenched corruption
in the government. Whether you want to you want to look at it or not, this was the case
of Sisa all those many years ago, and it is still the case for many Filipinos today.

Likewise, the characters who played the roles of Ibarra and Maria Clara were equally
brilliant, and their talents shone whenever the two joined to sing a duet. One could truly
feel the emotion between the two, as evidenced in their impassioned singing.

Perhaps the current administration’s promise of change will never come, and that a
deep appreciation of both Noli Me Tangere and El Filibusterismo will show us that.

In case you weren’t able to catch the classic novel-turned-opera, the Inquirer created a
short clip, showcasing the talents of the cast when it showed in 2014. Watch it below:

Were you able to catch CCP’s showcase of “Noli Me Tangere: The Opera”? Share your
favorite moments down in the comments below, or
tweet them to me via @rafael_reynante!

Cast Members:

Ibarra: Ronan Ferrer

Maria Clara: Jade Rubis Riccio
Padre Damaso: John-Andrew Fernandez
Elias: Greg de Leon
Sisa: Stephanie Anne Aguilar
Basilio: Noel Comia, Jr.
Crispin: Santino Juan Santiago

//www.onemusic.ph/news/el-filibusterismo-a-review-2552
Original Performance
with the Use of Media

Submitted by:

Mariecolle G. Collado

Submitted to:

Mrs. Yolanda B. Sanchez

Ms. Cherrylyn F. Romarate

Submitted on:

February 7, 2018

Grade & Section

G10- Agoncillo
Caredivas (PETA) 2011
Philippine Educational Theater Association (PETA) in partnership with Overseas
Workers Welfare Administration (OWWA) shall present the special run of CAREDIVAS
– AN ORIGINAL PINOY MUSICAL to pay tribute to all overseas Filipino workers as the
present-day heroes of our country with performances beginning June 24 until July 30,
2017 at The PETA Theater Center.

CAREDIVAS is a disarmingly funny and candid musical drama about five transgender
Overseas Filipino Workers in Israel who work as care givers in the morning and
transform into glamorous drag queen performers at night. While desperate to make
ends meet, they also struggle to search for acceptance in a foreign land.

As part of OWWA’s 35th anniversary celebration, the organization opens the special run
of Care Divas on June 24 to signal it’s renewed our commitment in promoting and
protecting the welfares of Overseas Filipino Workers.

Aside from this project, OWWA is also continuously providing social, education and
training, workers welfare assistance and reintegration program attuned to the needs of
OFWs and their families.

What really makes or breaks a caregiver?

Caregivers, also known as home health or personal care aides, give assistance to
people who are sick, injured, mentally or physically disabled, or the elderly and fragile.

Caregivers must be compassionate, possess stamina, and very conscious of time

management.

Their job descriptions include bathing and bathroom functions, walking and light
exercise, plan and prepare meals, feeding, grooming, taking medication, and some
housework like making beds and change linens, dusting and vacuuming, laundry and
ironing.

Caregivers also make and keep appointments with doctors, provide or arrange
transportation and serve as a companion for their clients. Caregivers might need to lift
clients into the bathtub, cars and into bed, and need strength. They help their clients
engage in activities (games, memory books) and most of all, companionship.

The theme of ‘caregiver’ as a job coupled with its ups and downs have been adopted
with varying plots that center on the family in film, television, radio, print – novels,
poetry, essays; visual arts and in theater.

CAREDIVAS was produced and premiered in 2011. The musical dominated the 2011
Philstage Gawad Buhay! Awards, bagging seven trophies including Outstanding
Musical Direction, Outstanding Musical Production and Outstanding Ensemble
Performance for a Musical.

Hopefully, this forthcoming special run will entice our OFW heroes who have returned to
our country to watch the musical together with their families because CAREDIVAS is
specially dedicated to them.

Theatergoers will meet our caregiver heroes as characterized by the kind and loving
Chelsea, the often-sarcastic group leader Shai, the ditzy Thalia, the bubbly Kayla, and
the ill-tempered Jonee.

Giving life to the major roles are well-respected theater actors Melvin Lee (Chelsea),
Vincent De Jesus and Ron Alfonso (Shai), Dudz Teraña and Jason Barcial (Thalia), Gio
Gahol, Jerald Napoles and Ricci Chan (Kayla), Thou Reyes and Phil Noble (Jonee).

The actors in their supporting roles are Myke Salomon (Faraj, David, Daniel), Paul
Holme and Leo Rialp (Isaac, Moshe, Yaakov, Club owner), Joan Bugcat and Gold Villar
(Nonah), Eric Dela Cruz and Dom Miclat-Janssen (Avi, Aryeh, Pulis), Sherry Lara
(Sarah, Adara), Eko Baquial and Joseph Madriaga (ensemble).

The artistic team of CAREDIVAS are as follows: Maribel Legarda (Director), Liza
Magtoto (Playwright), Vincent De Jesus (Lyricist, Composer, Arranger, Musical
Director), Leo Abaya (Set Designer), Jonjon Villareal (Lighting Designer), John Abul
(Costume Designer), Carlo Pagunaling (Assistant Costume Designer), Carlon Matobato
(Choreographer) and Gimbey dela Cruz (Vocal Coach).

https://petatheater.com/caredivas

Haring Lear (PETA) 2012

The Philippine Educational Theater Association (Peta) wraps up its 2011-2012 season
with a Filipino translation of William Shakespeare’s “King Lear” that opens on Jan. 27,
employing an all-male cast.

Felix “Nonon” Padilla directs, using National Artist for Literature Bienvenido Lumbera’s
translation of the tale of King Lear, how he bequeaths his kingdom amongst his three
daughters and is betrayed by two of them.

When Padilla was asked by Peta artistic director Maribel Legarda to stage a
Shakespeare production, he immediately offered “King Lear.”

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“It was suggested to me by Salvador Bernal because he’d always wanted to design it,”
said Padilla, a longtime collaborator of National Artist for Theater Design Bernal, who
passed away October 2011.

Post-apocalyptic setting

Production design duties are being handled by Gino Gonzales, one of Bernal’s
protégés, who will build on Padilla’s post-apocalyptic setting.

“Originally, it’s set in prehistoric Britain,” says Padilla. “Shakespeare had very good
reasons to set it in that time [instead of his own time] because he was trying to
camouflage all of the touchy political issues about the [current] king.”

“I thought it would be interesting to go the opposite. To set it in the future, a future that is
as bleak as it was in barbaric or primitive times.”

“It is one of the mature plays of Shakespeare. It’s emotional and riveting,” he says.

“The play is all about legacy. It’s about leaving something behind. It’s about somebody
in the grips of mortality and facing mortality. What do you leave behind? You can leave
your material wealth, or you can leave your soul, your compassion.”

“In ‘Lear,’ that’s what he learns. He learns to become human. It’s a running theme in
Shakespeare, about how a man gets crushed by his own guilt, and ‘Lear’ is a prime
example of that.”

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Nod to Shakespeare’s text

The decision to use an all-male cast is Padilla’s nod to Shakespeare’s text and the way
roles were cast and played during the Bard’s time. (In 2001, director Anton Juan cast
Repertory Philippines founder Zenaida Amador as King Lear in his staging of the play.)

“In Elizabethan times, the young boys would always play the female roles,” says Padilla.

He also notes there are two characters in the play that were traditionally played by only
one actor. “As written, in the scenes of Cordelia, the
Fool is never there. When the Fool is onstage, Cordelia is gone. I think that’s crucial,
and since Shakespeare designed it that way, I thought it was important to play around
with that, to give it some focus or emphasis.”

http://lifestyle.inquirer.net/31263/peta-stages-%E2%80%98king-lear%E2%80%99-in-
filipino/
Pamana (PETA) 2013
FINE CAST. Kakki Teodoro (Trina) and Malou de Guzman (Lola Azon). Photos by Jude
Bautista
FINE CAST. Kakki Teodoro (Trina) and Malou de Guzman (Lola Azon). Photos by Jude
Bautista

MANILA, Philippines - Objectivity comes with distance. "Pamana" (Heritage), the

documentary-musical on the martyred senator Benigno Aquino Jr. (Ninoy) and the late
Philippine president Corazon Cojuangco Aquino (Cory) — parents of the incumbent
president, Benigno S. Aquino III — did not fulfill this insight.

PRODUCERS. Ninoy and Cory Aquino Foundation executive director and president
Rafael Lopa, trustee Jaime Lopa, 'Pamana' video director Jun Reyes, and Yna
Sorongon of NCAF Fund Development

PRODUCERS. Ninoy and Cory Aquino Foundation executive director and president
Rafael Lopa, trustee Jaime Lopa, 'Pamana' video director Jun Reyes, and Yna
Sorongon of NCAF Fund Development

The production was presented by The Ninoy & Cory Aquino Foundation and by the
Philippine Educational Theater Association (PETA) — a theater group firmly associated
with the struggle against the Marcos dictatorship that persecuted Noynoy's parents.

"Pamana" was staged at the Meralco Theater, which was returned to the Lopez family
during Cory Aquino's presidency after Ferdinand Marcos and his cronies seized this
property and other assets by the Lopez family during martial law.

As expected, the scheduled premiere for this production was August 21 — the 30th
anniversary of Ninoy's assassination.

The musical also opened amid a concerted online effort to rewrite history and recast the
kleptomaniac, homicidal dictatorship as the best of times.

These are still partisan times, indeed.

FORUM. Lopa, Jett Pangan (Edgar), and Teodoro

FORUM. Lopa, Jett Pangan (Edgar), and Teodoro

Written by Rody Vera with music composed by Ryan Cayabyab and Jesuit priest
Manoling V. Francisco, "Pamana" integrated a video documentary by Jun Reyes.

Cast members include Malou de Guzman, Bodjie Pascua, Jett Pangan, and Kakki
Teodoro, who, respectively, play Azon, grandmother
and street sweeper; Turo, grandfather; Edgar, overseas Filipino worker and father; and
Trina, community worker and daughter.

The lives of these people — like all those who lived in this milieu — were intertwined
with and shadowed by those of the Aquinos.

There are no Aquinos among the characters in this musical. But their story is told
through the lives of the aforementioned characters.

If the Aquinos appear in the play, they do so as part of the integrated video
documentary that serves as a function of the stage design and as backdrop for this
musical.

The musical illustrates the nation's political awakening through this one family,
especially the grandmother — one of the iconic Metro Aids or street sweepers who
regard First Lady Imelda Marcos as their employer and benefactor.

The nickname Azon is short for Corazon, and this street sweeper's wedding date with
husband Turo is even the same as that of Ninoy and Cory.

The humble background of Azon and Turo is, of course, in sharp contrast to Ninoy and
Cory who count among the gentry.

MUSICAL NUMBER. The group Viva Voce

MUSICAL NUMBER. The group Viva Voce

The play opens with Azon and Trina recounting the massive funeral march for Ninoy in
1983 and Cory's funeral march 26 years later.

Emphasizing the parallelism, the large, high-definition screen shows a split view of both
events.

Azon also wonders what the fuss is all about, as protesters litter the streets with their
yellow confetti, ribbons, and placards — yellow being the color of protest, taking off from
the song, “Tie a Yellow Ribbon Round the Ole Oak Tree,” by Tony Orlando.

Initially peeved by her increased workload, she gets her political education by following
the funeral procession where people praise the heroism and martyrdom of Ninoy.

Awakening

Paralleling Azon's political awakening a generation later is granddaughter Trina, who

gets hers at Cory's funeral march.
The audience is then brought back in time, when Azon first meets Turo.

They are also shown vacillating between apathy and involvement, amid Ninoy's evolving
career in the public arena: from a journalist covering the Korean War to negotiator of
Huk leader Luis Taruc's surrender, to his rapid rise in politics as the youngest mayor,
governor, and senator, to his incarceration during martial law, when he loses his portly
frame and becomes this gaunt sickly man, following a hunger strike protesting his sham
trial.

Azon and Turo muster the courage to participate in the noise barrage for Ninoy's
election bid behind bars, only to slink back into passivity for fear of persecution after
Ninoy is cheated at the polls. This was also the general sentiment among the masses
during this time.

After the dictatorship allows Ninoy to go abroad for his heart surgery in the United
States, he disappears from the consciousness of Azon and Turo, just as the dictatorship
hopes it would be for the entire nation's awareness.

THEME. Musical director Vince de Jesus, Bodjie Pascua (Turo), and stage director
Maribel Legarda

THEME. Musical director Vince de Jesus, Bodjie Pascua (Turo), and stage director
Maribel Legarda

Things change for Azon and Turo, as it does for the entire nation, when Ninoy decides
to return home, amid rumors of Marcos' ill health and a brewing coup.

As he chillingly predicted in his own words on the video footages, Ninoy is shot dead on
the airport's tarmac. Millions overcome their fear of the dictatorship to participate in
rallies led by Cory - and so do Azon and Turo.

Marcos calls for a snap election and finds his most irrepressible challenger in Cory
Aquino. The election is marred by rampant fraud and violence, leading to more mass
demonstrations, the defection of Enrile, Ramos, and Honasan, and the People Power
Revolution.

Azon, Turo, and their young son Edgar now plunge themselves into this huge wave of
protest. Marcos flees the Palace and Cory takes the presidency.

/www.rappler.com/life-and-style/arts-and-culture/theater/37763-peta-pamana-ninoy-
cory-aquino
Himala
Himala ("Miracle") is a 1982 Filipino drama film directed by Ishmael Bernal and
produced by the Experimental Cinema of the Philippines. The film's script was written by
Ricky Lee based on the story of a teenage girl on Cabra Island in the province of
Occidental Mindoro between 1966 and 1967.[2][3]

Himala was filmed entirely in the Philippine province of Ilocos Norte in just three weeks
with a budget of only ₱3 million. The film premiered at the 1982 Metro Manila Film
Festival, and in 1983, became the first Filipino film to be included in the "Competition
Section" of the Berlin International Film Festival. Since then, Himala has been exhibited
in a number of film festivals around the world.[4]

On 11 November 2008, Himala won the Viewer's Choice Award for the Best Film of All
Time from the Asia-Pacific Region in the 2008 CNN Asia Pacific Screen Awards beating
out nine other films voted by thousands of film fans around the world.[5][6] The ten
finalists were chosen by critics, industry insiders and actors—including Bollywood stars
Amitabh Bachchan and Aishwarya Rai. [7][8]

Nora Aunor is best known for her performance in the film as the purported seer and
healer Elsa. Her portrayal is considered by most Filipino critics as the best of her
career.[7] In 2012, on its 30th year anniversary, Himala is the very first film to be
restored and remastered by ABS-CBN Film Archives and Central Digital Lab as part of
ABS-CBN Film Restoration Project.[9] The restored version premiered at the 69th
Venice International Film Festival.[10][11][12]

The setting is a small town named Cupang, a community set in an arid landscape. The
townsfolk believed that the ongoing drought was a curse placed upon them for driving
away a leper some years before.

During a solar eclipse, a local girl named Elsa (Aunor), reports seeing experiencing an
apparition of the Blessed Virgin Mary near a tree atop the barren hill where her adoptive
mother Aling Salíng (Labalan) found her as a baby. Elsa soon after engages in faith
healing the local residents. She is assisted by her friends Chayong (Centeno), Sepa
(Quiambao), and Baldo (Almeda) who eventually became part of her "Seven
Apostles",[1] which later includes the entrepreneur Mrs. Alba (Palileo). Word spreads,
drawing pilgrims and the curious to Cupang and Elsa's house, which is marked with a
large banner proclaiming "Elsa Loves You". At the same time, enterprising residents of
Cupang begin selling religious articles, offering accommodation–all capitalising on the
sudden influx of local and foreign patients and tourists.

A Manila-based filmmaker named Orly (Manikan) arrives in town to make a

documentary on Elsa, interviewing her and the people who personally know her. Around
the same time, Elsa's childhood friend Nimia (Dueñas), now a prostitute, has returned to
Cupang. Nimia establishes a kabaret (nightclub/brothel) for tourists, which is later
ordered closed by Elsa's Seven Apostles.
One day, Orly approaches the town's vicar (Lamangan) in the local church's
confessional. He tells the priest that he saw two drugged youths from Manila raping
Elsa and Chayong on the hill of the apparitions. Orly tries to unburden himself of his
tremendous guilt: instead of helping the two women, he continued filming the incident,
as he needed a scoop to boost his struggling career.

A cholera epidemic spreads throughout Cupang, with Sepa's two children dying after
eating tainted meat. A still-traumatised Chayong then hangs herself out of shame
following the rape. As the townsfolk bring the three bodies to the graveyard, a fourth
coffin follows; the deceased's mother chastises Elsa, accusing the seer of failing to heal
her child. Authorities quarantine Elsa's house, closing it off from would-be patients,
while Elsa blamed herself for all of the deaths and decided to stop healing. Eventually,
the pilgrims and tourists stopped coming, returning the town to its sleepy state.

Elsa is seen throwing up from morning sickness, indicating her pregnancy from the
rape. Mrs. Alba erroneously concluded that it is an "Immaculate Conception" (when she
really meant the Virgin birth), and then declares it proof of Elsa's sanctity. At that exact
moment, thunder roars from the skies, followed by a sudden downpour. The
townspeople rejoice, convinced that the miracle has returned and that the curse has
finally been lifted. Mrs. Alba and the crowd rush to Elsa's house and called out to her
while dancing in the rain. Elsa emerges at her window, and commands her devotees to
assemble the townsfolk and pilgrims on the hill.

Speaking in front of an eager crowd, an initially apprehensive Elsa confesses that there
were no miracles, no sightings of the Virgin, and that it is man who invents gods,
miracles, and curses. In the middle of her passionate speech, a gun is fired at Elsa,
mortally wounding her. A violent stampede ensues, with the old, the children, and the
infirm being injured or killed in the mass hysteria.

Ensconced in her mother Salíng's arms, Elsa takes her last breath as she gazes at the
sky as Orly and the media film her final moments. Baldo announces Elsa's death,
eliciting wailing and weeping from the people who then rush towards the makeshift
stage. To convey Elsa's corpse into a waiting ambulance, her followers lifted her lifeless
body–lying as though she was crucified–above the heads of the crowd clambering to
touch her. People scamper all over the hill to follow Elsa's ambulance as it speeds
away. Against her husband's will, Sepa addresses the crowd, proclaiming Elsa a martyr
whose devotion to the Virgin must continue. Sepa and the congregation then fall on
their knees and creep up the hill while repeatedly reciting the Hail Ma

https://en.wikipedia.org/wiki/Himala
Noli
In commemoration of its 25 years, Tanghalang Pilipino brings to life the musical version
of Noli Me Tangere, which also pays tribute to Jose Rizal—who wrote the novel, and
recently celebrated his 150th birthday.

Gian, on the other hand, is a familiar face in theater. Prior to this, he became part of
Kaos, a stage musical and circus show.

The Party Pilipinas mainstay had already tried his hand at acting on the screen, but
never on stage.

"First time ko 'to," he told the reporters, who attended the press conference held last
June 22 at the Casino Español in Ermita, Manila.

Cris's character is Ibarra's fiancée, who—for the longest time—is said to embody what a
true Filipina should be.

Giving a sampler that day was Gian and Cris Villanco, who sang a piece from the
musical, which was adapted for the stage by poet-dramatist-critic Bienvenido Lumbera.
Audie Gemora will direct the play, while Ryan Cayabyab will take care of the music part.
Cris will play Maria Clara.

Theplay opens on August 5 at the CCP Tanghalang Aurelio Tolentino (Little Theater),
and will run every Friday, Saturday, and Sunday of the month.

The cast includes Mark Bautista (right) and Gian Magdangal (middle), alternating as
Crisostomo Ibarra, and Cris Villonco.

Gian, on the other hand, is a familiar face in theater. Prior to this, he became part of
Kaos, a stage musical and circus show.

The Party Pilipinas mainstay had already tried his hand at acting on the screen, but
never on stage.

"First time ko 'to," he told the reporters, who attended the press conference held last
June 22 at the Casino Español in Ermita, Manila.

Cris's character is Ibarra's fiancée, who—for the longest time—is said to embody what a
true Filipina should be.

Giving a sampler that day was Gian and Cris Villanco, who sang a piece from the
musical, which was adapted for the stage by poet-dramatist-critic Bienvenido Lumbera.

Audie Gemora will direct the play, while Ryan Cayabyab will take care of the music part.
Cris will play Maria Clara.
Theplay opens on August 5 at the CCP Tanghalang Aurelio Tolentino (Little Theater),
and will run every Friday, Saturday, and Sunday of the month.

The cast includes Mark Bautista (right) and Gian Magdangal (middle), alternating as
Crisostomo Ibarra, and Cris Villonco.

https://www.pep.ph/photos/2368/tanghalang-pilipino-stages-noli-me-tangere-the-
musical

William
PETA's William, 2011 Gawad Buhay! awardee for Best Play, returns July 27-29

The Philippine Educational Theater Association's 2011 production of "William", which

attempts to familiarize young people with the beauty of Shakespeare's works through
rap and hip-hop, is back for a one-weekend rerun at The PETA Theater Center on July
27-29.

"William" harvested a total of seven top prizes at the recent Philstage Gawad Buhay
Awards, including Outstanding Play, Outstanding Ensemble Performance for a Play,
Outstanding Original Script for Ron Capinding, and Outstanding Stage Direction for
PETA artistic director Maribel Legarda.

The play also bagged most of the acting awards, namely Outstanding Male Lead
Performance for Ian Segarra, Outstanding Female Featured Performance for Meann
Espinosa and Outstanding Male Featured Performance for Jojo Atienza.

"William" first opened PETA's Shakespeare Season as a primer for high school students
who may fear Shakespeare or may not know the Bard at all. During its short run last
year, "William" successfully engaged students and captured the interest of local
theatergoers as well as several international news organizations.

A video report by Marek Pruszewics of BBC News described the play as a "modern
twist on Shakespeare".

Director Maribel Legarda shared that the play's concept came from FlipTop, a Pinoy rap
battle league known across the country. "In many ways," Legarda said "rap is poetry."

"I brought in rap and hip-hop as the contemporary voice and language of young people
today. I hope that Shakespeare's poetry and today's rap find a point of conversation and
evolve into engaging dialogue and drama," Legarda said.

The cast of "William" trained under a true Tondo rapper, Shielbert Manuel, a.k.a "O.G.
Sacred" who appeared in the 2007 Cinemalaya Best Picture, "Tribu," an indie film by
Jim Libiran.

The rap performances, choreographed by John Tan of the Urban Dance Crew, are
topped with hip-hop moves like crumping and breakdance, while also adding ballroom
and jazz hip-hop. "William" features 10 original rap musical numbers composed by Jeff
Hernandez.

http://gibbscadiz.blogspot.com/2012/07/petas-william-2011-gawad-buhay-awardee.html

Ibalong
SPOTLIGHT ON THE EPIC. Remus Villanueva (second from left) is Handyong and
Jenine Desiderio (3rd from left) is Oryol in 'Ibalong.' All photos by Erickson dela Cruz

SPOTLIGHT ON THE EPIC. Remus Villanueva (second from left) is Handyong and
Jenine Desiderio (3rd from left) is Oryol in 'Ibalong.' All photos by Erickson dela Cruz

MANILA, Philippines - Tanghalang Pilipino unveiled their latest production, “Ibalong,” a

dance-theater musical interpretation of the Bicolano epic last January 16. Adapted for
the stage by playwright Rody Vera and directed by Tuxqs Rutaquio ("Walang Kukurap"),
the production promises great heroes, beautiful sirens, and fearsome monsters all
amidst the background of a glorious, mythical Philippines.

“Ibalong” tells the story of Handyong (played by Remus Villanueva), the greatest hero of
Ibalong, the ancient name of Bicol. Handyong, leader of Ibalong, ushers in the land’s
golden age wherein harvest is abundant and all people are treated as equals. But this
peace doesn’t last long.

Adding to the plot is the serpent-siren Oryol, played by Jenine Desiderio of “Miss
Saigon” fame, who captivates men with her beauty and song. The cast is composed of
other wondrous characters such as Rabot, a blind serpent who can turn you into stone
with a stare; Gugurang, God of the Heavens; and Aswang, God of the Underworld and
father of Oryol.

Opulent costumes designed by Leeroy New, glorious battle scenes with choreography
by Alden Lugnasin, and magnificent backdrops enliven the spectacle. Music by Carol
Bello and the Encantada band will weave in neo-ethnic music with rock to bring back
the spirit of ancient Bicol and to infuse youth and energy to the modern production.

At the end of the production (we won’t spoil what happens in between), a new
civilization will rise making way for new times, new practices, and a new people.

//www.rappler.com/life-and-style/20642-photos-tanghalang-pilipino-s-ibalong