Play Review – Ibalong, the Musical

 Tanghalang Pilipino’s poster for Ibalong for this year.

For its 2013-2014 theater season, Tanghalang Pilipino, the resident theater company of the Cultural Center of the Philippines, brings (once more) the Bicol epic Ibalong onstage as a musical play.

Ibalong tells the tale of heroes in search of a new homeland for their people (see a retelling of the epic in our blog here). The story is reminiscent of Virgil’s Aeneid where Aeneas finds a new homeland for his people after their city was destroyed in the Trojan War (as told in The Iliad by Homer). He founds a new home for them in Italy, which would later become Rome. Both Handyong and Aeneas pass through various troubles as they fight for a new home for their people.

The story

 The young Oryol with her friend, the wild boar Opon.

Tanghalang Pilipino’s “Ibalong, the Musical” is a reinterpretation of the epic tale. Here the humans, represented by Baltog and Handyong, are not portrayed as heroes in search of a homeland. Instead they are portrayed as greedy men seeking to build their own empires. In doing so, they destroy the forest and kill or enslave the halimaw’s of Ibalong. The young Oryol witnessed how Baltog killed her friend the wild boar, named Opon in the play. When she grew up, Oryol fought Handyong in order to save her fellow monsters. But she was defeated by Handyong, who forced her to marry him and to teach him how to find and defeat the other monsters. The play ends with the birth of the son of Handyong and Oryol named Makusog.

Set, sounds, music, and costumes


The set is built on three levels: the stage floor; a middle level of inclined ramps (the one on the right has a trap door) representing high ground; and an upper level, representing heaven. The curtain appears to have been made of plastic straw strings, which appear represent tall grass. It is used for dramatic effect as Oryol mysteriously slithers across the stage.

The music of the play is supplied by three live musicians: an acoustic guitarist and two percussionists. (I’m not sure if recorded music was also used.) The music used in the play has a strong ethnic vibe. Rock was also used in the play, and there are times when the groaning of an electric guitar can be heard.

Perhaps the only down side of the play was the sound system! I appreciated the music of Sandosenang Sapatos because the instruments can be heard live without amplification (but then, that was in the tiny Tanghalang Huseng Batute studio theater). At the beginning of the play (at least for this night), I could hardly understand the words in the song of Oryol. There were also times when the sounds from the wireless microphones on the cast would be spotty. The problem appears to have been fixed during the final act.

The greatest upside of the play are the costumes, especially of the monsters. One would be dazzled at the ingenuity and creativity that went into the construction of the costumes. Winning best costume hands-down is that of Oryol, whose shiny scaly tail was operated by two puppeteers in black manipulating the tail (like those dancing dragons during Chinese New Year).

Plus points also to the choreography: In their vibrantly-color costumes, the chorus would fill the stage, making it a sight to behold.

Jenine Desiderio was excellent in her portrayal of the beautiful and seductive snake-woman Oryol. She also plays the dramatic parts very well. She was able to show both sides of Oryol: strong but also vulnerable. Once more, Trixie Esteban garnered my admiration as the young and innocent Oryol. Her voice, which was like a young Lea Salonga, rang as clear as a bell.

Reflections

Tanghalang Pilipino’s re-creation turns the epic into a modern-day parable on man’s relentless destruction of nature. As Baltog and Handyong pronounce their intention to clear the forests and flush out all the monsters to make space for their kingdoms, I can see in my mind’s eye developments like seaside hotels and condominiums. Their destruction of nature is coincidentally relevant, for our country reeled from the destruction wrought by Typhoon Maring and habagat just the week before.

The Bible speaks of man’s destruction of nature in a way that is eerily modern:  

And the nations were wroth; and thy wrath is come, and the time of the dead, that they be judged, and to give a reward to thy servants the prophets, and to the saints, and to them that fear thy name, small and great, and to destroy them that destroyed the earth. (Revelation 11:18, emphasis added)

The destruction left behind by the recent typhoon revealed how damaged nature is because of the work of man. Entire towns were flooded because waterways were clogged by garbage. Also, there is the alleged theft of public funds that would have been otherwise used for flood-control projects and relief operations. Could it be that the apocalyptic signs in the Bible like pestilences and famines be—in part—caused by us human beings?

After the destruction of Earth, is rebellion against heaven itself. Greek mythology (in the Theogony by Hesiod) tells of the Gigantomachia, the Clash of the Giants, where the giants piled one mount on top of another in order to reach Mount Olympus and fight the gods. The Bible tells (in Genesis 11:1-9) of a story of people building the city of Babel (yes, it’s actually the city that is called Babel) with a tower in rebellion to God. Both stories tell of the futility of this: the gods strike down the Giants with thunder and lightning and God scatters humans all over the earth by confusing their language.

Personal notes

The play ends with a preview of the Legend of Mount Mayon. As Miss Esteban sings on the stage’s topmost level, Mayon rises majestically in the background. Will there be a sequel to Ibalong, one that tells the tale of the beautiful Daragang Magayon? I wish there will be.

 The cast takes a bow for the curtain call as Mount Mayon rises in the background. (Photo courtesy of Carlo de Castro on Facebook).
 

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