TWENTY-FIVE LANDMARK PLAYS OF PHILIPPINE THEATER
“OROSMAN at Zafira,” the 2008 reimagined dance theater production directed by Dexter Santos for Dulaang UP, based on the original text by Francisco Baltazar. Deviating from the standard komedya where the conflict is between theMoros and the Cristianos, this verse play is about warring kingdoms in the Middle East.
A recent list by Entertainment Weekly of the best plays of the last 100 years prompted a timely question from the Script Analysis class I am conducting for the Tanghalang Pilipino Actors Company: Why is there no such list for Philippine theater?
As a response, I hereby proffer a list of what I believe to be a representative sampling of 25 plays that can be considered as landmarks of Philippine theater. The list is arranged chronologically, and includes plays which were and are considered to have broken ground in local theater history, and/or plays which best represent particular theater movements or dramatic styles.
I do not offer this as a definitive list, but I hope it will provoke discussion and further interest in the Philippine theater canon. By the nature of this list, it includes only those plays with extant scripts. I have also limited the entries to one per author, and have endeavored to ensure that the list contains plays which have had productions I have seen or been part of, with productions notes for each one. (Some notes are derived from the “CCP Encyclopedia of Philippine Art,” Volume 7—Philippine Theater)
1. ‘Orosman at Zafira’ (ca. 1857), Francisco Baltazar
Deviating from the standard komedya where the conflict is between the Moros and the Cristianos, this verse play is about warring kingdoms in the Middle East. Zafira, the daughter of a sultan ordered slain by Boulasem, unknowingly falls in love with Orosman, one of Boulasem’s sons. Abdalap, Orosman’s brother, later overthrows his father and jails his brother. Various forces band together in the end to defeat Abdalap and elevate Orosman to the throne. Significant 20th-century productions of this play include Rolando Tinio’s staging for Teatro Pilipino in 1977 and Jonas Sebastian’s for Tanghalang Pilipino in 1993 that was also performed at the Rond Point in Paris, France. In 2008, Dexter Santos presented a reimagined dance theater production for Dulaang UP based on Baltazar’s original text.
Deviating from the standard komedya where the conflict is between the Moros and the Cristianos, this verse play is about warring kingdoms in the Middle East. Zafira, the daughter of a sultan ordered slain by Boulasem, unknowingly falls in love with Orosman, one of Boulasem’s sons. Abdalap, Orosman’s brother, later overthrows his father and jails his brother. Various forces band together in the end to defeat Abdalap and elevate Orosman to the throne. Significant 20th-century productions of this play include Rolando Tinio’s staging for Teatro Pilipino in 1977 and Jonas Sebastian’s for Tanghalang Pilipino in 1993 that was also performed at the Rond Point in Paris, France. In 2008, Dexter Santos presented a reimagined dance theater production for Dulaang UP based on Baltazar’s original text.
2. ‘Tanikalang Guinto’ (1902), Juan Abad
This play, generally considered the best example of Drama Simboliko (allegorical drama), was banned as seditious a few months after its first performance and its author sentenced to imprisonment. Liwanag (Light) is bethrothed to Kaulayaw (Sweetheart) but is separated from him by her uncle Maimbot (Avaricious), aided by her traitorous brother Nagtapon (Traitor). Dalita (Dispossessed), mother of Liwanag and Nagtapon, is disowned by Maimbot, who then tries to bribe Liwanag to his will through a golden bracelet that turns into a chain of bondage. One notable production of this play was by UP Broadcast Association’s Dulaang Kapiterya in 1979, which featured Marlina Feleo Gonzales, Lou Veloso and Herman Escueta, directed by Jorge Hernandez.
This play, generally considered the best example of Drama Simboliko (allegorical drama), was banned as seditious a few months after its first performance and its author sentenced to imprisonment. Liwanag (Light) is bethrothed to Kaulayaw (Sweetheart) but is separated from him by her uncle Maimbot (Avaricious), aided by her traitorous brother Nagtapon (Traitor). Dalita (Dispossessed), mother of Liwanag and Nagtapon, is disowned by Maimbot, who then tries to bribe Liwanag to his will through a golden bracelet that turns into a chain of bondage. One notable production of this play was by UP Broadcast Association’s Dulaang Kapiterya in 1979, which featured Marlina Feleo Gonzales, Lou Veloso and Herman Escueta, directed by Jorge Hernandez.
3. ‘Walang Sugat’ (1902), Severino Reyes, music by Fulgencio Tolentino
This sarswela is credited with dislodging the komedya as the dominant theater form in Manila. Set in the last decade of the 1890s, it revolves around the love story of Tenyong and Julia amidst the war with Spain and, later, with the Americans. A revival was produced by the Zarzuela Foundation of the Philippines in 1970 at the Cultural Center of the Philippines, directed by Daisy Hontiveros Avellana. Tanghalang Pilipino mounted its own productions directed by Dennis Faustino in 1992 and by Carlos Siguion-Reyna in 2012. Tanghalang Ateneo presented its own production in 2010, directed by Ricky Abad, with the same set and costume designs by Salvador Bernal used in Tanghalang Pilipino’s 1992 staging.
This sarswela is credited with dislodging the komedya as the dominant theater form in Manila. Set in the last decade of the 1890s, it revolves around the love story of Tenyong and Julia amidst the war with Spain and, later, with the Americans. A revival was produced by the Zarzuela Foundation of the Philippines in 1970 at the Cultural Center of the Philippines, directed by Daisy Hontiveros Avellana. Tanghalang Pilipino mounted its own productions directed by Dennis Faustino in 1992 and by Carlos Siguion-Reyna in 2012. Tanghalang Ateneo presented its own production in 2010, directed by Ricky Abad, with the same set and costume designs by Salvador Bernal used in Tanghalang Pilipino’s 1992 staging.
4. ‘Bagong Cristo’ (1907), Aurelio Tolentino
Aurelio Tolentino also wrote “Kahapon, Ngayon at Bukas” and was sentenced to prison for it. This play, called by its author as a drama socialista (socialist drama), represents one of the early attempts to interpret the Christ story according to contemporary conditions. The main character is Jesus Gatbiaya, who wins followers among the workers but angers the wealthy Magdangal. He orders Jesus kidnapped and forces him to carry a post on which he would be crucified. Anton Juan Jr. directed a production of the play for Dulaang Babaylan in 1977 which toured many campuses and various sites all over the country.
Aurelio Tolentino also wrote “Kahapon, Ngayon at Bukas” and was sentenced to prison for it. This play, called by its author as a drama socialista (socialist drama), represents one of the early attempts to interpret the Christ story according to contemporary conditions. The main character is Jesus Gatbiaya, who wins followers among the workers but angers the wealthy Magdangal. He orders Jesus kidnapped and forces him to carry a post on which he would be crucified. Anton Juan Jr. directed a production of the play for Dulaang Babaylan in 1977 which toured many campuses and various sites all over the country.
5. ‘Dalagang Bukid’ (1919), Hermogenes Ilagan, music by Leon Ignacio
The most popular sarswela of its time, “Dalagang Bukid” also became the basis for the first full-length Filipino feature film. Atang de la Rama originated the title role and played it in the film version. It is the story of Angelita, a country waif who sells flowers in a cabaret. She is courted by Don Silvestre, a usurer, but her true love is Cipriano, a law student. The course of true love never runs smooth, but it still wins out in the end. Tanghalang Pilipino revived the play on the occasion of the conferment of National Artist honors on Atang de la Rama in 1987 with a production directed by Nonon Padilla and starring Noemi Manikan-Gomez. It also served as the inaugural presentation of the then newly-organized CCP resident theater company.
The most popular sarswela of its time, “Dalagang Bukid” also became the basis for the first full-length Filipino feature film. Atang de la Rama originated the title role and played it in the film version. It is the story of Angelita, a country waif who sells flowers in a cabaret. She is courted by Don Silvestre, a usurer, but her true love is Cipriano, a law student. The course of true love never runs smooth, but it still wins out in the end. Tanghalang Pilipino revived the play on the occasion of the conferment of National Artist honors on Atang de la Rama in 1987 with a production directed by Nonon Padilla and starring Noemi Manikan-Gomez. It also served as the inaugural presentation of the then newly-organized CCP resident theater company.
The first five plays in this list were all in Tagalog. The next five span the period when theater largely flourished within the American-influenced educational system; thus, most of them were originally written in English.
TANGHALANG Ateneo’s 2010 revival of Severino Reyes and Fulgencio Tolentino’s “Walang Sugat,” directed by Ricky Abad and using the same set and costume designs by the late National Artist Salvador Bernal for the 1992 Tanghalang Pilipino staging
6. ‘Half an Hour in a Convent’ (1934), Wilfrido Ma. Guerrero
This play, Guerrero’s first in English, is seen as the first local drama to tackle the subject of suicide and repression within Catholic schools in the country. At the center of the play is Yolanda, a convent-school girl who is ordered expelled for violating the school’s strict rules. On the way out, she falls down the marble stairs in what a nun thinks is an accident, but which may well be deliberate. Originally produced as a radio drama under the direction of Lamberto Avellana, it was later staged in UP in 1937, directed by Jean Edades, and became a staple of the UP Dramatic Club and UP Mobile Theater under the direction of the playwright.
This play, Guerrero’s first in English, is seen as the first local drama to tackle the subject of suicide and repression within Catholic schools in the country. At the center of the play is Yolanda, a convent-school girl who is ordered expelled for violating the school’s strict rules. On the way out, she falls down the marble stairs in what a nun thinks is an accident, but which may well be deliberate. Originally produced as a radio drama under the direction of Lamberto Avellana, it was later staged in UP in 1937, directed by Jean Edades, and became a staple of the UP Dramatic Club and UP Mobile Theater under the direction of the playwright.
7. ‘The Love of Leonor Rivera’ (1953), Severino Montano
This play is about the love of Leonor Rivera for Jose Rizal and how it persisted all through his journey to Europe and despite her eventual marriage to Charles Henry Kipping. Under the direction of the playwright, this play served as the vehicle for the arena style of production that Montano advocated throughout the ’50s. Naty Crame Rogers, who played Leonor in many of the performances, has continued the tradition of mounting the play under the Philippine Drama Company, with some performances presented as intimate “sala theater” productions.
This play is about the love of Leonor Rivera for Jose Rizal and how it persisted all through his journey to Europe and despite her eventual marriage to Charles Henry Kipping. Under the direction of the playwright, this play served as the vehicle for the arena style of production that Montano advocated throughout the ’50s. Naty Crame Rogers, who played Leonor in many of the performances, has continued the tradition of mounting the play under the Philippine Drama Company, with some performances presented as intimate “sala theater” productions.
8. ‘The World is an Apple’ (1955), Alberto Florentino
Though written in English, this play is credited with being among those that brought to the attention of theater directors and audiences the world outside of the English-speaking universe. Audiences accepted the fact that the Tondo denizens inhabiting the play were speaking correct English. Its initial production at the Far Eastern University Auditorium was directed by Nick Agudo. Later, the play was translated into Filipino and continued to be staged, especially in campus productions, in either language. In the play, Gloria’s husband Mario has lost his job for stealing an apple intended for their sick daughter, Tita. Mario goes to meet a man who is supposed to give him a job, but Gloria knows it will lead to no good. In the end, she cries out for Mario, and the baby cries along with her.
Though written in English, this play is credited with being among those that brought to the attention of theater directors and audiences the world outside of the English-speaking universe. Audiences accepted the fact that the Tondo denizens inhabiting the play were speaking correct English. Its initial production at the Far Eastern University Auditorium was directed by Nick Agudo. Later, the play was translated into Filipino and continued to be staged, especially in campus productions, in either language. In the play, Gloria’s husband Mario has lost his job for stealing an apple intended for their sick daughter, Tita. Mario goes to meet a man who is supposed to give him a job, but Gloria knows it will lead to no good. In the end, she cries out for Mario, and the baby cries along with her.
9. ‘A Portrait of the Artist as Filipino’ (1955), Nick Joaquin
Generally conceded as the most important Filipino play in English and one of the most important pioneers of realism in Philippine theater, it is set during the latter half of the year 1941 in the Marasigan house in Intramuros, where spinster sisters Candida and Paula have remained to take care of their famous painter-father, Lorenzo. A scandal ensues when they take in a boarder, Tony Javier, to make ends meet. In the end, the sisters reaffirm their decision to live in the house with their father. The initial staging by the Barangay Theater Guild directed by Lamberto Avellana utilized an abridged acting version edited by Daisy Avellana, the same version used by Repertory Philippines in its 2009 staging directed by Jose Mari Avellana. This was also the basis of the film adaptation, also directed by the elder Avellana, in 1965. Subsequent stagings by Peta in 1969, directed by Cecile Guidote Alvarez, and in 1979 by Lino Brocka, as well as the 1982 UP Repertory production by Behn Cervantes, used a translation (“Larawan”) by Alfred Yuson and Franklin Osorio that was longer than the Barangay version but still shorter than the original material. It was not until Tanghalang Pilipino produced it in 1989 under the direction of Nonon Padilla that the play was presented in its entirety, using a new translation by Bienvenido Lumbera that was revived several times. TP also commissioned a Spanish translation and, at one point, produced the three versions (English, Filipino and Spanish) in repertory. Rolando Tinio later translated and adapted the play into a sung-through musical in 1997, to music by Ryan Cayabyab. A film version of the musical is reportedly being planned.
Generally conceded as the most important Filipino play in English and one of the most important pioneers of realism in Philippine theater, it is set during the latter half of the year 1941 in the Marasigan house in Intramuros, where spinster sisters Candida and Paula have remained to take care of their famous painter-father, Lorenzo. A scandal ensues when they take in a boarder, Tony Javier, to make ends meet. In the end, the sisters reaffirm their decision to live in the house with their father. The initial staging by the Barangay Theater Guild directed by Lamberto Avellana utilized an abridged acting version edited by Daisy Avellana, the same version used by Repertory Philippines in its 2009 staging directed by Jose Mari Avellana. This was also the basis of the film adaptation, also directed by the elder Avellana, in 1965. Subsequent stagings by Peta in 1969, directed by Cecile Guidote Alvarez, and in 1979 by Lino Brocka, as well as the 1982 UP Repertory production by Behn Cervantes, used a translation (“Larawan”) by Alfred Yuson and Franklin Osorio that was longer than the Barangay version but still shorter than the original material. It was not until Tanghalang Pilipino produced it in 1989 under the direction of Nonon Padilla that the play was presented in its entirety, using a new translation by Bienvenido Lumbera that was revived several times. TP also commissioned a Spanish translation and, at one point, produced the three versions (English, Filipino and Spanish) in repertory. Rolando Tinio later translated and adapted the play into a sung-through musical in 1997, to music by Ryan Cayabyab. A film version of the musical is reportedly being planned.
10. ‘Ang Paglilitis ni Mang Serapio’ (1969), Paul Dumol
Written in Filipino and originally produced in the Ateneo High School under the direction of the playwright, then still a high school student, the play centers on the trial of Mang Serapio, a beggar, by his peers. He is charged with taking care of a child—forbidden because it diverts money from the group’s coffers. The play was subsequently staged by Peta and used as the competition piece in the CCP’s National Drama Competition in 1989, and has also been adapted into film by Khavn de la Cruz.
Written in Filipino and originally produced in the Ateneo High School under the direction of the playwright, then still a high school student, the play centers on the trial of Mang Serapio, a beggar, by his peers. He is charged with taking care of a child—forbidden because it diverts money from the group’s coffers. The play was subsequently staged by Peta and used as the competition piece in the CCP’s National Drama Competition in 1989, and has also been adapted into film by Khavn de la Cruz.
The next plays are from the Martial Law period, when Filipino playwrights turned to exploration and experimentation of themes and forms that reflected the social realities around them. It was also a way to throw the government and its police-military arm off the scent as far as the real intent of some of these plays were concerned. With the rise of theater groups such as Peta (founded in 1967 but which came to epitomize the theatrical artists’ response and resistance to the Marcos regime), UP Repertory Company (1972), Teatro Pilipino (1976), Dulaang UP (1976) and Bulwagang Gantimpala (1978), as well as the revival of the Manila Metropolitan Theater in 1979, there was a sudden demand for original Filipino plays, resulting in many outstanding and groundbreaking works.
11. ‘Hanggang Dito na Lamang at Maraming Salamat’ (1974), Orlando Nadres
Nadres could also be represented in this list with “Paraisong Parisukat.” But this play is regarded as the first play to openly tackle the gender issue, earning praise for its realistic portrayal of the Filipino homosexual. The stereotypical giggling manicurista (Julius/ Julie, played in the original production by Len Santos, then Manny Castañeda) is contrasted with the dignified small-town businessman (Fidel, played by Lino Brocka) whose paternal affection towards Efren (Bembol Roco) turns to sexual attraction. Lutgardo Labad directed the first staging by Peta; the play is now a staple in many campus groups’ repertoire. Felino Tañada adapted it into a film in 2007 with Nonie Buencamino as Efren and Jon Santos as Julius/Julie.
Nadres could also be represented in this list with “Paraisong Parisukat.” But this play is regarded as the first play to openly tackle the gender issue, earning praise for its realistic portrayal of the Filipino homosexual. The stereotypical giggling manicurista (Julius/ Julie, played in the original production by Len Santos, then Manny Castañeda) is contrasted with the dignified small-town businessman (Fidel, played by Lino Brocka) whose paternal affection towards Efren (Bembol Roco) turns to sexual attraction. Lutgardo Labad directed the first staging by Peta; the play is now a staple in many campus groups’ repertoire. Felino Tañada adapted it into a film in 2007 with Nonie Buencamino as Efren and Jon Santos as Julius/Julie.
Repertory Philippines’ 2009 staging of Nick Joaquin’s “A Portrait of the Artist as Filipino,” directed by Jose Mari Avellana
12. ‘Mga Kuwentong Maranao’ (1974), Sining Kambayoka Ensemble
Along with Rodulfo Galenzoga’s “Maranatha,” this piece, developed under the direction of Frank Rivera, mines the rich folklore of Mindanao. “Mga Kuwentong Maranao” utilizes five languages—Maranao, Cebuano, Pilipino, English and Spanish—and consists of stories revolving around the adventures and misadventures of the folk hero Pilandok, using the bayok (a verse debate from where the group derived its name) in its exploration of such themes as the relationship between men and women, power and its use, and corruption. Its staging normally uses various folk dances and movements, and features the many uses of the malong.
13. ‘Bayan-Bayanan’ (1975), Bienvenido Noriega Jr.
Considered as Noriega’s most famous work, this play was premiered by Teatro Pilipino in 1975 under the direction of Rolando Tinio, and has since been staged many times by Bulwagang Gantimpala, Tanghalang Pilipino and by other theater groups, under the direction of Tony Espejo, Pio de Castro III, and Anton Juan Jr., among others. Widely regarded as among the best examples of psychological realism in Philippine dramatic literature, the play is set in the home of Manang in Geneva, where Filipino expatriates congregate. In the process, their lives interweave and interrelate as they try to find home, community and meaning where there is none.
Considered as Noriega’s most famous work, this play was premiered by Teatro Pilipino in 1975 under the direction of Rolando Tinio, and has since been staged many times by Bulwagang Gantimpala, Tanghalang Pilipino and by other theater groups, under the direction of Tony Espejo, Pio de Castro III, and Anton Juan Jr., among others. Widely regarded as among the best examples of psychological realism in Philippine dramatic literature, the play is set in the home of Manang in Geneva, where Filipino expatriates congregate. In the process, their lives interweave and interrelate as they try to find home, community and meaning where there is none.
14. ‘Pagsambang Bayan’ (1977), Bonifacio Ilagan
Ilagan’s earlier work “Welga, Welga” could also be in this list, but this play, which was originally written in English, gained wider popularity and influence after it was staged by the UP Repertory Company in 1977 under Behn Cervantes’ direction. The play is structured like a Roman Catholic Mass, with the priest (played by Orestes Ojeda in the UP Rep premiere) becoming not only an interpreter of the Word or the world, but an active participant in changing both. Mass participants are representatives of peasants, workers, students, tribal minorities, urban poor and professionals, interacting with the priest as they relate their everyday struggles. The play ends with the priest and the congregation uniting in the resolve to continue Christ’s work in the only meaningful way acceptable, which was to rage against the dictatorship at that time. Later productions were revised or modified as the circumstances demanded, and it may be proof of the play’s potency as a social treatise that the director, along with many others who got involved in the play’s many stagings during the Marcos regime, were either arrested or detained, harassed or placed under constant military scrutiny.
Ilagan’s earlier work “Welga, Welga” could also be in this list, but this play, which was originally written in English, gained wider popularity and influence after it was staged by the UP Repertory Company in 1977 under Behn Cervantes’ direction. The play is structured like a Roman Catholic Mass, with the priest (played by Orestes Ojeda in the UP Rep premiere) becoming not only an interpreter of the Word or the world, but an active participant in changing both. Mass participants are representatives of peasants, workers, students, tribal minorities, urban poor and professionals, interacting with the priest as they relate their everyday struggles. The play ends with the priest and the congregation uniting in the resolve to continue Christ’s work in the only meaningful way acceptable, which was to rage against the dictatorship at that time. Later productions were revised or modified as the circumstances demanded, and it may be proof of the play’s potency as a social treatise that the director, along with many others who got involved in the play’s many stagings during the Marcos regime, were either arrested or detained, harassed or placed under constant military scrutiny.
15. ‘Ang Paglalakbay ni Sisa: Isang Noh sa Laguna’ (1977), Amelia Lapeña Bonifacio
Among the more significant experimentations with theatrical forms was this play in which the dead Sisa comes back to haunt Padre Salvi, utilizing the form and conventions of Japanese Noh. Originally staged by Tony Mabesa along with its companion piece “Ang Madyik na Sombrero: Isang Kyogen sa Pritil,” which, as the title suggests, is based on the Japanese comic Kyogen, it was later adapted into a full-length dance production for Ballet Philippines by Corazon Iñigo, who had choreographed the original theater production.
Among the more significant experimentations with theatrical forms was this play in which the dead Sisa comes back to haunt Padre Salvi, utilizing the form and conventions of Japanese Noh. Originally staged by Tony Mabesa along with its companion piece “Ang Madyik na Sombrero: Isang Kyogen sa Pritil,” which, as the title suggests, is based on the Japanese comic Kyogen, it was later adapted into a full-length dance production for Ballet Philippines by Corazon Iñigo, who had choreographed the original theater production.
16. ‘Mayo A-Beinte Uno at Iba pang Kabanata’ (1978), Al Santos
This play is based on the life of Lapiang Malaya founder Valentin “Tatang” de los Santos, dubbed the “Second Messiah,” who led his group on a march to Malacañang in 1967 that resulted in the massacre of most of its members. Tatang is sent to a mental hospital where he is later reported to have been killed in a brawl. An expansion of the author’s earlier play called “Si Tatang atbp mga Tauhan ng Aming Dula (1975),” this work uses radio announcements, slides and other markers of time and place, effectively making it one of the earlier and more successful examples of the documentary style of theater. The play won first place in the Carlos Palanca Memorial Awards in 1977. This work, directed by Joel Lamangan in its initial presentation in UP, had Fernando Josef in the role of Tatang, and he and the name have been associated with each other ever since.
This play is based on the life of Lapiang Malaya founder Valentin “Tatang” de los Santos, dubbed the “Second Messiah,” who led his group on a march to Malacañang in 1967 that resulted in the massacre of most of its members. Tatang is sent to a mental hospital where he is later reported to have been killed in a brawl. An expansion of the author’s earlier play called “Si Tatang atbp mga Tauhan ng Aming Dula (1975),” this work uses radio announcements, slides and other markers of time and place, effectively making it one of the earlier and more successful examples of the documentary style of theater. The play won first place in the Carlos Palanca Memorial Awards in 1977. This work, directed by Joel Lamangan in its initial presentation in UP, had Fernando Josef in the role of Tatang, and he and the name have been associated with each other ever since.
17. ‘Juan Tamban’ (1979), Malou Leviste Jacob
“Macliing Dulag” (1988) and “Anatomiya ng Korupsyon” (1990) were also written by the same author, but this play antedates both. After its initial production directed by Joel Lamangan, “Juan Tamban” came to be known as the typical “Peta play,” a well-researched piece based on real-life events that portrays contemporary social problems with accuracy and insight, combining realism and nonrealistic styles (particularly the use of a Chorus), the better to convey to the audience the immediacy of the situations presented and the necessary actions that need to be taken (read: unity among society’s various sectors against the oppressors). The play follows the story of a boy named Juan Tamban (played by Toffy Padua) who was reported in the newspapers as eating cockroaches and lizards to attract attention. A social worker, Marina (C.B. Garrucho), investigates his case as part of her master’s thesis and, in the process, comes face to face with the reality of the boy, his family and environment, society and herself. The play won second place in the 1979 Carlos Palanca Memorial Awards, with Bonifacio Ilagan’s play on the first phase of the Philippine Revolution, “Langit Ma’y Magdilim,” beating it for the top spot. Ateneo Entablado revived the play in early 2014.
“Macliing Dulag” (1988) and “Anatomiya ng Korupsyon” (1990) were also written by the same author, but this play antedates both. After its initial production directed by Joel Lamangan, “Juan Tamban” came to be known as the typical “Peta play,” a well-researched piece based on real-life events that portrays contemporary social problems with accuracy and insight, combining realism and nonrealistic styles (particularly the use of a Chorus), the better to convey to the audience the immediacy of the situations presented and the necessary actions that need to be taken (read: unity among society’s various sectors against the oppressors). The play follows the story of a boy named Juan Tamban (played by Toffy Padua) who was reported in the newspapers as eating cockroaches and lizards to attract attention. A social worker, Marina (C.B. Garrucho), investigates his case as part of her master’s thesis and, in the process, comes face to face with the reality of the boy, his family and environment, society and herself. The play won second place in the 1979 Carlos Palanca Memorial Awards, with Bonifacio Ilagan’s play on the first phase of the Philippine Revolution, “Langit Ma’y Magdilim,” beating it for the top spot. Ateneo Entablado revived the play in early 2014.
18. ‘May-i, May-i’ (1979), Eman Lacaba, Al Santos, Malou Leviste Jacob
The play is based on an original concept by Lacaba that, after his death, was rewritten and completed by Santos and Jacob. Their historical research resulted in a play—set in the period before the Spanish conquest of what came to be known as Maynilad/Manila—that fleshed out through rituals, movements and martial arts insights about our past that threw light on the present. Directed by Lutgardo Labad, the play touches on the relationship among Raha Sulayman, Lakandula, Panday Pira, Magat Salamat and May-i, the daughter of Sulayman with Ligaya (daughter of Pira), whom the newly-arrived Spaniards under De Goiti begin to see as a witch. Upon the defeat of her people and the loss of her loved ones, May-i takes the name of Maria and leaves the mountains of Makiling for a place unknown. The original production at the Rajah Sulayman Theater in Fort Santiago was nothing short of spectacular, with its music, movement and production design all helping to create the pre-Hispanic world of the play.
The play is based on an original concept by Lacaba that, after his death, was rewritten and completed by Santos and Jacob. Their historical research resulted in a play—set in the period before the Spanish conquest of what came to be known as Maynilad/Manila—that fleshed out through rituals, movements and martial arts insights about our past that threw light on the present. Directed by Lutgardo Labad, the play touches on the relationship among Raha Sulayman, Lakandula, Panday Pira, Magat Salamat and May-i, the daughter of Sulayman with Ligaya (daughter of Pira), whom the newly-arrived Spaniards under De Goiti begin to see as a witch. Upon the defeat of her people and the loss of her loved ones, May-i takes the name of Maria and leaves the mountains of Makiling for a place unknown. The original production at the Rajah Sulayman Theater in Fort Santiago was nothing short of spectacular, with its music, movement and production design all helping to create the pre-Hispanic world of the play.
19. ‘May Katwiran ang Katwiran’ (1981), Rolando Tinio
In this play in Filipino, the Senyor must cross forest, rivers and mountains to reach a spot where he will be rescued by a helicopter. Through all this, he takes advantage of his Kasama. When some bandits approach, the Senyor exchanges clothes with the Kasama, who is taken by the bandits and killed when they find out he has no money. As the bandits close in on the Senyor, the helicopter arrives, and a machine gun shoots the bandits as the Senyor flies away to safety. Originally produced by Teatro Pilipino under the direction of the playwright (who also played the Senyor), the play is probably the best example of a Filipino drama written in the Brechtian tradition, where the audience is not expected to empathize with the characters but to reflect instead on the issues and ideas presented. It has also been performed by many school-based theater groups.
In this play in Filipino, the Senyor must cross forest, rivers and mountains to reach a spot where he will be rescued by a helicopter. Through all this, he takes advantage of his Kasama. When some bandits approach, the Senyor exchanges clothes with the Kasama, who is taken by the bandits and killed when they find out he has no money. As the bandits close in on the Senyor, the helicopter arrives, and a machine gun shoots the bandits as the Senyor flies away to safety. Originally produced by Teatro Pilipino under the direction of the playwright (who also played the Senyor), the play is probably the best example of a Filipino drama written in the Brechtian tradition, where the audience is not expected to empathize with the characters but to reflect instead on the issues and ideas presented. It has also been performed by many school-based theater groups.
20. ‘Bombita’ (1981), Tony Perez
A number of plays by Perez can very well be in this list, but this is the first in his “road” trilogy of plays—the other two being “Biyaheng Timog” (1984) and “Sa North Diversion Road” (1988)—that were inspired by the characters of the myth of the Adarna bird. In this play, which won the Grand Prize in the 1981 CCP Literary Awards and originally produced in the same year by Bulwagang Gantimpala under Tony Espejo’s direction, Air Force recruits that include obedient soldier Corporal Bombita (played by Tommy Abuel) transport a box containing top-secret information to Kalibo, Aklan. The trip becomes a journey of self-discovery for Bombita, who begins to question the value of following orders; he and the rest of the team end up turning the tables on their leader. This work is among the finest examples of psychological realism and the effective use of metaphysical constructs in Philippine drama. Gantimpala Theater Foundation revived the play in 2007, directed by Soxie Topacio, who was in the original cast. Tanghalang Pilipino presented its own production directed by Dennis Marasigan in 2011.
A number of plays by Perez can very well be in this list, but this is the first in his “road” trilogy of plays—the other two being “Biyaheng Timog” (1984) and “Sa North Diversion Road” (1988)—that were inspired by the characters of the myth of the Adarna bird. In this play, which won the Grand Prize in the 1981 CCP Literary Awards and originally produced in the same year by Bulwagang Gantimpala under Tony Espejo’s direction, Air Force recruits that include obedient soldier Corporal Bombita (played by Tommy Abuel) transport a box containing top-secret information to Kalibo, Aklan. The trip becomes a journey of self-discovery for Bombita, who begins to question the value of following orders; he and the rest of the team end up turning the tables on their leader. This work is among the finest examples of psychological realism and the effective use of metaphysical constructs in Philippine drama. Gantimpala Theater Foundation revived the play in 2007, directed by Soxie Topacio, who was in the original cast. Tanghalang Pilipino presented its own production directed by Dennis Marasigan in 2011.
Mario O’Hara’s “Insiang” (2003), directed by Chris Millado
The last five plays cover the period after the “lifting” of Martial Law up to the early ’90s. It is becoming more difficult to keep track of all the new plays being produced, especially with more theater companies producing regularly and the annual Virgin Labfest having become a wellspring of interesting new works. It is inevitable that a number of these recent works will turn out to be new landmarks in the panorama of Philippine theater in the future.
21. ‘Pilipinas Circa 1907’ (1982), Nicanor G. Tiongson
Tiongson was originally asked to update Severino Reyes’ sarswela “Filipinas para los Filipinos” for a college production in 1978, but the result was a new work that revived interest in the genre and proved that the form could effectively take in new content. On the surface, it is about a pair of lovers—Leonor and Emilio and her cousin Pura and Andres—during the American occupation, but interspersed in the narrative are commentaries on laws that prohibit Filipino men from marrying American women, and the antisedition and antiflag law. Its premiere production was directed by Soxie Topacio for Peta; the play was later produced by Tanghalang Pilipino (with additional/reworked music) in 1992 under Nonon Padilla, and was revived in 2007 under Dennis Marasigan’s direction.
Tiongson was originally asked to update Severino Reyes’ sarswela “Filipinas para los Filipinos” for a college production in 1978, but the result was a new work that revived interest in the genre and proved that the form could effectively take in new content. On the surface, it is about a pair of lovers—Leonor and Emilio and her cousin Pura and Andres—during the American occupation, but interspersed in the narrative are commentaries on laws that prohibit Filipino men from marrying American women, and the antisedition and antiflag law. Its premiere production was directed by Soxie Topacio for Peta; the play was later produced by Tanghalang Pilipino (with additional/reworked music) in 1992 under Nonon Padilla, and was revived in 2007 under Dennis Marasigan’s direction.
22. ‘Buwan at Baril sa Eb Major’ (1985), Chris Millado
The years after the Aquino assassination in 1983 seemed to say “gloves are off” as far as Filipino Protest Theater was concerned. But Millado’s play avoids cliches, highlighting the human dimension while sharply delineating its political milieu. In five distinct scenes, Millado presents a farmer and an urban worker in the midst of Lakbayan, a protest march against the regime; a priest serving as an interpreter between journalists and a woman from the Itawes community who had been tortured and raped; a socialite deciding what to wear for a street demonstration, aware that she will be confronting the military; a wife who can only watch from afar as her slain husband is laid to rest, both of them being part of the underground; and a student and the policeman arresting him who discover common interests between them. The play, originally produced by Peta and directed by Apo Chua, had several repeat performances, and was later produced by Tanghalang Pilipino at the CCP in 1989. Ateneo Entablado restaged the play in 2013, directed by Jethro Tenorio.
The years after the Aquino assassination in 1983 seemed to say “gloves are off” as far as Filipino Protest Theater was concerned. But Millado’s play avoids cliches, highlighting the human dimension while sharply delineating its political milieu. In five distinct scenes, Millado presents a farmer and an urban worker in the midst of Lakbayan, a protest march against the regime; a priest serving as an interpreter between journalists and a woman from the Itawes community who had been tortured and raped; a socialite deciding what to wear for a street demonstration, aware that she will be confronting the military; a wife who can only watch from afar as her slain husband is laid to rest, both of them being part of the underground; and a student and the policeman arresting him who discover common interests between them. The play, originally produced by Peta and directed by Apo Chua, had several repeat performances, and was later produced by Tanghalang Pilipino at the CCP in 1989. Ateneo Entablado restaged the play in 2013, directed by Jethro Tenorio.
23. ‘St. Louis Loves Dem Filipinos’ (1994), Floy Quintos
Perhaps it was the post-US bases period and the impending run-up to the centennial celebration of the Declaration of Philippine Independence that made this play particularly stirring, as it explores the question of Filipino identity using the debacle of the 1904 St. Louis Exposition as its focal point. Then secretary of the interior Dean Worcester had infamously paraded non-Christian tribesmen as examples of Filipino savagery in St. Louis, prompting lowlanders to assert that these subjects were not Filipinos to begin with. The framing device of having a third-generation Filipino-American, Fred Tinawid, as the catalyst for the telling of the play’s narrative also presages other works that began to touch on the dilemmas resulting from the diaspora. Tony Mabesa’s staging was aided by an ensemble that included Joel Lamangan, Rolando Tinio, Alexander Cortez and Amiel Leonardia, working with student actors of Dulaang UP. Quintos, with composer Antonio Africa, later adapted the play into a musical, which was directed by Cortez also for Dulaang UP in 2005.
Perhaps it was the post-US bases period and the impending run-up to the centennial celebration of the Declaration of Philippine Independence that made this play particularly stirring, as it explores the question of Filipino identity using the debacle of the 1904 St. Louis Exposition as its focal point. Then secretary of the interior Dean Worcester had infamously paraded non-Christian tribesmen as examples of Filipino savagery in St. Louis, prompting lowlanders to assert that these subjects were not Filipinos to begin with. The framing device of having a third-generation Filipino-American, Fred Tinawid, as the catalyst for the telling of the play’s narrative also presages other works that began to touch on the dilemmas resulting from the diaspora. Tony Mabesa’s staging was aided by an ensemble that included Joel Lamangan, Rolando Tinio, Alexander Cortez and Amiel Leonardia, working with student actors of Dulaang UP. Quintos, with composer Antonio Africa, later adapted the play into a musical, which was directed by Cortez also for Dulaang UP in 2005.
24. ‘Kalantiaw’ (1994), Rene O. Villanueva
Originally staged as “Isang Kagila-gilalas na Kasinungalingan Tungkol sa Isang Kayumangging Bayan (KKK),” this play was produced by Tanghalang Pilipino under the direction of Robert Cantarella and was also presented as part of the Philippine Festival in Rond Point, Paris, France. It touches on Jose Marco and the famous hoax he perpetrated—the Code of Kalantiaw, because he felt there was a need to prove that Filipinos had a history and culture existing long before the arrival of the Spanish colonizers (a subject that Quintos also visits in his own play, “Fake”). Performed by the Tanghalang Pilipino Actors Company playing multiple roles in the original production, “Kalantiaw” won first prize in the 1994 Palanca Awards.
Originally staged as “Isang Kagila-gilalas na Kasinungalingan Tungkol sa Isang Kayumangging Bayan (KKK),” this play was produced by Tanghalang Pilipino under the direction of Robert Cantarella and was also presented as part of the Philippine Festival in Rond Point, Paris, France. It touches on Jose Marco and the famous hoax he perpetrated—the Code of Kalantiaw, because he felt there was a need to prove that Filipinos had a history and culture existing long before the arrival of the Spanish colonizers (a subject that Quintos also visits in his own play, “Fake”). Performed by the Tanghalang Pilipino Actors Company playing multiple roles in the original production, “Kalantiaw” won first prize in the 1994 Palanca Awards.
25. ‘Insiang’ (2003), Mario O’Hara
O’Hara did not just adapt his screenplay from the Lino Brocka film; he situated it where he believed it really belonged—the slums of Pasay. And the play he wrote tautly brought together elements of Pinoy radio/teleserye dramas and Brechtian theater with the help of a ubiquitous narrator that not only pieced scenes together, but commented on the action about to happen or had just taken place. Helped by the wrap-around staging of director Chris Millado and set designer Bobot Lota, the audience is transported into a world where they are literally in the midst of the action, transforming them into voyeurs as the story of Insiang (Sheenly Vee Gener in the original production), her mother Pacing (Malou de Guzman) and their lover Dado (Ricky Davao) unfolds right next to them.
O’Hara did not just adapt his screenplay from the Lino Brocka film; he situated it where he believed it really belonged—the slums of Pasay. And the play he wrote tautly brought together elements of Pinoy radio/teleserye dramas and Brechtian theater with the help of a ubiquitous narrator that not only pieced scenes together, but commented on the action about to happen or had just taken place. Helped by the wrap-around staging of director Chris Millado and set designer Bobot Lota, the audience is transported into a world where they are literally in the midst of the action, transforming them into voyeurs as the story of Insiang (Sheenly Vee Gener in the original production), her mother Pacing (Malou de Guzman) and their lover Dado (Ricky Davao) unfolds right next to them.
And seven more plays, which could easily replace any one already in this list:
1. “Panahon ni Cristy” (1978), Edgardo Maranan
2. “In Dis Korner” (1978), Reuel Aguila
3. “Canuplin: Isang Improbisasyon sa Buhay at mga Palabas ng Isang Komedyanteng Pilipino” (1980), Manuel Pambid
4. “In My Father’s House” (1989), Elsa Martinez Coscolluela
5. “DH” (1992), Ricardo Lee
6. “Radiya Mangandiri” (1993), Rody Vera
7. “Noli Me Tangere” (1995), Bienvenido Lumbera
(NOTE: This is the article as it was published in the August 23, 2014 issue of the Philippine Daily Inquirer. An earlier version comprising five parts first appeared in the writer's Facebook Notes.)
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