Shakespeare to the beat of the kulintang

by Bernice S. Sibucao on July 20, 2011

Photo by Tata L. Yap

For its 33rd season-opener, Tanghalang Ateneo presents Sintang Dalisay, a bold fusion of a Shakespearean love tragedy set in a Filipino-Muslim community. It is a notable move, combining one of the world’s most renowned English classics with Filipino traditional culture. Nevertheless, the use of the awit narrative and igal dance transforms it into a masterful sequence of poetry, dance and music.

Directed by Ricardo Abad, Sintang Dalisay is patterned after the 1901 awit entitled Ang Sintang Dalisay ni Julieta at Romeo by G.D. Roke and Rolando Tinio’s poetic translation of William Shakespeare’s Romeo and Juliet. It is set in the fictional Muslim community called Sampurna, with the Mustaffas and the Kalimuddins as the two powerful families in an ongoing feud.

Caught in between the conflict are Rashidin Mustaffa (Kalil Almonte) and Jamila Kalimuddin (Tasha Tañada), two lovers who are secretly married but are forced to separate after Rashidin decides to avenge his cousin’s death by murdering a member of the Kalimuddin clan. Like their Western counterparts, Rashidin and Jamila’s love story is hampered by feuding families, unwanted marriages, tricky poisons and lost letters—all of which will contribute to their untimely death and their families’ long-awaited reconciliation.

Almonte and Tañada are a delight to watch as they go through all the stages of their characters’ relationship. Spellbound when they first meet, playful during courtship, passionate during their secret rendezvous and tormented during their separation—these two mirrored each other’s emotions perfectly, creating undeniable chemistry in their pairing.

Brian Sy was also a stand out. Sy plays the Imam, the play’s version of the friar in the English classic. Sy’s deep and bellowing voice made him the ideal choice for the role, commanding attention and authority which is a necessary characteristic for preachers and religious leaders.

Another admirable quality about this TA veteran was his ability to adjust to sudden changes without losing composure. Despite the technical difficulties experienced at the start of the show, he entertained the audience with an introductory chant. Although it would have been better had the play started with the original one, Sy’s impromptu wit and humor made it forgivable.

Perhaps the most noteworthy aspect of Sintang Dalisay is the incorporation of igal, the traditional dance of the Sama people. The TA cast underwent igal workshop under master teachers from Tabawan, South Ubian, Tawi-Tawi province. The company’s efforts clearly paid off, and it was manifested in their opening dance sequence. A trance-like quality is felt with the fluid movements, executed with precision and accompanied by the hypnotic beat of the drums and kulintang.

Each gesture and pose of the igal dance also contributed to Rashidin and Jamila’s love story. Known as the dance of the Southern seas, the actors were able to portray meaning in each flex of the finger, wrists and arms. For example, as they consummated their marriage, Rashidin and Jamila mirrored each other’s movements, signifying that they are coming as one. Lying down next to each other, they suddenly stretched out their arms. Did this gesture signify that love-making had reached its climax?

The answer, of course, depends on how one would interpret the movements.

Sintang Dalisay precisely characterizes TA’s theme this year of being undaunted. Although a stellar choice for the season opener, it can be a tough act to follow. Despite having the plot of a Western literature classic, TA manages to weave the star-crossed lovers drama piece into their own by incorporating techniques from Filipino cultural heritage. The use of awit as the form of dialogue and igal as the movement motif makes this a homage of both Western and Eastern culture.

Updated July 21, 2011, 1:47 PM.

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