Of Rizal, Filipino Youth and History

by Bernice S. Sibucao on December 3, 2011

Photo by Tari Rosario

This review is based on the cast that features Mikee Chan, Bea Gutierrez, Toneng Aguilar, Erine David, Gerald Perry Marin, Juerjen Domingo, Julio Lorenzo Abito, Camille Ida Cortez, Jan Victor Garcia and Dyan Francisco.

We have often heard and read Rizal’s “Ang kabataan ang pag-asa ng bayan,” to the point that it has become an overused cliché. In Entablado’s newbie production, Ang Sampung mga Daliri, however, these words are not spoken as if they are some mere slogan or sound bite.

Rather, the Ateneo’s socially oriented theatre organization takes the famed meaning to a new level. Rizal’s words of wisdom are transformed through movement and songs, ultimately giving a face to the stories, or shall we say, the history of the Filipino youth.

Ang Sampung mga Daliri was written by Rizalina Valencia and Nannette Matillac back in 1978. Directed by Entablado moderator and Filipino instructor Jethro Tenorio and senior Lemelen Palad, the play explores the truth in Dr. Jose P. Rizal’s saying by investigating the history of the Filipino youth—starting from the Spanish period and ending in what the playwright termed the “possible future.” The chorus is composed of 10 youngsters who guide the audience throughout the different periods in Philippine history.

Ang Sampung mga Daliri has a playful nature patterned after Brechtian theatre—a form of theatre characterized by the use of episodic dramatic action, songs, narration and an “alienation” effect towards the audience.

Before the play begins, the audience may wonder why cast members are doing jumping jacks, practicing dance routines and climbing on what looks like a jungle gym. Admittedly, this scenario is confusing, but when the chorus explains that it is not really a play, but a “dula-dulaan”—nothing but make-believe like “bahay-bahayan” and “luto-lutuan”—every interruption and attempt at interaction begins to make sense.

Among the chorus, Gerald Marin and Dyan Francisco are the standouts. Marin’s no-holds-barred performance conceals any signs of being a rookie performer. Versatility is shown through his diverse roles—he shifts from a suave señorito to an ill-tempered fraile, then to a little brown brother in an Americana, speaking with an Elvis twang.

Francisco, on the other hand, shows that she has a knack for comedy. She exemplifies her role as the repulsive señorita with the disastrous kolorete. Her powerful voice, meanwhile, is one of the many surprises this play has to offer.

The costumes are another commendable aspect because of their ingenuity. The chorus, wearing pants and simple gray shirts, were able to change their costumes to a Baro’t Saya, sutana, and a Nora Aunor fan shirt, among others, by swiftly attaching pieces of clothing.

The music production, on the other hand, could use some improvement. There are times that the live band is not in sync with the performance. As for the chorus, some lines tend to be inaudible, but this may be attributed to the fact that some songs are fast-paced, such as the altered Pen Pen de Sarapen. This shortcoming is somehow made up for by a screen in which the lyrics are flashed out.

However, the same cannot be said for the songs. The altered Filipino nursery rhymes, religious hymns, chants and ’50s pop songs are all pure wit and genius. For example, certain lines of the Ama Namin are replaced with laments of the Filipino youth suffering from friar oppression. The heartfelt pain conveyed by the chants may trigger goose bumps among the viewers.

The sheer intensity and drama that past Entablado plays were known to have evoked, such as in Sa Tahanan ng Aking Ama and Baclofen, is felt in the scenes where the friars abuse the youth and when technology and virtual reality have somewhat consumed them. The humour from Ang Pobreng Alindanaw, meanwhile, is mirrored in the American period scenes.

Overall, Ang Sampung mga Daliri exceeds the usual expectations for a newbie production. The Entablado newbies were able to immerse themselves in the theatre company’s culture, making them worthy of being called Entadirs. Moreover, Entablado succeeds in delivering Rizal in the most imaginative way possible, while also making the audience realize that, despite the transgressions of youth, anyone could still change his or her “possible future.”

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