IN A trilogy of plays that is both equally hilarious as it is emotionally captivating, Isa-Dalawa-Tatlo Nawantutri Tayo! by Ateneo ENTABLADO returns to stage with a bang and ends the show with drowning applause from the audience in the small black box theater.
The show’s 1 hour and 40-minute run presents three one-act plays. Its sequence is as follows: 1) Punks Not Dead by Andrew Bonifacio Clete; 2) Indigo Child by Rody Vera; 3) at Kung Paano Ako Naging Ikatlong Miss Fiesta Golden Sunshine Baran-gay San Marinos by Dominique La Victoria.
Despite its flaws in depth and storytelling, Jerome D. Ignacio’s direction manages to mold together each story into a cohesive piece that captures social realities through the lenses of idealists.
Punks Not Dead
As Mrs. Apple (Ricci Villareal and alternate Iman Ampatuan) waits for parents to return their children’s modules to her classroom, Biring (Chloe Ong and alternate Iman Ampatuan) enters in rage, complaining about one of the module’s condemnatory answers: “Ang tattoo ay simbolo ng pagiging kriminal (Tattoos imply that one is a criminal).” Artur (Jethro Tenorio and alternate Sam Juada), who is both a police officer and a parent, then arrives to bring back another module. However, the meaning behind “bigayan (ng module) (giving of modules)” becomes ruthlessly misunderstood.
Sound Designer Andy Reysio Cruz takes the risk of including popular culture references, including a dubstep remix of Kim Chiu’s “Bawal Lumabas,” in the introductory music. Well executed and with the right amount of humor and tact, it provides context to the milieu of Punks Not Dead.
While the story begins with roaring beat drops and punk music, it slows down when the first two characters, Mrs. Apple and Biring, are developed. This directorial choice both drags the pacing and builds up the tension just before Artur appears with a gun.
What happens hereafter transforms the story into yet another drug war narrative. It does what it seeks to accomplish—spread awareness on the said issue—as well as prejudices over people’s looks (particularly those with tattoos). It fulfills this flawlessly with its effective lighting, staging, and acting. This is especially true when the actors’ swelling back-and-forth dialogues culminate into a boom and a flicker of lights, leaving the audience in awestruck silence. However, there are only a few more iterations of this narrative left before its concept becomes a broken record. For example, are we, both as audience members and storytellers, ready to explore portrayals that find humanity in both sides of the issue? That is an aspect Punks Not Dead falls short in addressing.
Indigo Child
The warm light fades in and shines on Jerome (Joaquin Placided and alternate Yuri Dolorfino) at the middle of the diamond stage, as he describes how his mother, Felisa (Glecy Atienza and alternate Ronah Rostata), has vast knowledge of lightning and electricity. His mother’s past as a Martial law activist soon unravels through a series of storytelling monologues by Jerome and his mother, after she undergoes shock therapy to cure her brain cancer.
Equally heartfelt as it is socially and politically aware, Indigo Child brings a new perspective on the experiences of Martial Law victims by emphasizing its lasting impacts on their lives. Felisa’s shock therapy treatment portrays a cruel irony, as the electrocution that almost killed her during Martial Law is now keeping her alive.
Gabo Tolentino’s simple yet compelling lighting design shines in the subtle revelation of who the unknown powerful being, called “Kidlat,” is through the bleak, flashing, thunderous lighting, clarifying that he tortured Felisa.
With its beautifully crafted dialogue evident in Felisa’s descriptions of her life as a tortured activist, the story risks romanticizing trauma. However, Placided and Dolorfino’s acting chops as Jerome are convincing enough to balance Felisa’s romantic musings with a solid voice of reason. Rody Vera, Indigo Child’s playwright, makes sure that it stands as both a love letter to Martial Law victims and a scathing criticism of the regime.
Kung Paano Ako Naging Ikatlong Miss Fiesta Golden Sunshine Baran-gay San Marinos
A beauty queen (Ariel Diccion and alternate Lei Ramos) enters the scene with dignified presence in a pink robe, a towel turban on her head, and glamorous makeup painted on her smiling face. This one-act play follows the rise and fall of Johanna, a queer beauty queen influencer, as she prepares for the Miss Fiest Golden Sunshine Baran-gay San Marinos pageant amid a typhoon.
Dominique La Victoria’s story features a singular character built as a satirical characterization of Marcos fanatics. Johanna embodies the devotees’ hopes for the Tallano Gold and their unbridled optimism for the leader’s promises. More so, it is ironic that her own toxic positivity caused her tragic end, like most blinded believers. It is not so much of a “Who should we blame?” situation but a “Could we blame them?” one.
With their quick wit and comedic timing, Diccion and Ramos embody Johanna’s heart and intentions. Their commendable improvisation skills urges the audience to root for such a morally-ambiguous character.
Technical Director Cedric Jacobo and Stage Designer Chelsea Hermoso cleverly surround the diamond stage with gray columns, rusting wires, and plastic coverings to give way for the pouring rain storm ending of Johanna’s tale. While the stage design prevents water from reaching the audience, the scene wraps up the trilogy with a thought-provoking and immersive experience.
Truly, Isa-Dalawa-Tatlo Nawantutri Tayo! is a show that encapsulates the commonfolk’s reality amid brutal leaderships hidden behind the wrappings of mere bad luck. Its utterly bold and beautiful storytelling and staging asserts itself as a standout production by Ateneo ENTABLADO in all their authentically idealistic glory.