I saw ‘Mula sa Buwan’ a few years ago, straight out of the pandemic, and as well lauded as the show was, I personally found it chaotic despite the fantastic songs and the incredible singers who were cast in that show. I couldn’t quite get into it then but that show alone showed all of Gab Pangilinan’s star power and her capacity to fill a stage with her presence and vocal chops. Coming to see this revival of the show, still at the Samsung Performance Arts Theater, the new direction by Mikko Angeles expands the stage work to include video projections that manages to amplify the narrative and creates a whimsical, almost fairy-tale like quality to the show (and a dark twisted one later in Act 2) and somehow centers the emotional weight on Pangilinan’s Roxane. It was a clever move because Pangilinan has really pushed herself to a level, I’d like to say is equal to “national treasure” because not only can she sing, but she infuses the work with all the emotions of the scene that it fills the whole theater with electricity.
‘Mula sa Buwan’ is a Filipino adaptation of ‘Cyrano de Bergerac.’ Set in Manila, right before World War II, the play follows Cyrano (Myke Salomon), a poetic genius with a comically large nose. He is known about town as a poet, a stern ROTC commander, friendly to the outcasts of society, and seems unafraid to use his wits and skills to best anyone he feels does not live up to his standards for a civilized life. At the show’s beginning, he comes off as a bully, breaking up a theatrical show for not having authenticity and making a fool out of his commanding officer, the son of a general, for his uncouth ways. But Cyrano finds himself in a sticky situation as the love of his life (and childhood best friend) Roxane has fallen in love with the handsome Christian (MC Dela Cruz), who has just come to town and is stationed under Cyrano in ROTC.
Insecure over his appearance, Cyrano accepts Roxane’s request to ensure that Christian is to be kept from trouble and when he discovers that Christian feels the same way as Roxane, he orchestrates a deception to get the two together. The thing is, Christian is not good with words and can be very clumsy, and Roxane has a poet’s heart and is attracted to wit and eloquence. Under the cover of night, Christian serenades Roxane while she’s on her balcony with Cyrano hiding in the darkness feeding him the words.
It’s the classic mistaken identity love story trope that no longer feels as romantic in the midst of 2024 sexual politics. In the current climate, what Christian and Cyrano do is catfishing – no matter how good their intentions may be – and Roxane was made to be a fool. The era nor the poetry of Pat Valera’s script can soften that so what Mikko Angeles does is to play up Cyrano’s and Christian’s selfishness. He doesn’t hide from it but he plays it up. In fact, there’s an old school theatricality to the performances – the line delivery and the blocking – which highlights the naivete of the time. It’s crucial for the emotional shift that happens on Act 2.
Because World War 2 does come and the playful romance and idealism of Act 1 is torn asunder and reality kicks in so when Roxane is forced to face heartache and pain caused by the war, Pangilinan brings all that pain, built up since Act 1, into a powerful solo that brings the house down that even I was in tears. Roxane is the heart of this production and by putting her at the center, played with by the two boys and their affection for her, the sting of the second act hits harder.
It’s not a perfect show, though. There’s a whole section in the play about the ‘Makulay na Kabataan,’ a group of outcasts (queer people and artists) who are fighting for freedom and independence but there’s no real feeling of oppression that pervades the first act. There is talk of independence, but never do we ever really feel the American occupation haunting the scenes. The title song, ‘Mula sa Buwan’ is a call for a place that is more forgiving, a place that is free from oppression but there’s none of the things that they are wishing for is seen in the play. The love story is front and center but the going-ons in the background feel empty and hollow. What are the colorful children protesting against? Why do they need independence when they can put up plays and sing out in the streets? Anything outside of Cyrano, Roxane, and Christian’s love triangle seems more like filler than something that is integral to the show nor does it inform on the love story itself.
With that said, this production of ‘Mula sa Buwan’ is still a total theatrical experience. The set designs by Ohm David are brilliant. It’s a barrage of moving sets with strange perspective that really amplifies the whimsical tone of the show. It’s immersive in a way that it feels that the world is large and wide and deep. The lighting design Meliton Roxas Jr magically illuminates the most important parts of the scene that allows us to follow the story (though I do wish the balcony sequence was just a bit darker to really sell the idea that Roxane can’t see who she is talking to) while the video projections of Joyce Garcia is immensely transformative turning the show into a fairytale. Myke Salomon’s musical score creates urgency and builds emotions. The first song of the second act is absolutely brilliant.
And the performances – Myke Salomon, Gab Pangilinan, MC Dela Cruz, Phi Palmos, Jillian Ita-as, and Jerom Canlas – fantastic singers and dancers and are able to carry the comedy as well as the romance and then the sudden dramatic shift for Act 2. It’s a total theatrical experience that is so inspiring to see on the Philippine stage.
My Rating:
‘MULA SA BUWAN’ is running until September 8 at the Samsung Performing Arts Theater. For ticket details, visit mulasabuwan.com or purchase your tickets through TICKETWORLD or bit.ly/msb2024tickets.
