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‘Sintang Dalisay’ is a marvelous work of sheer genius – from the immersive direction of the late Ricardo Abad and Guelan Varela-Luarca, to the adaptation and translation of Shakespeare’s ‘Romeo and Juliet’ by National Artist Rolando Tinio, the exquisite choreography of Matthew Santamaria (and fight choreography by Brian Sy), and the stirring musical direction of Jayson “Dyandi” Gildore – as it reimagines the tragic story of the star-crossed lovers in an imagined Muslim community in the Southern Philippines. Romeo and Juliet are transformed into Rashiddin and Jamila and the entire experience is told through dance and song and the poetry of Shakespeare’s words adapted into the most lyrical of Filipino verses. It’s a total theatrical spectacle the trims down the original play into a tight 2 hours filled with joy and sadness, love and loss.

Taking all the narrative beats from the original, Rashiddin and Jamila are from two rival families, Mustapha and Kalimuddin, who are constantly feuding in the town. During a forced truce, Rashiddin sneaks into a feast held by the Kalimuddin family for Jamila and in brief instant, they fall in love. They secretly marry despite Jamila is betrothed to another. They elope with the help of the Imam, the spiritual leader, who hopes that their union may broker peace but when a duel goes awry and Jamila’s cousin, Taupan, accidentally kills Badawi, Rashiddin’s friend; Rashiddin takes vengeance and slays Taupan in retaliation. With the Kalamuddin putting the blame on Rashiddin, the two lovers hatches a plan to leave home and start anew but it does not go their way.

Rolando Tinio’s adaptation of ‘Romeo and Juliet’ (and a 1904 poem by G. D. Roke), which sets it comfortably in a Muslim community plays into our colonial ideas of a war-torn and hostile Muslim land. The constant bickering of the Kalimuddin and the Mustapha plays into that hegemonic ideology. But while that’s at work, Tinio gives us a chance to also witness the beauty of that world – the songs and the music and the dancing – that amplifies the rich and deep culture of the Muslim people. This adaptation creates a space to humanize them and turn them familiar as many people who are not given a chance to engage with this community may have a distant understanding of their world. ‘Sintang Dalisay’ makes it very easy to connect with them.

It’s Dr. Abad’s and Guelan Varela-Luarca’s stage direction that keeps the energy from dipping, allowing us to feel the imminent danger of that rivalry that always seems ready to burst. At the same time, there are moments of levity but, most importantly, there are moments of pure, innocent beauty in the form of the growing love between Rashiddin and Jamila.

It’s the intricate choreography that adds that layer that makes ‘Sintang Dalisay’ such a delicious show. The dancing enlivens the scenes, but it also amplifies the emotions of each character. So, while Taupan and Badawi speak loud and tough, Rashiddin is somewhat soft and fluid, not a fighter at all but one that feels more romantic, just based on the movements alone. So, when Jamila and Rashiddin first meet each other at the feast, in the midst of a great dance performance, everything stops the moment their eyes meet. The choreography adjusts to them. While no words were uttered, we believe that it’s love at first sight. It’s the power and magic of theater and I haven’t seen it so elegantly done and in such a surprising way.

The music is also extremely note-worthy. This cast are incredible singers and the live band playing kumintangs, flutes, and other indigenous instruments create a sonic landscape that really enhances every scene and transports the audience to that place and time.

Unfortunately, Karl Borromeo, who plays Rashiddin, is drowned out by the largeness of the play’s scope and design. Borromeo tends to shout instead of projects, so it removes the nuances of Rashiddin’s scenes. His quiet scenes, his comedic scenes, and his fight scenes have all that same tonal quality. Borromeo is an incredible dancer, and he shines completely when performing with Maliana Beran, who plays Jamila. Their duets are impeccable. But in his scenes with Jerome Dawis as Taupan and Roldine Ebrada as Badawi, Borromeo gets lost under all that excellence. Dawis and Ebrada (as well as James Reyes as the Imam) are just fantastic. They fill the stage with their presence.

But the real star of the show is Maliana Beran. As Jamila she is charming and innocent and commanding. You can see why Rashiddin falls in love with her at a glance and her movements are so precise that it’s as nuanced as her performance. She’s radiant and is capable of creating so many layers for Jamila to exist in this play.

With the gorgeous designs of the late National Artist Salvador Bernal and Tata Tuviera, the richness of the Filipino Muslim culture, the intricacies of Tinio’s translations, and the creativity of Abad and Varela-Luarca, ‘Sintang Dalisay’ is an unforgettable theatrical experience that you must see, at least once.

My Rating:

Sintang Dalisay will run until February 23, 2025 at the Hyundai Hall of Arete, Ateneo de Manila University. Get your tickets here.