Set D of the Virgin Labfest, titled “Pusong Mamon,” presents an uneven trilogy of plays. The opener, Gerald Manuel’s ‘Buhaghag,’ utilizes exceptionally really good theatrical devices to help energize an otherwise didactic script. This leads into to Jerom Canlas’s emotionally-strong ‘Footprint’ and ends on a high with John Lapus’ comedic ‘Taksyapo!.’ While the set starts out muddled, it quickly finds it footing in the second play before delivering a rip-roaring, laugh trip of an experience in its finale.
Buhaghag
By Gerald Manuel
Directed by Tess Jamias
Didactic in its execution, ‘Buhaghag’ spends most of its time explaining what is happening rather than dynamically showing us the lead character’s problem. Phoebe (played by Krysytle Valentino) is so busy that she is chronically sleep-deprived and no time to see friends and family. Her room is filled with black vines that resemble hair, and bursting through the walls comes a creature made entirely of hair (played by Adrienne Vergara), who offers Phoebe a deal to give her the rest she needs. Director Tess Jamias does a wonderful job of trying to keep the performance energy high, with huge credit going to Set Designer Carlos Siongco and Costume Stylists Monica Sebial and Sam Quizon for bringing this surreal nightmare to life..
Unfortunately, all the visual theatrics cannot alleviate the play’s issue which could have been solved by the lesson: show, don’t tell. We need to actually see Phoebe working; we need to witness her missing out on life because of her obligations. Because Vergara’s entity comes far too soon, the remainder of the play relies almost on the two characters simply talking about the play’s plot. It doesn’t help matters that Valentino struggles to match Vergara’s powerful presence. As a result, she disappears underneath all that theatrics – the set, the costumes, the stage design – making it incredibly difficult to connect with the protagonist.
Footprint
By Jerom Canlas
Directed by Mikko Angeles
In a near-future world, Jerom Canlas’s ‘Footprint’ follows a family who regularly visits the virtual digital archive containing the memories of Ram, a teenager who committed suicide. Within this virtual space, his father, mother, older brother, and girlfriend find each other and deal with the loss of a loved one and the painful realisation: they will never truly understand why Ram did what he did.
Director Mikko Angeles has the unenviable task of conceptualizing what this future looks like. Collaborating with set designer Carlos Siongco, the stage resembles an abstract drawing of a library, but its cool, slick design makes it look futuristic. Enhanced by a sharp projection mapping and immersive lighting and sound effects, the aesthetic and feel of the future is clearly palpable. If it was really needed, I’m not sure because the weight of the performances are enough to carry this play through. If it was an empty stage and the actors just spoke the lines in some oblivion-like space, the effect would have been just as powerful.
The ensemble, played by Elijah Canlas, Meryl Soriano, Jojo Cayabyab, and Pappel, delve so deeply into their emotional space that the audience really felt it. Everyone around me was crying. The rawness of the unearthed emotions and the sensitive issue of suicide – never romanticized, but carefully contextualized for the sake of the survivors – hit in a different way. When Omar Uddin, who has been exceptionally strong in all of his recent performances, comes up to do a monologue as Ram, the play reaches its absolute emotional peak and completely kills it.
Ultimately, while the heavy theatrics were undeniably well-executed and helped sell the idea of the play; it was executed well but felt unnecessary.
Taksyapo!
By John Lapus
Directed by Tuxqs Rutaquio
A play centered around the famous rage booth in Tarlac, where one buy plates and mugs and throw them against the wall to elease their pent-up anger and frustration, is an interesting idea. John Lapus’s ‘Taksyapo!’ is a two-hander featuring booth clerk Maya (played by Mosang), and a gay patron, JM (played by Christian Bables). Through their banter, we see a world that is deeply painful to live in. Maya is a woman whose husband has left her, while JM is a gay man reeling from a recent a breakup. Both characters find themselves in the absolute perfect space to let out some steam.
And let off steam they do, to fantastic effect. The immersive sound effects of the shattering glass and plates add to the energy of the play as the actors hurl their frustrations through a cleverly designed fake wall. However, the play’s frustration goes beyond the personal. It extends to other things that bother them until the whole play becomes a litany of actions and people who piss us off. Of course, it gets political, but at the same time serves as a mirror to our society in general.
Ultimately, ‘Taksyapo!’ feels destined to become an instant classic – something that will be added into a line-up of short plays that will serve to end the show with a good laugh and a chance to call out the troubles and ills of the day. It is a brilliant piece that will unboubtedly be easily revived time and time again.
My Rating: 4 Stars
Virgin Labfest XXI runs until June 28 at the Tanghalang Ignacio Gimenez (CCP Black Box Theater). Don’t miss your chance to witness the raw emotional power and explosive comedy of Set D ‘Pusong Mamon’ for yourself, grab your tickets before the festival wraps up. For tickets, visit Ticket World and Ticket 2 Me.
