This festival ends tomorrow. This review's online version--here--did not have the second-to-the-last paragraph when it was published this morning, but that has since been corrected.
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'Tatlong Linggong Pag-ibig': Hooray for love--in whatever form
From Set B: "Corazon Negro," an operetta written by Layeta Bucoy, composed by Jed Balsamo and directed by Tuxqs Rutaquio.
Love has to be the most overused subject in the theater, and yet here's Dalanghita Productions' "Tatlong Linggong Pag-ibig," an ersatz festival of six one-act plays all centered on that mother of topical clichés.
'Mula sa Kulimliman'
Among the offerings in Set A, Carlo Vergara's "Mula sa Kulimliman," directed by Hazel Gutierrez, stands out both for its quality and its thematic dissonance. It was, to our mind, the best entry in this year's Virgin Labfest, and we're not about to take those words back.
Here, it is the only play to tackle love as the glue that holds a family together, but it remains peerless in its unraveling of that glue. The pieces seamlessly come off and reshape themselves into something altogether refreshing--and downright hilarious--as the story takes a deliberate, unexpected turn from domestic normalcy into fantastic tragicomedy.
Jonathan Tadioan, Timothy Castillo and the sublime Mayen Estañero have lost none of their inspired touch in their portrayal of a family coming under a phantasmagorical fire. The laughs still burst in all the right places, and this production flows like a freewheeling circus of crazy you just don't want to end.
'Malapit Man, Malayo Rin'
The rest of the plays are varying takes on the boy-meets-girl trope. The finest among them is Chris Martinez's "Malapit Man, Malayo Rin," which was first seen two years ago during Philippine Educational Theater Association's one-weekend showcase of new work, dubbed "Peta Lab."
The timely premise alone is a winner: Can love still conquer all if traffic comes in the way? Boy lives in Valenzuela while girl lives in Las Piñas, and those who must deal with Metro Manila's hellish roads on a daily basis can only imagine how exasperating that can be.
That exasperation is arrestingly translated by Melvin Lee's direction into a kind of theatrical urgency, as the play gradually convinces you that, yes, this quirky business of the heart must come to an end. As the fated lovers, Roi Calilong and Pat Liwanag authentically capture not only the frustrations and weariness of the Filipino everyman, but also the romantic's bullheaded conviction that things can still and will certainly get better.
Which brings us to the third play in Set A of this "festival": Pertee Briñas' "Isanlibong Taon," a musical directed by Guelan Luarca and composed by Ejay Yatco. It is the only debuting work in this set, and yet we would be remiss if we were to blame this production's shortcomings on its relative newness.
The ultimate challenge in this festival is to mount a play that sidesteps the hackneyed, one that can somehow take a fresh spin at the theme. "Isanlibong Taon," about a pair of fishermen burdened by a love that must not be named, does the complete opposite: Its script succumbs to overt triteness without really making its mind up on the kind of story it wants to tell.
Luarca and Yatco have certainly done better work in the theater, but, saddled by such a material, even they can do nothing about it. Despite its unlikely setting, this play manages to feel both stale and half-baked, and nothing in how it is told--neither the direction nor the acting--makes it remotely believable.