HARING +UBU-L

Sipat Lawin Ensemble’s Filipino adaptation of Alfred Jarry’s Ubu Roi, the first avant garde theatrical piece is so wrong in many levels that it has gone full circle and became so right. It’s offensive, gross, filthy and oh so awesome. I loved it.

Sipat Lawin Ensemble is an edge-work site-specific theater company formed mainly by graduates of the Philippine High School for the Arts and other collaborating artists. I welcome the entry of this group of really talented, unassuming geniuses into the “mainstream” theater scene. They really are a breath of fresh air to the commercially (as commercial as theater gets) motivated performances that major companies stage these days.

Haring Tubul is not broadway in anyway. Nor is it a politically correct PETA production. It’s entertainment but so much more. It is so unfortunate that I cannot invite everyone to watch this performance for the simple reason that not everyone is intelligent enough to appreciate it.

To those who want depth and profundity, this play will not leave you wanting for it offers a very deep socio-political commentary; albeit sandwiched between profane language and obscenity. Look beyond the racy language and the humping and pumping and the gore and slime, and you will find a message so relevant to us today. Power hungry, greed, ambition, gluttony, avarice are words we usually relate to Gloria Macapagal Arroyo and many traditional politicians. Yet this play is so much more than an attack on the country’s political leaders. It pokes your consciousness and makes you think, but it does it so subtly that you just get entertained only to realize later on that “oo nga no?”

You laugh and wonder why you are laughing so hard about something that propriety dictates as improper. You laugh when you should be offended; only to realize that its obscenity is precisely what makes it funny. It’s so disgusting it’s provocative. So impertinent that it is pleasantly entertaining.

An avant garde piece like this can and will only work with a strong ensemble cast (Acey Aguilar, Nar Cabico, Sheenly Gener, Dorothea Marabut) and an artistic and production staff of the highest caliber (music/sound designer Teresa Barrozo, prod designers Leeroy New, Eisa Jocson, Santi Obcena & Tuxqs Rutaquio, and director JK Anicoche). Sipat Lawin Ensemble is just that. Young, talented, brilliant, gifted -- artists committed to their craft without coming off as cocky; takes pride in what they do and keeps their dignity without insulting their audience’s intellect.

Franc lee speaking, Haring Tubul has got to be the most entertaining theater production I have seen this year. I know it’s only March, there’s so much more plays to watch and I can’t wait to see what Sipat Lawin Ensemble is offering next.

I f I must summarize my Haring Tubul experience in a phrase, I only have this to say…”PUTANG INA, ANG GANDA!”

Itim Asu

I have had the chance to witness two (2) dance performances lately; Myra Beltran’s re-adaptation of Virginia Moreno’s’ ITIM ASU (February 24, RCBC Plaza) and Ballet Philippines’ NEO-FILIPINO.

ITIM ASU or the Onyx Wolf has been staged several times; it inaugurated the CCP Little Theater in 1970 with National Artist Rolando Tinio directing fellow National Artist Daisy Avellana in the lead; Anton Juan also staged his own interpretation of the this Virgie Moreno classic with Lolita Rodriguez and Vic Silayan (who also played the role of Gen. Bustamante in the Tinio version) and of course the very memorable modern dance interpretation of Alice Reyes for her dance company that is now known as Ballet Philippines.

So, why restage, or as Myra Beltran would say it, “reconstruct” this masterpiece? She did write a lengthy director’s notes explaining why. As always, there’s the usual “trying-to-be-deep-and-profound-but-really-just-a-load-of-crap” explanation. I always thought that dance pieces no matter how long or short it is, should be able to speak for itself. You may have the most profound intention but the piece has to be judged by the actual dancing, not the blurb, not the synopsis.

What do I think about Myra Beltran’s latest opus? Well, the performance to begin with was not very impressive. I understand the dancers were mostly from the UP Dance Company; therefore they were still very young and raw talents. But that is no excuse, I have seen young dancers do so much better. The choreography was very Myra Beltran, there was nothing I haven’t seen before (from Myra or any other choreographer/dancers). Of course she had to take the “multi-media” route with video projections and recorded narrations embedded or intertwined with canned music by various artists. The video projections at the very least were a distraction to the core of the performance, the dance. It didn’t realy contribute anything meaningful to the piece as it was merely a montage of images and what-nots. Absolutely unnecessary. I suppose if you are confident enough with your dancing and choreography, you wouldn’t really feel the need to “collaborate” with other artists and insert pointless creations into your masterpiece. Another thing that really bothered me was the narration. In between some dance pieces were letters of Rizal to reformers and some radio broadcasts, which were conceptually fine by me; I just hope they asked someone with better diction to do the recording.

The clincher for me was Myra’s own performance. You are the choreographer and director. This whole thing was your idea, your concept performed through the young dancers of UP Dance Company. Why do a solo in the middle of the action? If you really wanted to showcase yourself, you should have casted yourself to play the lead! Otherwise, leave the dancing to your dancers. Let them tell your story. Let them deliver your message.

Franc Lee speaking, Myra Beltran’s “reconstruction” of Virginia Moreno’s ITIM ASU was… well… self indulgent on her part, a lackluster performance and was overall, a big bore. Good thing the performance was free of charge.

latest culture happenings

It's been a while since my last entry. i've been pretty busy lately. since then i have had the chance to catch PETA's Juan Tamad ang Diyablo at 5 Milyong Boto, Ballet Philippines' Neo-Filipino, Dulaang sipat lawin's Haring +Ubu-L, Myra Beltran's Itim Asu and a few movies.

I will post my review of the said performances soon.