Above, under & beyond the rainbow: Theater Review: Rite of Passage, A Sensitive But Eye Opening Offering from Tanghalang Ateneo

At this day and age, staging a sensitive themed material is something that you expect from a professional theater group and not from a university based guild. Lo and behold! Ateneo de Manila's theater guild took a brave stand to present this critically written theater piece.

Tanghalang Ateneo is proud to present Glen Sevilla Mas's Rite of Passage: Sa Pagtubu kang Tahud (an adaptation of a Kinaray - a short story written by Maria Milagros Geremia Lachica)

Background:

Set in Catungan IV, a quiet barrio in the province of Antique, the play opens with a painful ritual that propels reluctant, young protagonist Isoy into manhood. As he is seduced by the promised pleasures of sex, Isoy bravely confronts his past in a bid to take control of his future, and the truth can be as overwhelming as the lurid images of scantily-clothed women in magazines.

Theater veterans Frances Makil-Ignacio and Teroy Guzman headline the production as Tiyay Susing and Tiyoy Berning. Susing is Isoy’s aunt who was forced to take care of him when his mother left for Olongapo in the company of an American GI. Berning is his uncle, Isoy's role model who, in the course of the play, is forced to confront responsibilities he has ran away from for years.

Promising newcomer Cholo Ledesma plays Isoy, an adolescent boy with raging hormones who tries to defy the odds and find his place in a world dominated by adults.

Camille Abaya portrays Pila, Isoy’s neighbor and friend. Headstrong and independent, all Pila really wants is a quiet future in the province, possibly even with Isoy.

The other members of the cast are Jose delos Reyes as Kardo, a widower who preys after the young women of the barrio, and Chloe Fabul as Mina, a young woman who struggles to maintain her purity in an otherwise voyeuristic environment.

Members of the ensemble include Guelan Luarca, Bok Pioquid, Markus Alcantara, Gab Tibayan, Miguel Barretto, Jerry Cordero, Jego Mallillin, Barth Mariquit, RJ Palma, JR Sanchez, and Jacob Whittaker.

The artistic team is composed of Glenn Sevilla Mas (Playwright and Artistic Director, Tanghalang Ateneo), Ronan B. Capinding (Director), Gwyn Guanzon (Production Designer), Jethro Joaquin (Sound Designer), D. Cortezano (Lights Designer), and Niki Calma (Graphics Designer).

-excerpt is from the press release provided by Mr. Toots Tolentino

The stage was set on a rustic theme with real soil used to help set the theater area. The music used was indeed effective that it reminded me of the time when I used to visit my aunt's place in the province when I was I a child. The lights were designed to enhanced that rustic feel without losing the time element effect it was suppose to bring. The costume was also appropriate in terms of style but not in color (the lights were in a yellow tint and the sun dress used by Susing was in red and yellow - not a friendly combination when trying to take shots while they were acting).

The script was writ in English and a local dialect. It was an interesting word combination play that scenes can stand even with one type of language used and satisfy the authenticity of the play when combined with the dialect. The way this play was written, it is filled to tickle and awaken the mind of viewers about the lives of people trapped in situations that they have no control of. Such are the lives of all the characters in this critically written stage piece. This is not just about the life of Isoy but also the lives of those around him and those who made his life as is.

As for the acting part, Frances Makil-Ignacio and Teroy Guzman was indeed treasures to behold! Both delivered their parts in such level that you feel them giving life to the characters written by Glen Sevilla Mas. Cholo Ledesma was casted accordingly for his ability to project his emotions clearly with his expressions even if his skin color is not set for a kid in the province - a minor flaw but not enough to distract the audience from his acting capabilities.

Having only 3 females in the cast, Francis Makil-Ignacio (Susing), Camille Abaya (Pila) and Chloe Fabul (Mina), all played their roles accordingly. Camille Abaya was a wonder to behold showing the complexity of her character - the feelings of an adolescent female coming to age and the life of a provincial girl. The role of Chloe Fabul plays an indirect role in the life of Isoy (Cholo Ledesma) but a critical one. Her actions, as viewed by Isoy, played in the awakening of Isoy's manhood - a very critical point in the whole play.

As a whole, the play was well staged and delivered for a mature audience. There are no sensitive lines but the delivery of each scenes speaks in volume. Volumes that come in the form of visual impact and emotional intensity. All members of the ensemble delivered their parts well that they gelled together painting a clear and haunting picture as envisioned by the playwright and the director of the piece. This near to 2hrs stage piece is full of both clear and subtle symbolism. True to say that viewers may interpret things differently from the point of view of the director, Ronan Capinding, but all it takes is to have an open mind and a total view of the play and not just scenes in it.

Catch the remaining shows of Rite of Passage: Sa Pagtubu kang Tahud this December 2-6, & 9-13 at the Rizal Mini Theater of the Ateneo de Manila University. Shows start promptly at 7 p.m. with 2 p.m. matinee shows on Saturdays.

For inquiries, please contact Acel Go at 0916-480-2195 or email: ta.mpc78@gmail.com.

Connect to Tanghalang Ateneo online through the following social media networks:

Website: www.tanghalangateneo.org

Facebook: www.facebook.com/TanghalangAteneo

Twitter: www.twitter.com/TAOfficial_

YouTube: www.youtube.com/user/tanghalangateneo

Come and enjoy the beauty and magic of the stage!

Photos:
(All images used were personally taken by me during the press preview)

Scenes from the play: