San Andres B. Gala Night

Dondi Ong

Tanghalang Pilipino paid tribute to one of the country’s heroes, Andres Bonifacio by staging a new opera entitled San Andres B. in commemoration of his 150^th birth anniversary.

This work, featuring the libretto of National Artist for Literature Virgilio Almario, the music of Josefino “Chino” Toledo and under the direction of Floy Quintos, strayed from a straight, biographically accurate depiction of Bonifacio’s life but instead focused more on his personal transformation as he took on the mantle and became the Father of the Katipunan.

Margarita Roco

The difficult task of playing the title role of Andres Bonifacio fell into the shoulders of tenor Dondi Ong. In this opera, Ong had to portray a Bonifacio referred to as a saint, hence the title San Andres B. while still being tormented by conflicting views of not just of those surrounding him but also by the uncertainties within him as well.

The people surrounding him were led by Bonifacio’s wife, Gregoria de Jesus (Margarita Roco) who had to sacrifice a lot to support her husband in his revolutionary endeavors. Another hero Jose Rizal, played by Marvin Gayramon, earlier on became a hurdle for Bonifacio when their methods clashed. While Rizal didn’t approve, Bonifacio found support in Emilio Jacinto (Antonio Rey Manuel Ferrer) who became his right hand man at the Katipunan.

Marvin Gayramon

Bonifacio’s internal struggles were personified by the Four Beggars (Nicolo Magno, Terence Guillermo, Jose Nikolas Herrera, and Noe Morgado), four ragged figures from the Spanish Empire who were clinging on desperately to their grasp of the Philippines. Acting as a spark of hope and encouragement were the Three Marias (Regina de Vera, Clariane Avila, and Melanie Dujunco) with each donning a color of the Philippine flag.

Musically, the opera had a contemporary style, full of dissonance and a melodic line very much unlike the operas from the 19^th and early 20^th centuries. The music had some interesting textures mostly formed by the use of the parlato. Both the Beggars and the Marias parts were initiated by spoken lines that were followed through sung through lines that weaved polyphonically. It was only when something important had to be stressed that the occasional homophony was heard from the Beggars and the Marias. Grupo 20/21, a new ensemble dedicated in playing contemporary works provided the live music in this opera.

Antonio Ferrer

While I was mesmerized by the strangeness of the music, I couldn’t help be remain unconvinced with Dondi Ong’s portrayal of Andres Bonifacio. The other actors were effective in conveying their emotions on stage but it was odd to see that Bonifacio, the one who should be shouldering the heaviest emotional baggage, wasn’t able to show enough of the strain and turmoil that he was going through. Probably the most affecting part of the opera for me was when Bonifacio was given a glimpse of his tragic end if he ever took the path of the Katipunan and yet he remained steadfast towards that direction. But Ong’s reaction and eventual decision towards this revelation didn’t pack the same punch. I think that while Ong could hit the notes, he doesn’t possess the acting chops needed for such a complex character like Andres Bonifacio.

Jose Herrera, Terence Guillermo, Nicolo Magno, and Noe Morgado

The other elements of the opera (staging, lighting, and costume design) remained relatively straightforward which I think was the right call. Having contemporary music was already risky and to pull back in the stage direction, opting for clarity in storytelling instead of bombarding audiences with too much spectacle, made it a lot easier for me (and possibly everybody else) to digest fully the new music and to take this new work in.