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| 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 150th 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.
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| 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.
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| 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 19th and early 20th 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.
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| 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.
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| 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.
