Tanghalang Pilipino’s Ibalong returned to the
Cultural Center of the Philippines’ Tanghalang Aurelio Tolentino (CCP Little
Theater) stage, giving more people the chance to experience for themselves this
epic musical which was the company’s hit from their previous season. I was also
able to experience again this musical adapted by Rody Vera from a Bicolano epic
fragment. Read my thoughts from the previous run here.
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| Remus Villanueva |
Seeing
Ibalong for the second time made me
notice things that I wasn’t able to take note during my first time seeing it.
First of all, it was nice to be able to see Remus Villanueva in the role of
Handyong this time around. He brought a different take to the role with his
physically imposing presence and a singing voice that also acted the part. I
anticipated very much the emotional highlight for his character at the second
act wherein he sings a cappella. As always, it delighted me to see the
alternate actor whenever I get another chance to see a play or musical since it
gives me a new insight and perspective to the character.
 |
| Cheeno Macaraig |
Cheeno
Macaraig, who portrayed the young Handyong displayed once again why he is one
of the best movers/dancers in the whole cast. I couldn’t help but think that
the adult Handyong somehow tightened up as he got older since Cheeno was full
of spring, very flexible and nimble in his role. And Remus and Myke Salomon
weren’t able to match the physical prowess of Cheeno.
 |
| Trixie Esteban |
I
also noticed that the fight scene between Cheeno and Jenine Desiderio’s Oryol
was now smoother and fluid, and less telegraphed. Before, Oryol was already in
the defense even before Handyong was ready to strike but there was almost none
of that in this run. Again, Jenine was sultry and seductive as the half-snake
Oryol. She was able to establish herself clearly as the seasoned and
experienced creature next to a much younger Handyong in Remus. Also, May Bayot
was finally in her element this time and didn’t struggle at all in her songs
that required her to do those tricky shifts in registers. I remember noticing
that she was not in her best form during the first time that I saw this
musical.
 |
| Nicolo Magno |
Lastly,
I was able to pick out the subtle changes in the arrangement of the music of
the Ibalong main theme. During the musical’s first half, the arrangement used a
lot more ethnic instruments and the sound was more tribal, organic and explosive.
During the second half’s reprise of this main theme, the arrangement now was
more electronic, polished, urban and catering more to popular and mainstream
tastes. I felt as if the music composed by Carol Bello also reflected the loss of wilderness as the land
became more tamed and civilized.
It was also interesting to see the new faces of the Tanghalang Pilipino Actors Company in this production as part of the ensemble. Probably my only regret in this run of Ibalong was that I wasn't able to see Delphine Buencamino as Oryol. It would've been very interesting to see how her take on that role would be.
 |
| Red Nuestro |
It was also interesting to see the new faces of the Tanghalang Pilipino Actors Company in this production as part of the ensemble. Probably my only regret in this run of Ibalong was that I wasn't able to see Delphine Buencamino as Oryol. It would've been very interesting to see how her take on that role would be.
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| Tangahalang Pilipino Actors Company |
Before
going back to the CCP, Tanghalang Pilipino had Ibalong on tour and they were able to stage it in Legazpi during
the city’s Ibalong festival. TP’s artistic director Nanding Josef was proud to
say that it was received warmly. It would not surprise me at all if Ibalong will be brought on tour once
again and be one of the staples in Tanghalang Pilipino’s repertoire.
