I have always been a fan of children’s stories, and still am as an adult. Leave it to one of these endearing tales to weed out the complexities of life and present its lessons in the most refreshing ways. Growing up, there were Dr. Seuss’ teachings. Now, there is depth in Shel Silverstein’s accounts of love and sacrifice in “The Missing Piece” and “The Giving Tree”.
Even our local texts have captivated me. I remember reading Batibot books as a child especially the great Rene Villanueva’s “Si Inggolok at ang Planetang Pakaskas” and “Ang Pamilya Ismid.” (And I had both signed when I went to Batibot as a kid.) Now, tales like “Unang Baboy sa Langit” and “Bruhahahahaha-Bruhihihihihi” warm our hearts and, sometimes, even manage to bring tears to our eyes.
It is no wonder that a good number of children’s books make the jump to the stage. As with their written sources, these children’s plays are not just for kids. In watching them, we are reminded of the power stories have, especially with children. It is a power that can change one’s perceptions, lighten loads and problems, and teach one to dream and hope for something better.
Maling akala
Bruhahahahaha-Bruhihihihihi was the first play in the set. Directed by Mayen Estañero and adapted by Argel Tuason, this version retains the charm of Ma. Corazon Remigio’s tale and pushes it further to be an effective children’s play.
Maggie is terrified by her neighbor, Mrs. Magalit, whom she suspects is a witch out to get her. We see her playing out her imagination as she encounters and battles this “monster”. The Kapusod Network then comes to town to hold a variety show, “Itakaltakal Mo,” where the winner gets to take home three kilos of rice. The entire community, including the “witch”, joins the show. Everything goes according to Mrs. Magalit’s plan, until the crew leaves and she is left to face the mockery of the townsfolk. Maggie then realizes who the real witches of the town are.
The extension of the story to add the “noontime variety show” was something I found really amusing. As most children’s plays involved audience participation, the insertion of this segment allowed us to have fun with the material as well. For ten minutes, we felt what it was like to become part of “Wowowee” or “Eat Bulaga” (complete with roving cameras and shots of the dancing audience being projected onscreen). Aside from the end take-home lesson, this segment served as a commentary on noontime shows and hosts’ attempt to wring out emotions from their contestants for added drama (and perhaps higher ratings). Somewhere in there was the issue of the rice crisis as well. Really not just for kids.
Madaling paliwanag
Uuwi na ang Nanay Kong si Darna is Job Pagsibigan’s adaptation of Edgar Samar’s award-winning story. Directed by Cats Racsag, the play is a simple adaptation of the tale: short and sweet like any memorable story.
Bruhahahahaha exposes the child to the pain rejection and mockery can bring. It is faced by this truth that the child learns her lesson in the first play. Uuwi, conversely, gives a half-truth about a mom working as a domestic helper. However, it is in the father’s tall tales that the child gets to realize the importance of his mom’s job and the sacrifices she makes in her line of work. If Ate Vi’s Anak and Ate Shawie’s Caregiver drew out the tears, Uuwi gave the same statements about our superhuman nanays or OFW’s in a lighthearted manner.
The short story ends with Nanay distributing her pasalubong. The child receives gifts he has always wanted and is amazed that she has “read his mind.” He finally asks if she is really Darna, to which she just smiles and then proceeds to give him a hug. This denouement is not present in the staged version, but its end is still effective. In Pagsibigan’s adaptation, the child continues to believe in his Nanay-Darna and “flies off with her”, perhaps to face more trials and adventures, but this time together.
Matayog na pangarap
From common and everyday settings, we are taken to a fantasy world by the third play, Njel de Mesa’s Terangati. This is a musical adaptation based on Victoria Añonuevo’s retelling of the Manobo folktale.
Terangati is a mortal birdhunter who, on one occasion, catches sky goddesses bathing. He steals one of the maidens’ winged robes and leaves one of them stranded. He endears himself to the maiden, Ada, marries her eventually, and starts a family. All seems well until Ada finds her robe and realizes that their love began with Terangati’s deceit. She flees and Terangati sets out on a quest to bring her back.
The play began on a strong note with Njel de Mesa’s music. As the lead character, Nar Cabico used his powerful vocals, which kept songs rousing. Most of the numbers were melodic and memorable (Though one song reminded me too much of Spamalot’s “I’m All Alone”.) Some parts were vocally demanding and the actress playing Ada failed to deliver the high notes in these moments. Still this problem is easily solved. Definitely better than those of a staged reading I saw a few days back. (Just trying to recall that makes me shudder. If you saw it then you know which one I’m referring to. That one had music reminiscent of charismatic songs on acid.)
Though the play drags in the middle, we are kept interested by the its style of blacklight theater. The medium works well for the play. The technique is not used to its full advantage in all scenes, although there are some good moments that utilize the glowing set pieces and backdrops well. For instance, I liked the part where the maidens are seen frolicking in the river, each one’s visage black and mysterious, yet with hair glowing orange and winged robes dazzlingly white. In the end, Terangati was still a fun watch.
Pagbabalik
Bumabalik sa isipan ko ang isang awit mula sa Sinta! ni sir Pagsi (kahit na hindi man ito dulang pambata). Sabi sa pagbukas at wakas ng dula: Alalahanin, gunitain. Nang puso nati’y wala pang galos. Kahapon nati’y wala pang gapos. Alalahanin, gunitain. Kahapon nati’y sariwain.
Sa mga panahong lugmok tayo sa problema, masarap bumalik sa pagkabata. Sa mga dulang ito, malinaw ang mga aral, kilala kung sino ang bida’t kontra-bida, matayog ang mga pangarap. Lumalabas tayo ng teatrong may ngiti sa mukha at, kahit sa munti pang sandali, may di-matinag na kalinawan ang lahat.
Even our local texts have captivated me. I remember reading Batibot books as a child especially the great Rene Villanueva’s “Si Inggolok at ang Planetang Pakaskas” and “Ang Pamilya Ismid.” (And I had both signed when I went to Batibot as a kid.) Now, tales like “Unang Baboy sa Langit” and “Bruhahahahaha-Bruhihihihihi” warm our hearts and, sometimes, even manage to bring tears to our eyes.It is no wonder that a good number of children’s books make the jump to the stage. As with their written sources, these children’s plays are not just for kids. In watching them, we are reminded of the power stories have, especially with children. It is a power that can change one’s perceptions, lighten loads and problems, and teach one to dream and hope for something better.
Maling akala
Bruhahahahaha-Bruhihihihihi was the first play in the set. Directed by Mayen Estañero and adapted by Argel Tuason, this version retains the charm of Ma. Corazon Remigio’s tale and pushes it further to be an effective children’s play.
Maggie is terrified by her neighbor, Mrs. Magalit, whom she suspects is a witch out to get her. We see her playing out her imagination as she encounters and battles this “monster”. The Kapusod Network then comes to town to hold a variety show, “Itakaltakal Mo,” where the winner gets to take home three kilos of rice. The entire community, including the “witch”, joins the show. Everything goes according to Mrs. Magalit’s plan, until the crew leaves and she is left to face the mockery of the townsfolk. Maggie then realizes who the real witches of the town are.
The extension of the story to add the “noontime variety show” was something I found really amusing. As most children’s plays involved audience participation, the insertion of this segment allowed us to have fun with the material as well. For ten minutes, we felt what it was like to become part of “Wowowee” or “Eat Bulaga” (complete with roving cameras and shots of the dancing audience being projected onscreen). Aside from the end take-home lesson, this segment served as a commentary on noontime shows and hosts’ attempt to wring out emotions from their contestants for added drama (and perhaps higher ratings). Somewhere in there was the issue of the rice crisis as well. Really not just for kids.
Madaling paliwanag
Uuwi na ang Nanay Kong si Darna is Job Pagsibigan’s adaptation of Edgar Samar’s award-winning story. Directed by Cats Racsag, the play is a simple adaptation of the tale: short and sweet like any memorable story.
Bruhahahahaha exposes the child to the pain rejection and mockery can bring. It is faced by this truth that the child learns her lesson in the first play. Uuwi, conversely, gives a half-truth about a mom working as a domestic helper. However, it is in the father’s tall tales that the child gets to realize the importance of his mom’s job and the sacrifices she makes in her line of work. If Ate Vi’s Anak and Ate Shawie’s Caregiver drew out the tears, Uuwi gave the same statements about our superhuman nanays or OFW’s in a lighthearted manner.
The short story ends with Nanay distributing her pasalubong. The child receives gifts he has always wanted and is amazed that she has “read his mind.” He finally asks if she is really Darna, to which she just smiles and then proceeds to give him a hug. This denouement is not present in the staged version, but its end is still effective. In Pagsibigan’s adaptation, the child continues to believe in his Nanay-Darna and “flies off with her”, perhaps to face more trials and adventures, but this time together.
Matayog na pangarap
From common and everyday settings, we are taken to a fantasy world by the third play, Njel de Mesa’s Terangati. This is a musical adaptation based on Victoria Añonuevo’s retelling of the Manobo folktale.
Terangati is a mortal birdhunter who, on one occasion, catches sky goddesses bathing. He steals one of the maidens’ winged robes and leaves one of them stranded. He endears himself to the maiden, Ada, marries her eventually, and starts a family. All seems well until Ada finds her robe and realizes that their love began with Terangati’s deceit. She flees and Terangati sets out on a quest to bring her back.
The play began on a strong note with Njel de Mesa’s music. As the lead character, Nar Cabico used his powerful vocals, which kept songs rousing. Most of the numbers were melodic and memorable (Though one song reminded me too much of Spamalot’s “I’m All Alone”.) Some parts were vocally demanding and the actress playing Ada failed to deliver the high notes in these moments. Still this problem is easily solved. Definitely better than those of a staged reading I saw a few days back. (Just trying to recall that makes me shudder. If you saw it then you know which one I’m referring to. That one had music reminiscent of charismatic songs on acid.)
Though the play drags in the middle, we are kept interested by the its style of blacklight theater. The medium works well for the play. The technique is not used to its full advantage in all scenes, although there are some good moments that utilize the glowing set pieces and backdrops well. For instance, I liked the part where the maidens are seen frolicking in the river, each one’s visage black and mysterious, yet with hair glowing orange and winged robes dazzlingly white. In the end, Terangati was still a fun watch.
Pagbabalik
Bumabalik sa isipan ko ang isang awit mula sa Sinta! ni sir Pagsi (kahit na hindi man ito dulang pambata). Sabi sa pagbukas at wakas ng dula: Alalahanin, gunitain. Nang puso nati’y wala pang galos. Kahapon nati’y wala pang gapos. Alalahanin, gunitain. Kahapon nati’y sariwain.
Sa mga panahong lugmok tayo sa problema, masarap bumalik sa pagkabata. Sa mga dulang ito, malinaw ang mga aral, kilala kung sino ang bida’t kontra-bida, matayog ang mga pangarap. Lumalabas tayo ng teatrong may ngiti sa mukha at, kahit sa munti pang sandali, may di-matinag na kalinawan ang lahat.
Unfortunately, the Labfest is over, so tapos na ang mga pagpapalabas sa mga ito. Terangati is open for touring according to Njel de Mesa. Hopefully the other productions are restaged sometime as well.
-----
How do you say to your child in the night?
Nothing's all black, but then nothing's all white
How do you say it will all be all right
When you know that it might not be true?
What do you do?
Careful the things you say
Children will listen
Careful the things you do
Children will see and learn
Children may not obey, but children will listen
Children will look to you for which way to turn
Co learn what to be
Careful before you say "Listen to me"
Children will listen
Careful the wish you make
Wishes are children
Careful the path they take
Wishes come true, not free
Careful the spell you cast
Not just on children
Sometimes the spell may last
Past what you can see
And turn against you
Careful the tale you tell
That is the spell
Children will listen
How can you say to a child who's in flight
"Don't slip away and i won't hold so tight"
What can you say that no matter how slight Won't be misunderstood
What do you leave to your child when you're dead?
Only whatever you put in it's head
Things that you're mother and father had said
Which were left to them too
Careful what you say
Children will listen
Careful you do it too
Children will see
And learn, oh guide them that step away
Children will glisten
Tample with what is true
And children will turn
If just to be free
Careful before you say
"Listen to me"
---------
Syempre, hindi kumpleto ang post tungkol sa kwentong pambata nang wala ito, hehe:
Children Will Listen
(from Into the Woods by Stephen Sondheim & James Lapine)
(from Into the Woods by Stephen Sondheim & James Lapine)
How do you say to your child in the night?
Nothing's all black, but then nothing's all white
How do you say it will all be all right
When you know that it might not be true?
What do you do?
Careful the things you say
Children will listen
Careful the things you do
Children will see and learn
Children may not obey, but children will listen
Children will look to you for which way to turn
Co learn what to be
Careful before you say "Listen to me"
Children will listen
Careful the wish you make
Wishes are children
Careful the path they take
Wishes come true, not free
Careful the spell you cast
Not just on children
Sometimes the spell may last
Past what you can see
And turn against you
Careful the tale you tell
That is the spell
Children will listen
How can you say to a child who's in flight
"Don't slip away and i won't hold so tight"
What can you say that no matter how slight Won't be misunderstood
What do you leave to your child when you're dead?
Only whatever you put in it's head
Things that you're mother and father had said
Which were left to them too
Careful what you say
Children will listen
Careful you do it too
Children will see
And learn, oh guide them that step away
Children will glisten
Tample with what is true
And children will turn
If just to be free
Careful before you say
"Listen to me"
---------
To Mr. Rene Villanueva, even if I never knew you personally, thanks for all the stories that have become part of our lives.
1 comment:
Maraming salamat sa rebyu. I posted a link to your entry from my site at http://atisan.blogspot.com Thanks again!
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