Paying tribute to Dulaang UP’s founder, National Artist for Theater Antonio “Tony” Mabesa, Para Kay Tony: Tungo sa Ginintuang Alaala is a timely Brechtian twinbill that is both a showcase of what theatre was and what theatre can be. 

Para Kay Tony is part of Dulaang UP’s 48th season aptly named “Paano umuwi nang may pagpapasya?” 

The twinbill sees the performance of Kalahating Oras sa Isang Kumbento by legendary playwright Wilfrido Ma. Guerrero, as translated by Lilia F. Antonio. Following it is National Artist Rolando Tinio’s May Katwiran ang Katwiran.

Kalahating Oras sa Isang Kumbento

Living up to the title’s promise of time, Kalahating Oras sa Isang Kumbento mesmerizes with its portrayal of a clash between generations and morals. 

Kalahating Oras sa Isang Kumbento follows young Yolanda, a student at a convent school, and her desperate attempt for companionship after expulsion. A 30-minute chamber drama full of thematic heft that feels more urgent now, it rings more resonant today.

As Yolanda, Rona Lynne (alternating with Kris Caaya) conveys her character’s devastation in a way that elicits sympathy from the audience. Evoking both grief and desperation, Lynne leaves a haunting impression as protagonist Yolanda.

Gena Suelto (alternating with Janna Talampas) as Sr. Theresa and Paulyn Abando (alternating with Jan Magcaling) as Sr. Vitalis serve as nuns who embody different ideals, yet both in service of their purpose. These nuns are wholly compelling to watch on their own, and their interactions with Yolanda utterly heartbreaking.

Sheryll Ceasico intimidates with her Mother Superyora, who remains a stagnant woman refusing to understand. Ceasico brings a magnetic quality that forces one to watch her go on and about whenever she is on stage.

Stark, warm lighting washes over the play’s minimalist set, which serves to push one’s attention onto the performances, rather than focusing on an elaborate staging. Gradual hues of blue and orange occupy from time to time, as if to further emphasize the clash of authority versus individualism.  

The set, composed of a few chairs and even fewer tables, by scenic designer Reign Fausto is very much effective. Lights by Lan Tee Sy do an amazing job in conveying Yolanda’s isolation and anxiety, on top of imparting these to the audience.

Assured, taut direction from Lloyd Sarmiento Uy makes the play a mesmerizing watch that is worth the while.

May Katwiran ang Katwiran

Twice the runtime and almost twice the number of characters, May Katwiran ang Katwiran starts off enthusiastically, and ends with weary self-awareness.

May Katwiran ang Katwiran takes the audience on the mountainous journey of Senyor, a wealthy haciendero, alongside his servant he refers to as Kasama. 

Starting off with an interactive sing-along, the Brechtian play shifts from enthusiasm to a story that prompts reflections on exploitation and power dynamics. 

Told in eighteen chapters, the play is as dynamic as ever with central performances from Kerr Allen as Senyor and Daniel Duplon as Kasama. 

Allen is crucial to the play, given the charisma he brings to the role. Duplon, equally crucial, delivers on the physical strain and the emotional restraint his character demands.

The sparse use of songs, and the engagement of its audience in singing along at times, amplify a dissonance that National Artist Rolando Tinio deliberately cultivates over the course of an hour.

Sensitive direction from MJ Briones transforms the IBG-KAL Theater into a space where audiences are forced to confront their complicity, making Tinio’s play boldly resonant for a contemporary audience. 

Largely serving as a two-hander with an ensemble – Francheska Andaya, Akin Cullarin, Pat Ebro, Camille Fabian, and Julianne Quimio – that makes the play feel more timely than ever, May Katwiran ang Katwiran becomes a pointed reminder of the inequalities that continue to shape the Filipino’s way of life.

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