This classic play, which captures the indomitable spirit of overseas Filipino workers at the onset of the Filipino diaspora in the 1970s, gets a musical restaging at the Cultural Center of the Philippines. Here's what we think of it:
Imagination makes a nation. Anyone with a smattering of collegiate-level history should recognise this Benedict Anderson paraphrase. For the historian to say that the nation is imagined is one thing. To ‘show’ it, however can only be an artist’s task, as Anton Juan proves in his eponymous musical adaptation of Bienvenido Noriega’s masterpiece, Bayan-Bayanan.
A spectacle weaved with poignant stories of overseas Filipino workers (OFWs) in 1970s Geneva, Bayan-Bayanan: Letters from Home, a co-production of the Erehwon Center for the Arts and Cultural Center of the Philippines, premiered last July 29, with the support of the French Embassy of the Philippines. Juan, an internationally renowned theatremaker and auteur, had already staged Noriega’s play not only locally but also in faraway cities, Athens, Chicago, Geneva, London, Paris, and Toronto—places which many OFWs now consider second homes. For Juan, mounting Noriega’s play is an act of “homage for the immigrants and migrants without whom [the Philippines] would have fallen by now.”
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The Manila 2022 production is unique as Juan recasts parts of Noriega’s text—a tale of unmoored Filipinos who wax nostalgic about their horizons of origin—in verse, set to original music by Cleofe Guangco-Casambre, Russ Narcies Cabico, Andrew Bryan Sapigao, Jonathan Cruz (the musical director), and rendered by members of the Metro Manila Concert Orchestra. Also featured is a special song by Jerry Dadap, the first Filipino composer to perform his compositions at the renowned Carnegie Recital Hall.
“I begin with sound,” says Juan on his artistic process both as a dramatist and a director. In transforming Noriega’s play into a musical, Juan especially sought to preserve the spirit of the original text while collaborating with the composers.
Indeed, Bayan-Bayanan’s libretto and score prove to be worthy vectors of expression for the Filipino diaspora’s melancholy and tenacity while on terra aliena.
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