CCP Out-of-the-Box Series for 2024 shines a light on National Artists Eddie Romero, Alejandro Roces, and F Sionil Jose

Another significant character from Po-on who appeared in the CCP Out-of-the-Box Series offering was Apo Pule, inspired by the physical attributes and wisdom of Filipino national hero Apolinario Mabini.

As Torres’s play continues to the period after the Second World War, Roces’s Joe from the short story We Filipinos are Mild Drinkers was added to the play to give a glimpse of the Hubalahap Rebellion.

Dramaturg Renz Joshua Buela briefly explained the historical context in his notes: “The Hukbalahap Rebellion was a rebellion staged by former Hukbalahap or Hukbong Bayan Laban sa Hapon soldiers against the Philippine government. It started in 1942 during the Japanese occupation of the Philippines, continued during the presidency of Manuel Roxas, and ended in 1954 under the presidency of Ramon Magsaysay. The Hukbalahap organisation proved highly successful as a guerrilla group and killed many Japanese troops. The Huks regarded wealthy Filipinos who collaborated with the Japanese as fair targets for assassination, and by the end of the war they had seized most of the large estates in central Luzon. They established a regional government, collected taxes, and administered their own laws.”

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In celebration of the 100th birth-anniversary of the three aforementioned National Artists, Torres embarked on the gargantuan task of putting together pieces from the three acclaimed works and put up a theatrical staging that would inspire today’s generation to look back at the questions raised by these prominent figures in Philippine arts and culture.

“The play is tied to the question, ‘What if?’” Torres said. “This is sometimes asked by writers, who play around the topic of history every time they write. For me, it was, ‘What if Nicolas Ocampo [Kulas]... went on to continue his story of attempting to define his identity [as a Filipino] after the events in the film?” Some revolutionary heroes lived through the Fifties—even Emilio Aguinaldo died in 1963—and so I thought what must have been their insights on the nation after the Second World War. The result? ‘Ganito Na Kami Noon, Paano Na Ngayon?’ [This is how we were before, how is it now?] And if you were able to watch the play, think: ‘Paano na nga ba ngayon?’ [Now what? / how is it really now?]”

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In the rephrasing of Torres of Romero’s title, there is an undertone of frustration. Are we still embodying the qualities that define our race, as seen in Kulas’s outlook, demeanour, and values? Or have these sensibilities changed over time? There is a hint of desperation as well, as if time is of urgency and we must recall who we are at once to move forward.

The play enriches the colours of Romero’s screenplay by showing Kulas’s maturity and the eventual decline of his fervour, brought upon by the curtains of war that enveloped the country for three years. Yet, hope shines a glimmer in his eyes as he continues to imagine Diding always present in his heart and mind. Arjhay Babon’s portrayal was visceral at some points but mostly inquisitive, as if he wants the audience to join him in finding the answers to the perennial questions that lead us to our understanding of our national identity.

Emphasising the themes of reconciliation and the passage of time, the CCP Out-of-the-Box Series play incorporates the theatre-in-the-round style, making it an intimate and introspective experience for the audience.

“The world of the play follows the mind of Kulas,” dramaturg Miguel Salaya wrote in his notes. “The stage shifts according to the view of the world. The stage will be bare, to allow fluidity of Kulas’s perception of the world to change and adjust. Modular set pieces could be used for ease of set-up and strike. When Kulas is reminded of people from the past, their faces flash in his mind and manifest accordingly onstage. There will be changes during Kulas’s flashbacks as he remembers and imagines the setting in which the memories take place. For these, projections could be used.”

At first glance, these three works tell different stories, written in distinct styles. On closer examination, they share a timeline and central theme, exploring and questioning the Filipino identity. “What defines a Filipino? If we are saying we are all Filipinos, why are we fighting each other in the name of the Philippines?” said CCP Artistic Director Dennis Marasigan, who directed the play.

For Torres, the play examines identity from various angles. “Through this production, we bring the concept of identity beyond the usual context – accepting our identity as Filipinos in different scenarios. When discussing heroism, we often focus on the Katipunan and the Philippine Revolution. But what about the American war, the Hukbalahap movement? No matter how we condemn them as communists, they are still Filipino,” said Torres.

Rather than using prominent figures like Bonifacio, Mabini, Rizal to discuss the Katipunan and the revolution, the play employs relatable characters drawn from the works of Jose, Roces, and Romero to paint a holistic picture and examine historical accounts.

Newly installed CCP President Kaye Tinga commented on the play: “A transformative journey that leads to rediscovering the meaning of Filipino identity... A compelling play that symbolises a key to unlocking a new door that leads to understanding our own identity as Filipinos and our vital history that we Filipinos should value.”

In October, CCP Out-of-the-Box Series will stage a musical theatre version of Karnal, a 1983 film penned by National Artist Ricky Lee and directed by National Artist Marilou Diaz-Abaya

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