Cover A scene from Rolando Tinio’s ‘May Katwiran ang Katwiran’, one half of the twin-bill production of Dulaang UP in tribute to National Artist Tony Mabesa (Photo: Instagram / @dulaang_up)
A scene from Rolando Tinio’s ‘May Katwiran ang Katwiran’, one half of the twin-bill production of Dulaang UP in tribute to National Artist Tony Mabesa (Photo: Instagram / @dulaang_up)
1 / 1
Following the success of ‘Nanay Bangis’ and ‘Mga Anak ng Unos’, Dulaang Unibersidad ng Pilipinas (Dulaang UP) returns to the stage, dedicating its latest production to its beloved founder, reminding audiences of the roots and identity of the enduring university theatre organisation
Titled Para kay Tony: Tungo sa Ginintuang Alaala, Dulaang UP’s 48th season featured two classic Filipino works this month, capturing the tenacious spirit of the organisation’s history by paying tribute to its founder, National Artist for Theatre Antonio ‘Tony’ Mabesa and teasing the fast-approaching 50th golden anniversary.
The first half of the twin bill was a staging of Kalahating Oras sa Isang Kumbento, penned by the revered playwright Wilfrido Ma. Guerrero (original English script titled Half An Hour in a Convent), as translated by Lilia F Antonio. Guerrero, to whom Dulaang UP’s main theatre space at Palma Hall was named after, had this work mounted by the organisation’s precursor, the UP Dramatics Club, in 1938. Director Lloyd Sarmiento Uy from the UP Theatre Arts programme, under the guidance of Erika Estacio, further unravelled the material, shedding light on the contrasting perspectives of the play’s three nun characters.
Read more: Dulaang UP’s ‘Nanay Bangis’ highlights a Filipino mother’s sufferance in the midst of war
Above A scene from ‘Kalahating Oras sa Isang Kumbento’ (Photo: Instagram / @dulaang_up)
Above A scene from ‘May Katwiran ang Katwiran’ (Photo: Instagram / @dulaang_up)
A scene from ‘Kalahating Oras sa Isang Kumbento’ (Photo: Instagram / @dulaang_up)
1 / 2
Written in 1937, one might easily read the datedness of the script, yet the discourse maintained its relevance, not to mention the effectiveness of Rona Lynne in conveying Yolanda’s inner conflicts, reminding audiences of the necessity to address students’ mental health issues and needs. The play follows a troubled teenage student as she was being expelled for her “unbecoming nature,” after the school administration discovered that she spoke and wrote letters to a male houseboy. Stark performances from Paulyn Abando as the benevolent Sister Vitalis, Gena Suelto as the impetuous Sister Teresa and Sheryll Ceasico as the conservative Mother Superior were effective in enveloping the theatre with a tense atmosphere, adding urgency to a matter easily dismissed by people in positions of power.
The second half of the show veered into a festive mood as Dulaang UP once again reminded audiences of one of its strengths—staging a Brechtian play. May Katwiran ang Katwiran, written in 1972 by National Artist for Theatre and Literature Rolando Tinio, made its debut on Dulaang UP stage with this production under the directorial eye of another UP Theatre Arts student, MJ Briones, and his mentor-director Charles Yee. In this, audiences were transported to the outskirts, following the journey of Senyor and his Kasama from the town proper to the sea and forest. Posing as a insular view on one’s arrangements of his necessities, the play resonates with audiences by illustrating issues of social injustice. With current events revolving around greed, the critique of privilege and the call for upholding the rights of the underserved, the enlightening play strengthens the sentiments of the audience.
Read more: Meet the New National Artists: Nora Aunor, Ricky Lee, Gemino Abad, and More
Above Poster of ‘May Katwiran ang Katwiran’
Above Poster of ‘Kalahating Oras sa Isang Kumbento’
Poster of ‘May Katwiran ang Katwiran’
1 / 2
The twin-bill production pays homage to Mabesa by showcasing the organisation’s enduring standards of excellence for its students. With a storied legacy of 48 years, Dulaang UP today enjoys the hard-earned recognition and relentless spirit of its founders: Mabesa, Anton Juan and the late Behn Cervantes. However, it continues to carve new possibilities for Philippine theatre by tirelessly shaping a new breed of artists, who, like those that came before them, were adamant in showcasing socially relevant works.
Para Kay Tony is part of Dulaang UP’s 48th theatre season, “Paano umuwi nang may pagpapasya?” The season is part of a multi-year initiative leading up to Dulaang UP’s 50th anniversary. Since its inception in 1976, Dulaang UP has been staging classic and experimental plays while providing a platform of artistic expression for the UP Diliman community.
NOW READ
World Theatre Day: Anton Juan and his undying passion for theatre
Asia Shakespeare Association’s 6th conference and festival in Iloilo
Topics
About
Before assuming the Art and Culture Editor position, Franz has always had a penchant for visual and performing arts. He is passionate about exploring and writing about the local cultural scene and rediscovering the country’s storied past and rich heritage. Besides working on this luxury lifestyle magazine, Franz is an avid book reader, local traveller, museum-goer, chorister, and community theatre playwright.
Work
Franz earned a degree in Journalism from the University of Santo Tomas. He writes about local visual and performing artists and their craft; drinks wines, liquors, and spirits and talks about the creativity of their respective winemakers and master blenders; tries to learn more about business and investments; respects the tradition and artistry that go behind the making of watches and jewellery; and appreciates the genius of architecture and creative design.
As head of Tatler Philippines’ pool of writers, he helps them bring impactful and socially relevant stories to light.
For any leads, you may reach him through @franzsorillaiv on Instagram or franz@tatlerphilippines.com via email.
