Cover The set design of "Plano de Hinirang" mimics old maps of Manila during the Spanish Colonial Period, with moving 3D backdrops representing mansions, a church, and some government buildings (Photo: Henriette Pajarin Baes)
The set design of "Plano de Hinirang" mimics old maps of Manila during the Spanish Colonial Period, with moving 3D backdrops representing mansions, a church, and some government buildings (Photo: Henriette Pajarin Baes)
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Dulaang UP's 'Kung Paano Nanalo sa Karera si Rosang Taba' is a testament to how an uplifting story for Filipino children can be a poignant reminder for the nation to stand on its truth and what it is fighting for
For its 45th theatre season, Dulaang UP has brought to the stage stories of the country's heartbreaks and hopes that arose in recent years. Coming from the pandemic that closed down the University of the Philippines' hallowed halls, the rehabilitation and renovation of its home in Wilfrido Ma Guerrero Theater, the fire at the UP Faculty Center that destroyed many of its archival literary and artistic works, and the passing of its founder National Artist Tony Mabesa, Dulaang UP seemed to be on the cathartic mode just like the rest of the theatre companies in the country. But aside from the challenges close to home, Dulaang UP paralleled these with the nation's recent crises. Floy Quintos' The Reconciliation Dinner reopened the wounded relationships that became the aftermath of the 2022 national elections. Last March 23 to April 2, it staged Dean Francis Alfar's beloved children's book, Kung Paano Nanalo sa Karera si Rosang Taba, to evoke collective memory, criticise gender representation, and continue the discourse on decolonisation.
Read also: Dulaang UP returns to the stage for its 45th season
Above Kiki Baento as Rosanna and Rosang Taba
Kiki Baento as Rosanna and Rosang Taba
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Kung Paano Nanalo sa Karera si Rosang Taba stage adaptation has two worlds: the present era that introduced audiences to the family matriarch's enduring legacy, Mama Rosa's restaurant of singing cooks and servers, and the past that is recalled every day through a musical theatre show. It is an origin story of the heroine, Rosa, a Katao (Filipino) woman, a criada (housemaid) in a mansion of an Ispancialo (Spanish) family whose patriarch is the Governor-General of Hinirang (The Philippines), and a beloved daughter of an elderly Katao couple who used to tell her tales of the divine Lakambini who protects the lands of Hinirang and its people.
In his children's book, Alfar fictionalised the plight of the Indios during the Spanish colonial rule, hailed their pre-colonial beliefs, and dramatised the journey of the Indios to their Filipino identity. But though the original children's book remained true to its references, scriptwriters Rody Vera and Maynard Manansala changed the names used for the races to Katao and Ispancialo as well as that of the country's to make it more universal and a work of speculative fiction.
Read also: Letras y Figuras: The 19th-Century Philippine Art Form's Origins and Legacy
Above Peewee O'Hara and Aldo Vencilao as Rosang Taba's parents
Peewee O'Hara and Aldo Vencilao as Rosang Taba's parents
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"The form of the text as 'real, but not real' creates spaces for imagination. . .The opening of the rigid structures of history tickles the viewers' imagination to create possibilities," directors José Estrella, Issa Manalo Lopez, and Mark Daniel Dalacat wrote in their directorial notes. The motive behind this transformation of the story is to stay true to Alfar's objective—to see oneself in Rosa, who is fearless in defying the odds, proving to those who look down upon her physical form and nationality that she could emerge victorious.
"It is important for young people to watch this so that they can imagine how they can impact societal change. It is also essential that adults see this to deepen how they interact with the dynamics of today's world," the directors wrote.
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Above Skyzx Labastilla as Rosa Mia and Andreia
Skyzx Labastilla as Rosa Mia and Andreia
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Dulaang UP's play within a play offering tells how a woman's courage, cleverness, and determination altered history. But one couldn't help but relate it to recent events in national history and take it as an imaginary and hopeful rendition of how things could have been. The blossoms of Mama Rosa's, the fervent revolutionary anthem sung without words but with a clenched fist on the chest, the call for body positivity, protection of our ancestral domains, and pride in our indigenous culture have taken viewers on an emotional roller coaster ride. But all of these were balanced by witty dialogues, ingenious anachronistic storytelling, and jovial music by the cumbanchero live band reminiscent of a mariachi.
Seasoned thespians and Dulaang UP's students and alumni alternated in portraying the characters. Kiki Baento and Quinea Babas for Rosanna and Rosang Taba, Jojo Cayabyab and Owel Pepito for Gobernador Heneral, Skyzx Labastilla played Rosa Mia and Señora Andreia, Pau Vengano as Rosa Mia and Rosang Taba's mother, Peewee O'Hara as Rosalinda and Rosang Taba's mother, Mari Palaganas as Rosalinda and Señora Andreia, Victor Sy and Dyas Adarlo as Petrardo and cumbanchero, Aldo Vencilao and Victor Deseo as Rosang Taba's father and cumbanchero. Both sets of actors gave electrifying performances that made the deliberate breaking of the fourth wall effective. Perhaps the only thing lacking would be the audience's dishes and alcoholic drinks to establish Mama Rosa's restaurant. But kidding aside, Dulaang UP fearlessly took the risk of building the worlds of Mama Rosa's restaurant, the life and times of Rosang Taba, the folk tale of Lakambini, and the hopeful future of Hinirang that could be jarring for the inattentive audience. Through the actors' effective switches and transitions, Barbie Tan-Tiongco's lighting design, Angel Dayao's sound and music design, and Carlo Pagunaling's costume design, suspending disbelief was a smooth ride.
Read also: World Theatre Day 2023: Anton Juan and his undying passion for theatre
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True to a hero's arc, Kung Paano Nanalo sa Karera si Rosang Taba ends on a high note grounded with a heart-wrenching truth that it is just fiction and the fight to win our freedom was bloodier than what was presented onstage. And yet, through that countertext, the call to end historical negationism, decolonise the minds and hearts of the Filipino people, and many more have become resonant. Ultimately, it is a story in each of us and is "open to countless interpretations depending on each audience's disposition, intellectual position, and other ideological perspectives"—the directors noted, referring to the writings of philosopher Jacques Rancière. That said, more than a distinct take on Alfar's storybook, it was a poetic experience felt beyond the four corners of its set design.
Kung Paano Nanalo sa Karera si Rosang Taba is written by Dean Francis Alfar, and illustrated by Ghani Madueño for Lampara Books. It won third prize in the short story for children category of the 2006 Don Carlos Palanca Memorial Awards for Literature
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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.
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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.
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