Cover The cast of ‘Gabriela: The Musical’ indulges the press and potential showbuyers with select songs from the musical at A.bode, San Juan City (Photo: CJ Ochoa)
The cast of ‘Gabriela: The Musical’ indulges the press and potential showbuyers with select songs from the musical at A.bode, San Juan City (Photo: CJ Ochoa)
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An original Filipino production by Barefoot Theatre Collaborative explores the epic and untold story of Gabriela Silang
Inside the intimate confines of A.bode in San Juan City, inherently Filipino musical language filled the house-turned-café. During a private listening party last October 4, the cast of Gabriela: The Musical transported guests into the 18th-century northern Philippines, delivering inaugural rendition of original tracks from the upcoming musical, such as Ay-Diwa-Ko x Buwis Buhay; Amianan, Kung Paano ang Managinip; Doon, Dito, Sa’Yo and Tala. The atmosphere was electric, laying bare a narrative of resilience, heartbreak and a people’s burning pursuit of nationalism.
Above Gab Pangilinan stars in ‘Gabriela: The Musical’ as Gabriela Silang, opposite Myke Salomon, who is portraying Diego Silang as well as writing the music for the show (Photo: CJ Ochoa)
Gab Pangilinan stars in ‘Gabriela: The Musical’ as Gabriela Silang, opposite Myke Salomon, who is portraying Diego Silang as well as writing the music for the show (Photo: CJ Ochoa)
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Produced by Barefoot Theatre Collaborative (BTC), Gabriela: The Musical is an original production that shatters the confines of traditional historical retelling. The company has built a stellar track record of staging thoughtful, relevant theatre, with recent works including Lauren Gunderson’s play on grief and artificial intelligence, anthropology, as well as blockbuster hits like Bar Boys: The Musical, Drew Gasparini’s We Aren’t Kids Anymore, Mula sa Buwan, The Last Five Years, Mikaela Regis’s Unica Hijas and Floy Quintos’s Laro for its “Pride Plays” twinbill.
The new musical surfaces Gabriela Silang’s story, re-lensing the female revolutionary leader not merely as a footnote to a husband’s death, but as a formidable co-author of the revolution. For playwright Pat Valera, the journey is deeply rooted in his personal heritage. Reflecting on his studies at the University of the Philippines, Valera shared, “When I found documents that Gabriela Silang was Itneg, it really interested me, and I dug deeper in my hometown in Abra. Her mother came from there, and she went there in her later life to rally thousands of people to fight.” Last August, Valera held a Zoom talk titled “Bolo Up, Gabriela!” to discuss the iconography of the revolutionary leader and their extensive research across Ilocos, Abra and Metro Manila.
Above Myke Salomon as Diego Silang, Gab Pangilinan as Gabriela Silang and CJ Navato as Miguel Vicos (Photo: Barefoot Theatre Collaborative)
Myke Salomon as Diego Silang, Gab Pangilinan as Gabriela Silang and CJ Navato as Miguel Vicos (Photo: Barefoot Theatre Collaborative)
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This initial spark of curiosity transformed into a years-long endeavour to highlight the Itneg resistance. In 2021, Valera wrote a one-act play about the subject and sent it to his close friend from college, Katte Sabate. Since collaborating in translating the 360-page Orosman at Zafira in 2008, the duo has honed the delicate craft of distilling extensive historical research into a stage play. Drawing comparisons to his approach seen in Valera’s earlier works like Bar Boys and Dekada ’70, he shares that translating heavy history into a compelling dramatic form resonant to contemporary times requires the “wisdom on how to choose what is important, at least for the medium that is theatre”.
The initial draft of the musical ran for five hours, prompting ruthless editing. Valera candidly noted, “It’s not an historical lecture; it is a dramatic form, and it’s within a time frame. And what is the intent? You can’t say it all. If you wanna say it all, write a book.” The script has evolved continuously; while Valera noted he was on his 19th draft during the interview, actors have been reading and shaping the piece since draft 10. Because the material remains so “alive” during rehearsals, he predicts they will be on “version 22, 24” by the time the show officially opens.
Above Pat Valera hosts a Zoom talk titled ‘Bolo Up, Gabriela!’ last August 15 to discuss how Gabriela Silang was depicted in monuments across the country and more (Image: screenshot by Franz Sorilla IV)
Pat Valera hosts a Zoom talk titled ‘Bolo Up, Gabriela!’ last August 15 to discuss how Gabriela Silang was depicted in monuments across the country and more (Image: screenshot by Franz Sorilla IV)
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To ensure Gabriela: The Musical resonates authentically, the dramaturgical duo team of Valera and Sabate crafted a comprehensive guide for the actors to fully immerse themselves in the world of the eighteenth century. Yet, they maintain the flexibility required for the cast to bring their own nuances to the stage. Sabate emphasised the human element at the core of the play, explaining, “It is because we want them to be human. Gabriela is human, her companions are human,” Sabate says.
The relevance of staging historical pieces today is fiercely championed by the team, who view theatre as a vital countermeasure against collective amnesia. Highlighting a stark reality discussed at a recent UP National Writers Workshop, Sabate pointed out a poignant coincidence: the signing of the declaration of martial law on September 21, 1972 shares its date of commemoration with International Alzheimer’s Day. “This kind of plays and musicals impact audiences because we forget. We easily forget,” Sabate says. “We choose not to remember, and it’s sad... as a people.”
Read more: ‘Bar Boys’ rerun wows audiences with its authenticity and vulnerability
Above The male ensemble of ‘Gabriela: The Musical’ (Photo: Barefoot Theatre Collaborative)
The male ensemble of ‘Gabriela: The Musical’ (Photo: Barefoot Theatre Collaborative)
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Authenticity and respect for the community remain paramount in Gabriela: The Musical. The team embarked on cultural immersions in Abra and consulted with historians from UP Baguio and many other institutions across the country to meticulously cross-check material culture and historical facts. The challenge, however, lies in navigating the biases of colonial-era records.
Pointing out the glaring omissions in Gabriela Silang’s primary research source written by a Spanish friar, Sabate observed, “Gabriela is known as Diego’s wife. Not even named.” She believes that true respect is paid by filling these historical gaps. “We dare to ask, why was she not written on that document? Why was she not named? Giving voices to the people who were actually there to fight for our freedom even before the term ‘nation’ existed in our consciousness,” Sabate adds.
Above The female ensemble of ‘Gabriela: The Musical’ (Photo: Barefoot Theatre Collaborative)
The female ensemble of ‘Gabriela: The Musical’ (Photo: Barefoot Theatre Collaborative)
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Directed by Mikko Angeles with music and musical direction by Myke Salomon, Gabriela: The Musical explores the intersection of myth, magic and mystery. The dynamic ensemble representing mga kailian and mga Itneg includes Curp Adriano, Joshua Rico Santos and Delphine Buencamino as Dawak, amongst others, who collectively breathe life into a fractured yet fiercely passionate society.
Running from November 13 to December 6 at the Hyundai Hall, Areté in Quezon City, this monumental staging asks a perennial question: “Who belongs to this land?” In looking back, the creators hope to push the audience forward, turning a yearning to remember into a resolute call to action. Gabriela: The Musical ultimately stands as a poignant reminder that history is not just a static record of the past, but a living, breathing testament to the enduring power of love and revolution.
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Franz writes about the local cultural scene and rediscovering the country’s storied past and rich heritage. He earned his bachelor’s degree in Journalism from the University of Santo Tomas and is currently pursuing a master's degree in Art Studies at the University of the Philippines Diliman. Besides working on this luxury lifestyle magazine, Franz is an avid book reader, local traveller, museum-goer, chorister, and community theatre playwright. But above all this, this Aether main spends more time in Teyvat than anywhere else.
