Confronting the shadows of the past: Lea Salonga on preparing for ‘Ang Tahanan ni Bernarda Alba’

To ground her new character, Salonga draws on familiar local archetypes rather than viewing her merely as an antagonist. She points to stories her mother shared about women who project intense piety by attending church daily, only to return home and treat their household staff with abject cruelty. “It’s one of those things where, you know, nagpapakabanal,” she observes. She is determined to uncover the root of this behaviour, noting that even the most evil people are not one-dimensional villains. “Every one that we identify as a tyrant, even in politics or in history, may pinanggalingan ’yun eh [it has origin to it],” she says, noting that figuring out Bernarda’s backstory is essential to the performance.

The two-step adaptation process highlights the play’s enduring relevance. Lorca’s original Spanish text was adapted into English by Yew, whose structure formed the basis for Luarca’s Filipino translation. The final script retains certain words straight from Spain, underscoring the class systems that drive the narrative. “Thanks to the 333 years of Spanish colonisation, it may have been written in Spanish, but we can look at it and go, ‘yep, same.’” Lea Salonga notes.

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She notes that the struggles depicted in the piece remain deeply relevant to contemporary women. She recalls a harrowing story from the script about an unwed woman who kills her baby to hide her shame; after dogs dig up the infant and leave it at her doorstep, Bernarda leads the town in chanting for the woman’s death. For the actress, this represents an ongoing “war on women” that makes the material feel incredibly timely. “There are still families like that,” she adds. “Philippine society is absolutely going to get this play.”

Inhabiting such an oppressive force requires a toll, and she jests that she will have to apologise to every single actor she torments on stage during the 90-minute run. To leave the toxic energy behind after rehearsals, she relies on the grounding reality of her colleagues. Seeing fellow actors arrive in sneakers and rehearsal clothes reminds her of their shared humanity, allowing the seasoned cast to skillfully jump in and out of character.

The linguistic demands of the Filipino straight play present an additional hurdle. “This is a language that I’m not used to using in a play,” she explains. While she strives for accuracy, she is cautious not to let her delivery become pedantic, insisting that the language must feel organic. This linguistic undertaking is a shared experience among the cast, acting as a unifying challenge for both veterans of Filipino theatre and those less accustomed to it.

Working with Yew adds another layer of anticipation, as he is directing his own adaptation. She admits being curious about how protective he will be of the text and what specific style he will bring to the rehearsal room. She wonders if the atmosphere will reflect the dark mood of the script, contrasting it with the predictably joyful, joke-filled environment fostered by the late TGA co-founder Bobby Garcia.

Returning to TGA since the staging of Request sa Radyo, a wordless play she alternated with Golden Globes and BAFTA-nominee Dolly de Leon, allows her to reunite with creative leaders Clint Ramos and Christopher Mohnani. The company, co-produced by John and Joanna Echauz, is committed to exalting Filipino artistry and presenting outstanding theatre that places the Filipino experience at its heart.

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The new production also gives her the opportunity to collaborate with actors she has known socially but never shared a stage with. She humorously notes that her son actually beat her to the punch, having previously worked with three members of the yet-to-be-revealed cast. “It’s really exciting that I get to work with some incredible people on this piece,” she shares.

Ang Tahanan ni Bernarda Alba ultimately serves as a stark examination of power, class and the enduring struggles of women. The cultural translation bridges decades and continents, proving that the shadows of repression stretch far beyond Lorca’s original setting. When the curtain rises, audiences will not just witness a classic tragedy; they will confront a reflection of the unspoken rules and fears that continue to echo within their own homes.

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