PETA shakes the dust off the beloved 'Walang Sugat' zarzuela by Severino Reyes

Walang Aray, written by Vera with songs by Vince Lim and direction by Ian Segarra, follows zarzuela star Julia (played by Alexa Ilacad, Shaira Opsimar, and Marynor Madamesila) and her secret lover Tenyong (played by KD Estrada, Jon Abella, and Gio Gahol) amidst the growing Philippine revolution against Spain. When Tenyong's parents die due to the cruelty of the friars led by Padre Alfaro (John Emmanuel Moran), Tenyong decides to join the revolutionary Katipunan, along with other disgruntled townspeople. The two lovers separate tearfully with Julia's sworn promise to wait for Tenyong's return.

"It was first commissioned to me by Jun Reyes, who initially wanted to do a hip film version of his grandfather's great zarzuela Walang Sugat," says Vera. "Probably inspired by some of the jukebox musicals, like Moulin Rouge, Jun wanted a more 'millennial' take on the work. His vision was to use OPM songs instead of the existing songs of the source material."

However, the film project fell through and was shelved for almost a decade. Vera then decided to show their adaptation as a PETA Lab production with original music in 2019. After its successful two-day run, the pandemic followed, which further hampered the production's progress from becoming a full-blown musical offering.

"Walang Aray is a spoof and a tribute of so many layers: the story, the so-called 'outdated' musical form of the zarzuela, the historical narrative, the stock characters predating the current teleserye stereotypes, and even the context of Philippine theatre as it resonates to the present time," Vera adds.

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"Even the music laid down by Lim intentionally lampoons the form and at the same time pays homage to it, aware of the elegant roots founded on the grandness of zarzuela at the turn of 20th century Philippines," Vera explains.

"Walang Aray also pokes fun at the usual villains in our history, but also it is just as irreverent as those we have traditionally held high in our regard: the demure Filipina, now a feisty, daring, passionate woman who knows exactly what she wants and will do anything to achieve it. At times, these characters pepper their lines of dialogue with much reflexivity, making quiet comments about their own decisions in their lives," the writer continues.

PETA's new offering is a promising musical that could blossom into many things. One is the continuity of the institution's lineup of blockbuster productions like Rak of Aegis, which ran for seven seasons and even gave delight to online audiences during the pandemic.

Another is PETA as an extended platform for film and TV talents to explore their prowess in theatre arts. At the special preview, teen stars Alexa Ilacad and KD Estrada's electrifying chemistry emanated throughout the play, leaving not a single scene uninteresting.

Through Walang Aray, PETA proved again its wit in songwriting as Lim's songs were the musical's strength. Gio Gahol, who aside from alternating the role of Tenyong also serves as the musical's choreographer, showcased PETA's knack for beauty in small but meaningful stage movements.

"Theatre, like all arts, must keep on going and reaching more and more people," Legarda says, pertaining to the revival of live performances in the post-pandemic era. "Because art is essential. Because art heals. Because art pushes us to soldier on and march forward," Legarda continues.

Despite Walang Aray's ostensible lack of depth and brave use of hilarity to reopen the chaotic sociopolitical climate of recent years, PETA touches the hearts of people across generations. Like Tenyong, who acted like he was on the brink of his death but emerged unfazed and unwounded, the hearts of most Filipinos may be resurrected and come out of the shadows fully healed.

"Walang Aray's call is 'tumindig at umibig' (arise and love) not for ourselves, for our families, but for our country," Legarda concludes.

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