Cover ‘Kisapmata’ is an unnerving theatrical experience that explores how domestic abuse can resonate with social realities on a larger scale (Photo: Wence Trajano)
‘Kisapmata’ is an unnerving theatrical experience that explores how domestic abuse can resonate with social realities on a larger scale (Photo: Wence Trajano)
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Based on National Artist Nick Joaquin’s crime report ‘The House on Zapote Street’ and Mike de Leon’s critically acclaimed film ‘Kisapmata’, this devised work by Guelan Varela-Luarca and the Tanghalang Pilipino Actors Company brings to light violence under the guise of love
Understanding injustice in a society beset with disinformation and political divide, enduring class struggles and gender disparity, and abuse of motherhood statements like promises of radical change and betterment for the common good seems impossible. But Tanghalang Pilipino took this challenge head-on and succeeded triumphantly. The key is to highlight this through a microcosmic lens—the family, society’s basic unit.
Based on what was considered one of the finest cinematic gems in the Philippines, which was also based on National Artist for Literature Nick Joaquin’s crime report, Tanghalang Pilipino’s final offering for its 38th season is an eerily disturbing theatrical masterpiece devised by Guelan Varela-Luarca and its premier Actors Company.
Kisapmata focuses on four interconnected characters inside a house on Zapote Street, deemed as a haven of domestic bliss, only to be discovered as marred by greed, lust, pride, and wrath.
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Above Real-life couple and senior members of Tanghalang Pilipino Actors Company portray a dysfunctional married couple in ‘Kisapmata’
Real-life couple and senior members of Tanghalang Pilipino Actors Company portray a dysfunctional married couple in ‘Kisapmata’
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Dadong (Jonathan Tadioan) is a retired policeman who, besides portraying a doting padre de pamilya figure, has enacted the “law of love” in his household. Towards his wife, Dely (Lhorvie Nuevo-Tadioan), and daughter, Mila (Toni Go-Yadao), he is a figure of possessiveness and manipulative behaviour under the guise of attractive charm. Wanting his home to be of love and order, he projects a portrait of the perfect Filipino family to his son-in-law Noel (Marco Viaña). But in accepting a stranger into his home, his secrets get revealed, and his lustful eye became the object in question by the whole household. With this, he has to defend his family at all costs—to the death, if need be.
Above Tanghalang Pilipino’s associate artistic director Marco Viaña shares the stage with Toni Go-Yadao, one of the most respected Filipina theatre actors of this generation
Tanghalang Pilipino’s associate artistic director Marco Viaña shares the stage with Toni Go-Yadao, one of the most respected Filipina theatre actors of this generation
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Kisapmata, based on Mike de Leon’s film of the same name, updates its source material’s references to the Martial Law regime by adding a hint of humour, gaslighting, and mass appeal to the patriarch character, originated by esteemed actor Vic Silayan. Tanghalang Pilipino’s production begins with an emphasis on the last words of the national anthem Lupang Hinirang, “Ang mamatay nang dahil sa ’yo [For us thy sons to suffer and die]”, which remains projected on the mezzanine backdrops surrounding the black-box theatre for a few more seconds before the show begins.
Guelan Varela-Luarca, to whom the company partly credits the adaptation and direction of Kisapmata, shared in his director and playwright’s notes that Lupang Hinirang’s last line was interesting to dissect further. To whom was it pertaining to now in today’s socio-political context?
“Ang bayang abuser? Ang mamatay para sa bayang ito? Kahanga-hanga ‘yung bayaning handang mamatay para sa bayan. Pero ano’ng dapat isipin tungkol sa bayang pumatay sa bayani? Worth it ba? [The abusive nation? To suffer and die for this country? It is admirable that a hero is ready to die for his country. But how about a state that killed its own hero? Is it worth (dying for)?]”
Above A scene between Dely and Mila in Tanghalang Pilipino’s ‘Kisapmata’
A scene between Dely and Mila in Tanghalang Pilipino’s ‘Kisapmata’
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Kisapmata invites audiences to witness the demystification of a “perfect” Filipino family on stage. Within the confines of a seemingly idyllic household, we see coldness and bareness on its set design by Joey Mendoza, bathing in eerie ambience thanks to the lighting design of D Cortezano. Both Mendoza and Cortezano worked on the video designs. Another thing worth noting is the music and sound design by Arvy Dimaculangan, which not only added depth to the disturbing atmosphere but also bits of nostalgia and hope.
The production borrows elements of literary reportage from Joaquin’s original work and the breaking of the fourth wall we see in De Leon’s masterpiece. The stage play fleshes out the nuances in the dichotomy of power and powerlessness through its mise-en-scenes overlaid with subtext from the script. One striking scene that best describes this was when Mila tried to confide in her mother, Dely, and Dely advised her daughter to speak to the cogon grass surrounding their house. Later, when Mila tries to use this approach, her father is out cutting grass in a routinary and indifferent manner.
Above Jonathan Tadioan’s characterisation of Dadong resembles characteristics from iconic despot leaders
Jonathan Tadioan’s characterisation of Dadong resembles characteristics from iconic despot leaders
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Exploring politics at play in households, such as domestic abuse, violence against women and children, and deprivation of liberty, among others, Kisapmata is reflective of an unjust patriarchal and conservative society.
Using movement direction by JM Cabling, the actors were able to show their characters’ definitive resemblances in today’s society. With Missy Maramara’s intimacy direction, they were able to bare their characters’ flaws and vulnerabilities. Together, the dynamics of a dysfunctional society are evident in their seamless interactions. Despite the bareness of the stage, walls have been built among the characters and fear is evoked because of an imperfect understanding of love. Ultimately, Kisapmata brings out the irony: Why do we perpetuate the invisible walls that divide our society?
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Photography: Wence Trajano
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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