Insiang Restaged

Insiang is one of those classic Filipino films that I always hear mentioned but I never got to see it until around 3 years ago. It was directed by Lino Brocka, written by Lamberto Antonio and Mario O’Hara, and starred a luminous Hilda Koronel, an intense Mona Lisa, and a cruel Ruel Vernal. After watching it I thought, “Dated movie. But I can see why it made quite an impact in Cannes in the mid-70s.” The story of Insiang, her mother and her mother’s much-younger boyfriend is a bleak story set in poverty; it is also a demanding movie for the three primary actors, since the movie is focused on them.

No wonder it was made into a stage play. In 2003 Tanghalang Pilipino’s Insiang debuted onstage and went on to win Best Play, Stage Actor, Stage Actress and Director as well as a nomination for Best Supporting Actor for that year’s Aliw Awards. I did not get to see it back then, but I can imagine the play to be catnip to any serious stage actor.

Now Tanghalang Pilipino brings back Insiang onstage, with most of the original leads reprising their roles and Chris Millado directing it again.

Tanghalang Pilipino, in cooperation with Bright Eyed Boys Events&Ideas, Inc. presents

INSIANG

Directed by Chris Millado
Written by Mario O’Hara
Production design by Hesus “Bobot” Lota
Lighting design by Joey Nombres

3 pm on October 6, 7, 13, 14, 2007
8 pm on October 6, 7, 12, 13, 14, 2007
at the Tanghalang Huseng Batute (CCP Studio Theater)

* * * * *


Tanghalang Pilipino, in an unprecedented move for a theater company, held a “quad-media conference” to promote Insiang. TP wanted to go beyond television-radio-print triumvirate and tap the reach of the Internet. To be technical about it, the press con wasn’t quad-media because of the absence of TV and radio coverage, but hey. A roomful of bloggers makes for a slightly unusual presscon; three Macbooks (with iSight) were stationed throughout the room so that bloggers could take photos or videos and immediately post on their sites. When the floor was open for questions, it was generally greeted with hesitant silence. But when the cast and crew mingled with the bloggers, that’s when they loosened up.

* * * * *

Nowadays movies and plays that depict the gritty and ugly side of Philippine poverty rarely get a rise from me anymore. It’s not that I’ve become snobbishly rich (oh how I freakin’ wish). It’s just that after seeing one too many of those, I now think, “Jeez, is there anything else we can talk about besides the overwhelming poverty that threatens a huge number of Filipinos in urban areas, whose plight no president has ever managed to solve all these years?” It’s also the same with Pinoy gay films of recent years; filmmakers seem to consign that sub-genre to mean “movies about destitute macho dancers with death in the end.” Ang lungkot!

But I’m going to be watching this incarnation of Insiang for three personal reasons:

[1] Insiang is an acting showcase, and the play has great actors. Ricky Davao, Sheenly Vee Gener and Mae Paner reprise their roles; all three were nominated in the 2003 Aliw Awards, with Ricky eventually bagging the best actor award. They are joined by Mailes Kanapi, Peewee O’Hara, Pablo O’Hara, McDonnel Bolaños, Roeder Camañag, Paolo Rodriguez, Vanni Liwanag, Jun Bueta, Acey Aguilar. During the presscon the cast presented a couple of scenes, highlighted by a portion of Mae’s blistering opening monologue. It is raw, powerful, painful yet funny to watch. I worked with Mae before, when she was the assistant director in several of our TV commercials. She also took me under her wing when I wanted to learn AD work. Aside from multi-talented, she’s one of the nicest people to work with.

[2] This is a Tanghalang Pilipino production. I’ve never left a TP production disappointed; sure I may nitpick here and there, but on the whole the CCP’s resident theater company has consistently come up with some of the best produced plays every year. Aside from the actors, I’m excited to see Insiang’s technicals. The set looks promising, surrounding the audience with the squalor of the slums. There’s even a special arena seating section where the audience will literally be in the midst of the action; director Chris Millado fondly calls it the “talsik-laway” section.

[3] Mario O’Hara wrote the screenplay and adapted it to the stage. I have tremendous respect for Mario as an actor, director and writer. I personally worked with him (and with Ricky) back in 2000(?) in Tanghalang Pilipino’s “Larawan Ng Pilipino Bilang Artist(a)” by Nonon Padilla, directed by Paul Dumol. He was an amazing example of a truly talented, professional and unassuming actor. He’d arrive wearing his usual white t-shirt, shorts and sandals, with his bag slung over his shoulder. He’d stay in a corner studying his lines, but he was never standoffish. He was very generous with his co-actors. During performances he’d command the whole stage, overwhelming almost everyone with his voice and presence; but offstage he never drew attention to himself. He’s been away from the stage and screen for some time now, so people have conveniently labeled him a recluse. But we were honored when he showed up during the presscon. I couldn’t resist asking Gibbs to take a picture of us—a reunion of sorts.

* * * * *

Tanghalang Pilipino, in cooperation with Bright Eyed Boys Events&Ideas, Inc. presents

INSIANG

Directed by Chris Millado
Written by Mario O’Hara
Production design by Hesus “Bobot” Lota
Lighting design by Joey Nombres

3 pm on October 6, 7, 13, 14, 2007
8 pm on October 6, 7, 12, 13, 14, 2007
at the Tanghalang Huseng Batute (CCP Studio Theater)

Php700 premium ringside seats / Php500 orchestra and balcony free seating
For tickets, call:
Tanghalang Pilipino 832-3661
Bright Eyed Boys Events and Ideas 521-0412
Ticketworld 891-9999
CCP Box Office 832-3704

PARENTAL DISCRETION ADVISED. May be inappropriate for 13 and under. Insiang is recommended for mature audiences–for strong language, brief nudity, and adult themes. Children under the age of 4 are not permitted in the theatre.

ARENA SEATING. On each performance, a limited number of seats are available which offer an exciting and unique way to experience the performance with the action of the show taking place all around the viewer. Audiences who wish to be seated in the arena are advised to come forty-five (45) minutes prior to the performance time and indicate their preference to the ushers.