Review: Tanghalang Pilipino's 'Kisapmata'
It could be that I merely imagined it but I swear that for a split-second, actor Jonathan Tadioan--or at least his character Dadong--looked mockingly back at me during the gala night of Tanghalang Pilipino's "Kisapmata".
I remember feeling a certain level of loathing towards Dadong even without having any idea of what was about to unfold. Perhaps it was the way he wheezily laughed like a friendly jolly giant or how he imposed himself as the supreme ruler of the household. Or maybe both. I haven't seen the original film by Mike de Leon and even when I knew I would be one of the first to watch TP's "Kisapmata", I still chose not to just so I could enjoy this play by its own merit.
But in that moment that I saw him see me giving him a disdainful look, I could imagine Dadong saying to me: "Yeah? What are you going to do about it?"
What indeed? When I reminded myself that I was watching a play and I'm merely an spectator, that was when I was able to breathe again. As crazy at it sounds, some part of me felt like rushing the stage to shake the other characters and make them see what was happening. Why they are allowing this madman, a retired policeman, control every aspect of their lives as if they owe it to him? Perhaps to a certain level, yes, but when it's already encroaching on one's freedom and stripping away their humanity, it needs to stop.
But it does not. The audience inside the Tanghalang Ignacio Gimenez, holding their breaths in every scene as did I, are left to bear witness to the nightmare as it continues to unfold for this family of four--almost five.
Dadong's wife Dely, played by Lhorvie Nuevo, is an unwilling accomplice to her husband's tyranny. Clearly, she is someone who has learned to live her life this way, believing that what Dadong does is out of pure love. She even taught herself a mantra to say to herself when things become violent. And so the generational trauma is passed down to their beautiful and bright daughter Mila, who has dreams of becoming a doctor.
Brought to life in this stage adaptation by Toni Go, dutiful daughter Mila is already expecting when she introduces her boyfriend Noel, a doctor, to her parents. Hopeful, patient, and very much in love, Marco Viana's Noel is a perfect match for the bubbly Mila.
Eventually, Noel begins to see just how suffocating being in that household could be. Even after their marriage, he finds himself acquiescing to Dadong's requests that Mila stay with them at their house for an endless number of reasons. They have the rest of their lives to spend together anyway, Dadong would contend.
We see the systematic degradation of Noel's character. Whereas he would normally be respected as a doctor, here he became accustomed to being treated less than human by his father-in-law, again in the name of his love for Mila.
It comes to a boil eventually when Noel decides that enough is enough and he and Mila, with the help of Dely plan a way to escape Dadong's grasp.
While comparisons with the original film are unavoidable, one way to appreciate this version of "Kisapmata" is to see it removed from any time period. The film may have done its part at the time it was released in 1981, that is to shock the public consciousness, what playwright-director Guelan Varela-Luarca and the four actors achieved in this stage production is so much more.
Early buzz among theatre lovers has pegged Tanghalang Pilipino's "Kisapmata" as an end of the year awards favorite and rightfully so as this version is not only well-written and exceptionally executed, it is also a painful reminder that violence and abuse, whether physical or mental, remains rampant today. While it's a normal reaction to be shocked and feel helpless at first, what is unacceptable is to allow injustice and suffering to continue, lest we are willing to face the consequences of our inaction. By Dexter R. Matilla
What indeed? When I reminded myself that I was watching a play and I'm merely an spectator, that was when I was able to breathe again. As crazy at it sounds, some part of me felt like rushing the stage to shake the other characters and make them see what was happening. Why they are allowing this madman, a retired policeman, control every aspect of their lives as if they owe it to him? Perhaps to a certain level, yes, but when it's already encroaching on one's freedom and stripping away their humanity, it needs to stop.
But it does not. The audience inside the Tanghalang Ignacio Gimenez, holding their breaths in every scene as did I, are left to bear witness to the nightmare as it continues to unfold for this family of four--almost five.
Dadong's wife Dely, played by Lhorvie Nuevo, is an unwilling accomplice to her husband's tyranny. Clearly, she is someone who has learned to live her life this way, believing that what Dadong does is out of pure love. She even taught herself a mantra to say to herself when things become violent. And so the generational trauma is passed down to their beautiful and bright daughter Mila, who has dreams of becoming a doctor.
Brought to life in this stage adaptation by Toni Go, dutiful daughter Mila is already expecting when she introduces her boyfriend Noel, a doctor, to her parents. Hopeful, patient, and very much in love, Marco Viana's Noel is a perfect match for the bubbly Mila.
Eventually, Noel begins to see just how suffocating being in that household could be. Even after their marriage, he finds himself acquiescing to Dadong's requests that Mila stay with them at their house for an endless number of reasons. They have the rest of their lives to spend together anyway, Dadong would contend.
We see the systematic degradation of Noel's character. Whereas he would normally be respected as a doctor, here he became accustomed to being treated less than human by his father-in-law, again in the name of his love for Mila.
It comes to a boil eventually when Noel decides that enough is enough and he and Mila, with the help of Dely plan a way to escape Dadong's grasp.
While comparisons with the original film are unavoidable, one way to appreciate this version of "Kisapmata" is to see it removed from any time period. The film may have done its part at the time it was released in 1981, that is to shock the public consciousness, what playwright-director Guelan Varela-Luarca and the four actors achieved in this stage production is so much more.
Early buzz among theatre lovers has pegged Tanghalang Pilipino's "Kisapmata" as an end of the year awards favorite and rightfully so as this version is not only well-written and exceptionally executed, it is also a painful reminder that violence and abuse, whether physical or mental, remains rampant today. While it's a normal reaction to be shocked and feel helpless at first, what is unacceptable is to allow injustice and suffering to continue, lest we are willing to face the consequences of our inaction. By Dexter R. Matilla
"Kisapmata" runs until March 30, 2025 at the CCP Tanghalang Ignacio Gimenez (Black Box Theater). Get your tickets via:
Ticket2Me - bit.ly/KISAPMATA-Ticket2Me
TicketWorld - https://bit.ly/KISAPMATA-TicketWorld
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