What makes the play Insiang unique is its wrap-around set. Walkways go from the stage to left and right sides and into the audience. There's a whole section in front where the labanderas (laundrywomen) are at arms' length.
Ricky Davao, who plays Dado, touches himself at the end of one of the middle walkways while describing his sexual conquests. Audiences are literally put in the middle of an urban shantytown that is unseen by most of the world. Even though you're at the Cultural Center of the Philippines' Tanghalang Huseng Batute, you'll be transported to the world of Insiang.
Director Chris Millado explains, "The theater's shape is unique; audiences are
surrounded by the set and the action. Audiences are part of the play. And we
meant to do it that way. Our intention is for you to be transported into an
unsettling place. The movie helps enhance the play. It's another level of the movie. I'd like to think we're more cerebral.
It allows us to show the dark musings of Insiang. This brings us into
the inferno. The set captured it beautifully, the claustrophobia of the slums."
Award-winning writer, director and actor, Mario O'Hara's masterpiece was
originally written for radio then developed as a teleplay for the TV series Hilda
directed by Lino Brocka. It was adapted by O'Hara into a screenplay for the
1976 Manila Film Festival, starring Hilda Koronel in the title role, with Mona
Lisa, Ruel Vernal and Rez Cortez playing key roles. The late director Lino Brocka's movie became
the first Filipino film to be shown at the Cannes Film Festival and went on to
win plum awards for its director and leading actress Hilda Koronel.
Nearly thirty years later, Tanghalang Pilipino mounted the stage version in
2002 as part of its 16th theater season. O'Hara also created a new character in
Toyang who acts as the thread for all the disparate lives in the story. Toyang
was not in the film version.
The differences between the play and the movie are apparent in two characters
that O'Hara created specifically for the play: Toyang and Insiang's father
Bong. Millado explains, "There was a switch between melodrama in the movie.
Mario's structure is to push the story forward. The Brechtian idea is that when you walk into a theater it doesn't have
to be reality. This is only a play. That's why Mario created the character of
Toyang, she allows us to make commentary as well as function as a narrator."
What distinguishes this year's version differently from the previous cast is the
entry of Mailes Canapi as Pacing, the mother of Insiang. Renowned playwright
Rody Vera describes her performance: "I was impressed with Mailes Canapi. She
provided a balance between all of the violence and vulgarity of all the other
characters. She was able to create a niche of her own. Playing Pacing that way
was a decision she was secure about."
Director Chris Millado leads the creative team in recreating the riveting 2002
production, from the ensemble acting down to the highly detailed
"hyper-real" staging. Hesus Bobot Lota designs the wrap-around set,
with Joey Nombres and Jethro Joaquin doing lighting design and soundscape, respectively. The production also includes fight scenes
skillfully choreographed by Jack Yabut.
Insiang is a stirring drama about the transformation of a teenage girl
from innocence to malevolence as she finds herself trapped in a life of poverty
in the slums. Abused by the very people she trusts, Insiang rises from
destitution and takes revenge against her abusers.
For tickets to Insiang, you may call Bright Eyed Boys for reservations,
group bookings and special discounts, at 521-0412 or 0922-8712007.
Performance dates: October 12 (8 p.m.)
October 13 (3 p.m. / 8 p.m.)
October 14 (3 p.m. / 8 p.m.)
Venue: Tanghalang Huseng Batute, Cultural Center of the Philippines, Roxas Blvd., Pasay City