BALTAZAR’S OROSMAN AT ZAFIRA: Swaying to the Rhythm of Love and War

by Arren

Original Article can be found HERE

In the unappeasable thirst for power, a powerful leader is murdered leaving behind his wife and daughter who would grieve for him and would vow to take revenge for his death. In the unpredictable machinations of the heart, two people fall in love only to find themselves torn apart by familial duty, treachery and war. This is only the beginning of the tale of love and war in Francisco Baltazar’s Orosman at Zafira.

Brought to life onstage by Dulaang UP in 2008, Orosman at Zafira is now on its third run at the SM Mall of Asia Centerstage. Dulaang UP has adapted a contemporary retelling of the story making it more accessible and fun to its audience. Long verses were made into song, music was harmonized with the mood of the different scenes, and dance became the medium where the characters expressed their emotions. 

 

I still remember that I almost didn’t watch Orosman at Zafira in 2008 simply because it was Balagtas. Then I found myself buying a ticket to the show since it everybody was saying it was very good. And as I was watched the performance for the very first time, I fell in love with theatre. What is not to love with a language, though not easily understandable, that was spoken with so much emotion that it became a melody to the audience’s ears; with the music that is distinctly Filipino and made our hearts beat to its rhythm; and with the brilliant choreography by director Dexter Santos, especially those of the war scenes that raised goose bumps and made the audience watch in wonder at the beauty and intensity the dances were executed.

Three years later and after watching Orosman at Zafira for the fifth time in its third run premiere, it got bigger and more beautiful. A bigger space meant that the ensemble could move more freely, and they had to fill that big space with intense energy for the audience to feel. Which is exactly what they did. Every jump, kick and spin was executed with so much power. The chorus didn’t have to speak to tell what they are feeling; their dancing was more than adequate in showing their own story. In the war scenes their movements and cries reeked of desperation to conquer the enemy, but with it also came the torment of knowing that they’re battling to their death. I found myself teary-eyed when everyone was praying to God to save them from the bloodshed that was to come. In words and in movement, the strong yearning to flee from the path that they are on was evident but everyone was caught up in the consequences of their actions and they knew that it was impossible to escape.

Orosman at Zafira is the portrayal of how a powerful passion for love or ambition can drive people to do beautiful or ugly things. In the thirst for love, people become desperate to do anything to achieve another’s heart. In the thirst for power, people can become absolutely heartless to get to that pinnacle of supremacy. When so much passion is portrayed in a performance, it reaches the audience and leaves them awestruck. From every performer and the people behind Orosman at Zafira, I felt the love they had for what they are doing. Every note, line, movement and cry was born out of love.

Indeed, love can drive people to do so many things. In this case, the product was a beautiful play. No doubt there were sweat, blood, tears,bruises and sprained ankles that went with making this play possible, but love still prevailed. A fitting representation of the heart of Orosman at Zafira: 

“Kasumpa-sumpa man, pag-ibig, pag-ibig at pag-ibig pa rin.” 

Direction and Choreography by DEXTER SANTOS 

Original Music by CAROL BELLO 

Orosman at Zafira is one of the most-acclaimed works of Francisco Baltazar,

the “King of Tagalog Poets.” It is the story of the struggle for power of three kingdoms: Marueccos, Tedenst and Duquela. Amid hatred and war where two individuals find love, this musical adaptation highlights the strength of the Filipina and celebrates Philippine culture through breathtaking dance and music. 

This original Filipino musical features Jay Gonzaga, Maita Ponce, Delphine Buencamino, Tao Aves, Roeder Camanag, Red Concepcion, Kevin Concepcion, Acey Aguilar, Jean Judith Javier, Neil Tolentino, Nazer Salcedo, Ronnie Martinez

and the Dulaang UP Ensemble. 

 

Catch OROSMAN AT ZAFIRA on its LAST Saturday run

February 26 / 3PM / SAT @ MOA CenterStage

Ticket Price: Php350

Contact Onay @ 0918.536.2116 to reserve tickets.

 

 

 

Orosman at Zafira: A story of love, justice and sacrifices

By Flow Galindez

Original Article can be found HERE

"Buwan man o taon ang bilangin, pag-ibig, pag-ibig at pag-ibig pa rin!" This is how Orozman at Zafira of Francisco "Balagtas" Baltazar struck me when I first saw it in University of the Philippines Diliman last 2010. Gladly, Dulaang UP and Bit by Bit Development Company of Darwin Mariano brings it to a more mainstream audience to appreciate the art and legacy that Balagtas left in the Philippine literature. Now, Orosman at Zafira will run in all Fridays, Saturdays and Sundays of February 2011 at SM Centerstage Theater in SM Mall of Asia.

The masterpiece of Balagtas follows the story of a Zafira, a princess from the tribe of Marruecos who thirst for justice after her father Mahamud was murdered by a Tedenst. Like a Romeo-Juliet set up, Zafira fell in love with Orosman, one of the sons of Boulasem, leader of the enemy tribe. With Gulnara, Zafira asked help from Zelim, the leader of Duquela to slay the murderers of her father. This how the quest for justice and love of Zafira and Orosman had started.

Just when I thought, Dulaang UP and all the performers had shown their best in 2010 that really amazed me. The 2011 production really surprise me from the costume, effects, fight scenes and how actors portrayed their roles. Let me discuss it one by one; the costumes were improved it gave more distinctions between tribes, which unlike before the only thing I can recall was Maurrecos are those with red stitches and accessories, while the remaining tribe it is hard to distinguish. With a bigger space it gives the actors move freely to execute fight scenes including with the props and acrobatic stunts which was rare to do in the UP campus.

Music and lighting effects helps to add with the emotions of each character. I really love how the group of Dexter Santos (Director) and Carol Bello (Musical Director) combines regional instruments with the modern equipments and create wonderful music and it goes very well with the actors singing, acting and choreography. It just when I saw Orosman at Zafira last Friday (Feb 4), I can barely hear some actors because the music is louder and their voices. I just hope the group could correct that in the succeeding performance.

I'm still fascinated with the vocal prowess of Tao Aves (Zelima), and Jean Judith Javier (Gulnara) which are still doing their roles this year. I saw them singing in 2010 and their voices are so powerful. While Maita Angeli Ponce and Sarah Delfine Buencamino who played Zafira alternates were great in doing their roles; Maita was the Zafira last Feb 4, while I saw Delfine perform the prayer during the press conference last January.

Orosman at Zafira, tells the story how women can be brave and strong. The Balagtas' creation gives the limelight to women and how they can empower themselves and fight for their right and justice.That is why this play is worth watching as it reaches out to the mainstream audience.

Orosman at Zafira includes performers like Jay Gonzaga (Orosman), Maita Ponce and Delphine Buencamino (Zafira - alternate), Tao Aves (Zelima), Roeder Camañag (Abdalap), Red Concepcion (Aldervesin), Kevin Concepcion and Acey Aguilar (Zelim - alternate), Jacinta Remulla (Gulnara), Jean Judith Javier (Gulnara), Nazer Salcedo (Boulasem), Neil Tolentino (Mahamud), Felipe Ronnie Martinez (Ben-Asar), and the Dulaang UP Ensemble. The artistic team of OROSMAN AT ZAFIRA includes Tuxqs Rutaquio (Production Designer), John Ilao Batalla (Lighting Designer), Anril Tiatco, Katte Sabate, and Patrick Valera (Dramaturgs), Mara Marasigan (Assistant Director), Via Antonio (Associate Choreographer), Irish Pangilinan (Associate Musical Director), and Lao Rodriguez (Accessories Designer). The production team is composed of Atty. Darwin Mariano (Executive Producer), Carlo Francia (Associate Producer), Toots O. Tolentino (PR/Publicity Consultant), Ida Elopre (Production Manager), Ohm David (Technical Director), Loraine Macatangay (Stage Manager), Cherry Bong Edralin (Marketing Manager), and Jojit Lorenzo (Photography).

Catch OROSMAN AT ZAFIRA on its LAST Saturday run

February 26 / 3PM / SAT @ MOA CenterStage

Ticket Price: Php350

Contact Onay @ 0918.536.2116 to reserve tickets.

 

Orosman at Zafira: A contemporary take on a Filipino classic

from Asiasociety.org

Interview conducted by Patricia Vega, Asia Society Philippines
Original Article can be found HERE

MANILA, January 26, 2010 -- Manila's theater season opens with a contemporary adaptation of a Filipino classic - the Francisco Balagtas' komedya, Orosman at Zafira. Dulaang UP, in partnership with Bit by Bit Development Company, is re-staging its hit production February  4 - 26 (Fridays and Saturdays) at the SM Mall of Asia Centerstage Theater. Considered as one of the best-written literary pieces by the "King of Tagalog Poetry," "Orosman at Zafira" tells the story of man's lust for power while highlighting the strength of the women characters and how they challenge prevailing social norms and restrictions. This contemporary adaptation of Baltazar's text celebrates the uniqueness of Philippine culture through original music and dance.

 

The production first ran in February 2008 and was re-staged in August 2010 to sold-out, standing-room-only performances at the Wilfrido Ma. Guerrero Theater, UP-Diliman. The contemporary adaptation directed and choreographed by Dexter M. Santos, with original music by Carol Bello, garnered nominations for both Best Musical Production and Best Stage Director at the 21st Aliw Awards. 

 

Philippines 21 Fellow Darwin Mariano (Class of 2009) serves as executive producer of Orozman and Zafira, and spoke to Asia Society-Philippines about the production.

 

ASPF: First up, what's your background in theater? What made you decide to produce Orosman and Zafira?

 

DM: I have no formal background in theater but I've been a theater fan for decades. I've always believed that theater, like all art, inspires people. It equally inspires them to do all sorts of crazy things.  

 

I started out as a show-buyer - I (with a few friends) would buy entire ticket blocks of plays and musicals I liked from theater companies at a discount. I made money by selling them at the printed ticket value. Theater companies liked the scheme because shows were sold even before opening night and "blockbuyers" (like me) assumed the risks associated with ticket-selling.

 

This project began in 2008 when I first saw Dulaang UP’s OROSMAN AT ZAFIRA, directed and choreographed by Dexter Santos and with original music by Carol Bello. I knew at that time that I wanted to produce a commercial run of the show. And while I felt that the timing was off, I left the Guerrero theater convinced that the show deserved, literally and figuratively, a bigger stage.

 

So when Dulaang UP re-staged it in 2010 – shortly after a successful national election and a wave of optimism sweeping the country – I knew the timing was right. I also had more experience and a wider network by then - all of which would prove necessary and useful to the show's success.

 

So why did I produce the show?

 

My family comes from the same town as Francisco Baltazar, known more widely by his pen name Francisco Balagtas. From its old name Bigaa, it has since then been renamed Balagtas, Bulacan in his honor. But that is not why I am producing this show. 

 

The Philippines is home to the best theater talent in the world – actors, directors, writers, composers, designers and choreographers. Yet, most of the commercial productions staged by the small, professional theatrical scene in the country are foreign. But that is not why I am producing this show.

 

I’ve been a theater fan for decades. The first play I watched when I was a young college student at UP Diliman was a play also by Dulaang UP and remember being very impressed at the quality of the production. But that is not why I am producing this show.

 

I am producing this show because OROSMAN AT ZAFIRA is groundbreaking for its passion, poetry, music, and dance. I am producing this show because not enough of us realize the genius of Francisco Baltazar and the values of good citizenship, discipline and faith that underlie his works. I am producing this show because it showcases Filipino theater talent at its finest. And also because I’m crazy. 

 

 ASPF: Orosman and Zafira started out as a university-based production. Why stage it in SM Mall of Asia, and what changes can we expect in this production?  

 

DM: The two previous runs of the show were all in UP Diliman. While they were all sold-out, I felt that the Quezon City and northern Metro Manila theater market had more access to it. To ensure strong attendance, I wanted to move it south so that those who found Diliman too far away could get a chance to see it.

 

I didn't think it was possible given how mesmerizing the show already is, but Dexter Santos, our director-choreographer and the rest of the Dulaang UP team, have introduced many improvements to the show. Without giving too much away, we now have more songs, new dances and better special effects! 

 

ASPF: Orosman and Zafira is adapted from one of the works of Francisco Balagtas. Can you tell us a bit about the process of adapting the work to theater?

 

DM: I wasn't really involved in the work of adapting Balagtas' old archaic Tagalog poem into the musical people are now raving about. But what I did find remarkable about the material was how modern Balagtas was for his time. Thought to have been lost and only re-discovered in 1974, Orosman at Zafira was one of the "komedyas" written for the Teatro de Tondo between year 1857-1860, while Balagtas was in prison. However, this play strays from standard "komedya" beliefs: there is no Moro-Christian conflict, and heroes as well as villains are such because of character rather than religion.

 

The dramaturgs from Dulaang UP edited the original text, changed Baltazar’s original Turkish kingdoms to Filipino tribes, and created a narrator to help audiences along. While the music of a traditional komedya was performed by a brass band, Bello’s neo-ethnic music was rendered by a live orchestra using indigenous instruments such as djembe drums, kulintang (gongchime) and kubing (Jew’s harp), together with electric guitars and keyboards. Santos replaced the traditional marches with movement vocabularies inspired by the country’s regional dances. He marked the narrative with three impressive battle scenes that showcased a heady amalgamation of fight stances and dance. The cast charged, pounced and attacked as they twisted,glided and leapt.

 

ASPF: Orosman and Zafira is one of many productions opening in the first quarter of the year. What makes this production different from the others?

 

DM: It's awfully difficult to describe a production like Orosman at Zafira. I've seen many plays and musicals both here and abroad - but have not seen anything like it before. I would have to agree with the reviews. Gibbs Cadiz describes it as "a unique, arrestingly homegrown and blazing theater experience that is as far away from Broadway as could be." Exie Abola says, "'musical' may not be the most accurate word to describe it, but whatever it is, it is mesmerizing theater." 

Catch OROSMAN AT ZAFIRA on its LAST Saturday run

February 26 / 3PM / SAT @ MOA CenterStage

Ticket Price: Php350

Contact Onay @ 0918.536.2116 to reserve tickets.

 

The body understands what the brain cannot

BY SAM L. MARCELO, Senior Reporter

BusinessWorld weekender

Original Article can be found HERE

Understanding is not a prerequisite for appreciation. Despite the confusion caused by its nosebleed-inducing language, Orosman at Zafira is a gem of a production that is at its best when no one is talking. The script, already a toned-down version of the archaic speech used by Francisco Balagtas in his original komedya, is beautiful to listen to but a pain to figure out. It was a pleasure to hear capable speakers bouncing euphonious Filipino words off their tongues and to feel the language’s inherent rhyme and rhythm. At the same time, it was frustrating to be chasing after the meanings of phrases such as "himalang digit," a lovely but opaque idiomatic expression for "soulmate."

JAY GONZAGA as Orosman and Sarah Delphine Buencamino as Zafira

Perhaps the failing is mine: I will confess that my grasp of Filipino is elementary. Even with the presence of Zelima (Tao Aves who chants and sings as well as her mother Grace Nono), a narrator who fills in the gaps of the story for the audience, it was still possible to misconstrue relationships. The man I thought to be Zelima’s lover, for example, turned out to be her father (embarrassing).

Director and choreographer Dexter M. Santos, aware of the challenges presented by the text, is generous with nonverbal cues.

In the prologue, three tribes -- differentiated by their dress, movements and musical signatures -- are introduced one by one to the audience: the whirling, skipping, kicking Marruecos; the arm-waving, jumping Tedenst; and the acrobatic Duquella, the most identifiable because of their Mohawks and heavy eyeliner.

By the end of the introduction, everyone is on stage and the variations among tribes become more apparent as they move to different parts of the live accompaniment. The body understands Carol Bello’s music and responds to it instinctively: you will be dancing in your seat.

Costume, choreography and music are indispensable guides, especially when keeping track of shifting alliances, betrayals and character transformations. When Gulnara (Jean Judith Javier) and Zafira (Sarah Delphine Buencamino) turn into warrior queens, they attack their choreography with amplified aggression. The treachery of Aldervesin (Red Concepcion), meanwhile, runs as deep as his wardrobe.

The accessories department could have done a little more with Tedenst brothers Abdalap and Orosman, played by Roeder Camañag and Jay Gonzaga who are of similar height, build and hairstyle. It was only towards the middle of the musical that I realized a telling detail: Mr. Gonzaga has better abs and by his abs you shall recognize him.

Big choreographic numbers and epic battles are interspersed among quieter scenes, the best of which is a mournful three-part a capela performed by Zelima, Gulnara and Zafira.

The musical loses traction when the audience is left alone with the text, bereft of propulsive drumbeats and dance. The victim of these lapses into pure dialog is usually Abdalap, who had a couple of pivotal yet awkward exits set up by incomprehensible exchanges.

The director is smart enough to pull out his secret weapon whenever the play needs a pick-me-up: the Duquella, a warrior tribe whose bombastic entrances shock the life back into the production.

Zelim (Acey Bryle Aguilar), Duquella leader, is a man of few words but his physicality more than makes up for it. He is forever bouncing on the balls of his feet, yelling and spoiling for a fight; he does not look, he glares; and when he does have lines, he does not say them as much as spit them out. One wishes that Balagtas had written Orosman, Zafira at Zelim instead of just Orosman at Zafira.

Mr. Santos has said that his goal for this production is pedagogical -- that is, he wants to reintroduce the komedya to a younger audience. While the program does contain a synopsis it would have been a better teaching tool if it contained, say, a stanza of the original text side by side with its updated version. Also, why not upload the Orosman at Zafira script so that viewers interested in going back to the words can do so?

As it stands, the stars in the production are Mr. Santos’s choreography and Ms. Bello’s music. Ask me about the plot and I’ll be able to give you the CliffsNotes version. I didn’t understand Orosman at Zafira but I loved it. 

Catch OROSMAN AT ZAFIRA on its LAST Saturday run

February 26 / 3PM / SAT @ MOA CenterStage

Ticket Price: Php350

Contact Onay @ 0918.536.2116 to reserve tickets.

 

'Orosman at Zafira' and the curse of love

By Barry Cyrus R. Viloria, abs-cbnNEWS.com

(Original Article can be found HERE)

MANILA, Philippines — It may take a lot of more to know what the hell exactly happened onstage.

Love? War? Love and war? Dialogues with enough obscurity the audience would have chosen to live in the past? Dances? More dances? Perhaps Dulaang UP's "Orosman at Zafira" was more than what meets the eye.

I must admit: It was yet my first time to watch "Orosman at Zafira" in the theater, knowing that it's the third staging to in the past two years. The Wilfredo Ma. Guerreo Hall, where DUP plays are housed, was just a nifty place to go when I was studying in UP.

Because of its apparent impact on the younger audience, amid its true-blue nature of Francisco Balagtas text, it was re-staged again at the SM Mall of Asia Centerstage, altogether geared to attract a larger crowd.

Love, war, metaphors

The play took on the root of all evil, love, and how it can disastrously bring down the three kingdoms of Marueccos, Tedenst, and Duquela.

The forbidden love between Gulnara, the courtesan of Mahamud, ruler of Marueccos and Aldervesin, Mahamud's adopted son, commences the conflict.

With this, the Tedenst— led by the Boulasem— then ignite their ambition to govern all of the land, killing Muhamud and firing off the war that will go on for the next hundred years.

Maita Ponce (Zafira; alternated by Delphine Buencamino) and Jay Gonzaga (Orosman)

In the middle of the bloodbath, two people who come from opposing tribes also catch each other's affection through the principle of, yes, "Love at first sight". These are Zafira, the grieving daughter of Muhamud, and Orosman, technically the murderer of Muhamud.

There are also the one-way feelings of love and lust one projected towards the other: Abdalap on Zafira, Zelim on Zafira, Boulasem on Zafira, Boulasem on Gulnara and so on.

For one, these love affairs are tepid at best. Director Dexter Santos realizes that love need not be displayed. With the chorus crying "Kasumpa-sumpa man, pag-ibig, pag-ibig at pag-ibig pa rin!" on loop, Santos shows that love, before you even know it exists, can destroy you. He makes "Orosman at Zafira" as stunning with its polar perspectives on love— sustaining and rewarding, and shattering and cowering.

Santos invests in the symbolism of the play. More than 90% of the actions are meant to be not understood unless taken a double, triple or maybe quadruple look.

For example, when driven by angst, the Marueccos teamed up with the Duquelas, attack the more powerful Tedenst. There's no direct stabbing, or fake blood. But I can see that they fail and crumble.

There are also 3 major wars depicted through the complicated art of movement— strong movement— that breaks the tenets of conventional plays. However, these "wars" are just as well or even more, connotative of the struggle and abhorrence in love.

Applauding the actors

Maita Ponce worked in the first DUP edition of "Orosman at Zafira" back in 2008.

Also one of the play's strengths is the almost-perfect casting.

For one, from what I've witnessed, Maita Ponce who assumed the role of fallen princess Zafira, stole the show.

Ponce, alternated by Delphine Buencamino, doesn't just get praise from her infallible singing. From my perspective, I feel her frustrations as the daughter who just wanted to avenge his magnanimous father. Ponce cries, wails and fights. She knows that Zafira is not one to give up even in the shackles of a death sentence— a Maria Clara who gets out of her shell.

Another scene that makes Ponce the star of the show is at the end when the love of her life, Orosman, survives the war and hailed as the new king. Will she let the past go and start over with a new monarchy? Or will she ever forgive the man who brought up all the wars that spread chaos over the land? She doesn't give an answer but I can see she is deeply disturbed.

Next to Ponce is Roeder Camañag, who plays Tedenst villain Abdalap. The guy upstages Jay Gonzaga, who personified the laidback Tedenst prince Orosman with gifted... abs.

Camañag knows how sinister Abdalap is— willful, manipulative and who can pull off a glare that can induce someone into a coma. Later on, I also figure Camañag played the infamous and corrupt character, Simoun, of Jose Rival, in a separate production. Fascinating.

Roeder Camañag plays the villain, Abdalap— technically speaking— perfectly.

There were also other standouts, namely Tao Aves who plays the troubled clairvoyant and narrator Zelima, and Nazer Salcedo as the intimidating Tedenst leader Boulasem.

Also not to be undermined are the chorus, who solidify the play with their haunting dance movements.

Ancient yet young

For yet again, reintroducing Balagtas to the younger generation of the lost, I say "Orosman at Zafira" deserves everyone's praise.

The play highlights that the ancient can be interpreted to fit contemporary taste. It stresses even the lack of action pierces stronger than just action.

One of the play's best shots on this was by the band, which introduced the ethno-pop genre for the sound effects.

Led by Carol Bello, composer and musical director, the band rocks the play with its unique compositions.

Aside from setting distinctions for the tribes, the band does best what it should do with a play that curses on love and a production that rolls on metaphors: To spook.

 

Catch OROSMAN AT ZAFIRA on its LAST Saturday run

February 26 / 3PM / SAT @ MOA CenterStage

Ticket Price: Php350

Contact Onay @ 0918.536.2116 to reserve tickets.

Francisco Baltazar's Orosman at Zafira: an Epic Musical

from www.joriben.com

(Original Article can be found HERE)

The best thing about critics and reviewers like me is we get to experience so many things before other. People asked for our judgement while sometimes we enjoy giving negative criticism just because it simply feeds our ego. But people doesn't realize that we also have the hardest job ever. And that is defending something that is new and unconventional while putting our credibility at stake .

Weeks ago I was given the opportunity to experience this one show. It is far different than most of the shows that are currently playing in the metro. It is ancient, it is tribal or let's just put it this way: old fashioned. It is the show that is completely opposite of our generation and it is not the average music genre that you will listen on your player. But I was very surprised, beyond I ever imagined that behind the archaic text and tribal chants is a magnificent and jaw dropping performance. But that is definitely an understatement.

Perfection resonates all over the show. From the intoxicating music (Carol Bello), to the exhilarating choreography (Dexter Santos) and the triumphant performance of the company leaves me literally and figuratively breathless. The last time I saw something like this is when I saw the local production of Andrew Lloyd Webber's Cats and I'm so awed that we can also do something like that if not much better but as good as what our foreign counterparts can do.

Maita Ponce and Jean Judith Javier (together with the rest of female cast) captivates me with their unparalleled beauty and femininity.  But behind those fragile facade are fierce warriors that embodies female empowerment that you will definitely not see on most shows. Tao Aves is exceptional. Her voice is one of kind. She will reap out your spirit and will leave you shivering to your soul... and I mean that in a good way.

The males on the other hand have their fair share of good qualities and they serve their purpose quite well. They are strong and finely built for the show. But other than representing the power and masculinity, the actors also show their soft side of acting that impresses me beyond my expectations.  They are not just eye candy for the girls who literally swooned over their perfectly chiseled physique.  They are actors and absolutely one of the finest in the country.

I have a lot more things to say about this musical but I'm afraid that it's already not necessary. All you need to know is they rocked me out of my senses.  Francisco Baltazar's Orosman at Zafira is undeniably the show to die for this year and I'm certainly craving for more. 

Catch OROSMAN AT ZAFIRA on its LAST Saturday run

February 26 / 3PM / SAT @ MOA CenterStage

Ticket Price: Php350

Contact Onay @ 0918.536.2116 to reserve tickets.

 

The Orosman and Zafira in All of Us

A PASSAGE TO REALIZING DREAMS

Joni Aristorenas - Anzures

(Original Article can be found HERE)

For many years, I’ve been engrossed with theater and stage plays. My first real exposure was in first year high school when Mrs. Jospehine V. Legaspi (my English teacher and class adviser) cast me as an extra in the production of A Candle For Anna. I portrayed one of the patients in the mental asylum which was really easy because there was virtually no acting involved – I just had to be myself.

In my junior years, Mrs. Legaspi facilitated a way for our class to watch Repertory Philippines’ The Pirates of Penzance. Deeply impressed by the acting and the production, I wrote my own original play for a scriptwriting contest in school. My entry won and Campus Blitz was shown in my senior year. I wrote and acted in several more stage plays for church and for our Mass Communications class at the Polytechnic University of the Philippines.

Long story short, the theater has been my passage in realizing my dreams. It has been my outlet for the stories and characters that up to now are running inside my head, seeking an opportunity for their voices to be heard and their tales to be told.

Now, imagine how excited I was when Ruth Floresca and Toots Tolentino invited me to the press preview of Orosman at Zafira. It was like being reunited with my high school crush. I was so thrilled, I filed a vacation leave just to be on time for the play to be shown at the Centerstage at the SM Mall of Asia in Pasay City.

THE PLAY AND THE PLAYWRIGHT

When I arrived at 1:00 PM at the Mall of Asia, I still had time to browse over the background of the story while I had a mocha chiller at Krispy Kreme. There I learned that Francisco Baltazar’s Tagalog play is predominantly a political turf war fought between the Marueccos Tribe, Team Tedenst and the Duquela Posse. Though classified as a komedya, you won’t find the traditional or obligatory Moro versus Christian dispute. From what I learned about komedya in school, the Moros were the default bad guys and the Christians were the heroes (bida). Why? Well, it’s the way things are in the play which
isn’t really truthful because we all know that there are both good and bad Moros, and good and bad Christians.

Maybe, even before it was cool to be unprejudiced, multi-culturally sensitive and politically correct, Kuya Frank (how I would address the playwright if he were alive today and having frapuccino at Starbucks) was introducing a radical idea that it isn’t religion, race or color that determines a man or a nation’s morality or spirituality. Today, as in Kuya Frank’s period, people are still assuming that just because you belong to a certain family, group or race, then you are the enemy. A great philosopher, Martin Gore, put it so veraciously, “It's obvious you hate me though I've done nothing wrong. I've never even met you so what could I have done.” I think he belonged to the secluded French priory called Le Depeche Mode.

A TASTE OF THINGS TO COME

Ruth Floresca’s text message interrupted my Wi-Fi surfing. She informed me that the pre-show presentation was ongoing. I rushed to the Centerstage and prepped my Nikon D40.

We had a taste of the show at around 6:30 PM featuring one of the key scenes in the play. Those of us who had cameras were allowed to shoot to our heart’s delight. After the preview, Mr. Tolentino informed us that the full show would start at 7:30 PM. Jophen Baui (my editor) decided to finish up some pending online work at a nearby Netopia internet café. I decided to join her and engage in a life and death Call of Duty Modern Warfare II game session.

Returning to the Centerstage, we noticed that there were a lot more spectators. We were first assigned seating at the balcony but was later transferred to the orchestra – which was good because we were now front and center of the show. A mere row separated us from the performers. We could literally get a whiff of their perfume or get splashed at with their sweat. Ano’ng binatbat ng 3D movie sa ganung experience?

THE STORY

The epic started with a narration of Zelima,daughter of Ben-asar, the right hand man of Boulasem, the chieftain of Team Tedenst. Zelima croons about Sultan Mahamud of Marruecos who rules the land. The sultan decrees that all the provincial governors and their inner circles would be invited to a grand party. Compulsory RSVPs have been sent to Boulasem and Zelim, the leader of Duquela Posse.

Perhaps it was the timing of the feast or maybe Boulasem had watched too many Soprano episodes that it made him suspect that Mahamud wants full control of the realm by making sure there are no rivals left to dethrone him in the future. Believing that the best defense is offense, Boulasem sends the Sultan to the Moro Stovo'kohr (Hell) during his own grand celebration. Of course, you realize, this means war.

Gulnara, courtesan of Mahamud, and Zafira, orphaned daughter of the Sultan, start the first war. The lust for power causes the war to drag on. Boulasem’s son, Abdalap, murders his own father to inherit the throne. He also threatens to put his brother Orosman to death so that he will be free to marry Orosman’s lover Zafira.

CHARACTER REFLECTIONS

Whenever I watch movies, home videos or listen to music, I always try to find which character or song lyrics I relate to best. In Orosman at Zafira, there were several characters I identified with.

To some degree, I felt Orosman’s deep passion and attraction to Zafira -- who wouldn’t!? If Kuya Frank’s original Zafira was as gorgeous and as spirited as Maita Ponce (one of the actresses who portrayed the heroine), you couldn’t blame Orosman for disobeying his father and going against big brother. But unlike Orosman (and no, his name is not old Tagalog for “One Who Sings with Six Pack Abs”), I have let circumstances and people build strong fortifications between me and the ones I cherish. Orosman, in my mind, would have been the ideal me if only I had a fraction of his tenacity and fortitude to bravely confront the barricades that would separate him from his true love. Thus, his tribe would most likely christen me as “A Man Called Torpe.”

My heart goes out to Zafira and Gulnara. They were victims of the vile ambitions of wicked men. Throughout the story they made most of what they still possessed in carving out a life for themselves and their people. Besides their beauty and allure (exceedingly evident by the way), both women were red-blooded warriors – ready and willing to battle emotional and physical demons that plagued their minds and their land. If 168 Mall sold Zafira and Gulnara action figures, I’d hastily add them to my display case of lupet and asteg gladiators like the Yautja Predator, Xenomorph Alien, Lara Croft, Vash The Stampede and Papa Jack (they say he’s a certified atsay-killer).

I can understand Boulasem’s need for control. Well, yes he’s a despotic, conniving snake who will crush anyone who goes against his will. But you’ve got to hand it to the authoritarian datu – he knows how to flaunt his power with all the wars he has waged and all the heads he has ordered lopped off perhaps with a dull and rusty Swiss Army knife. I mean, where can a Moor despot get some peace and quiet around here? The truth is I pity the guy. He simply wants to torture, mutilate and kill everyone who looks at him the wrong way, and he has to be inconvenienced with trivial household problems because both of his sons want to symbolically stand under Zafira’s umbrella (Ella ella, eh eh eh) under her umbrella.

AN ENCORE OF EMOTIONS

Just when we were enthralled by the gratuitous war dance and the romance, the show ends. “Bitin!” I told Ruth and Jophen. As the cast re-appeared for the curtain call, I wished that I could watch the play again (kasi baka kapag ni-replay, hindi na mapatay si Mahamud).

Artsy people will tell us that when we watch a play, we should understand and learn – and not be entertained or have fun. True, but to be honest, Orosman at Zafira was a joyride for me. I stopped trying to understand the complexities of the narrative and just let the story itself take me. After all, being lost in the struggles of the tri-kingdom world of OZ was the best way for me to appreciate it. Bottom line, if you watch Iron Man, Green Lantern or Kung Fu Panda to be entertained, then watch Orosman at Zafira. I kid you not – the enjoyment factor is there.

Before we left the Centerstage, Nonoy (Ruth’s husband) managed to spot Maita Ponce (she played Zafira) as she quietly slipped out of the theater. She was now in a black smart casual suit. No one would suspect that a few minutes earlier she was battling hordes of enemy attackers. You would only realize that it was the same Zafira when she smiled – and she brightened up the hall as her heroism and sacrifice brightened her war-darkened homeland of Marruecos.

Where was Maita going?

Maybe back home – to rest. Perhaps, a snack or some coffee, or tea.Whatever and wherever, it was back to the normal life for Zafira. Back to the everyday life.

Thinking about our short meeting with Maita, I realized that maybe there’s a Zafira or Gulnara in each Filipina (and an Orosman or Boulasem in every Filipino). Everyday, normal life bounds us or imposes on us certain decorum. But when faced with trials and troubles, our own deeply-ingrained values take over. We shed our everyday smart casual facades and confront our problems in either a Marruecos, Tedenst or Duquela fashion.

“All the world's a stage, and all the men and women merely players,” a well-known English poet and playwright once wrote. For me, one of the best applications of this phrase is the play that is Orosman at Zafira. Not only does the story reveal to us the heart and soul of a great Filipino playwright during a period of national self-realization, but more importantly, it exposes us to the present realities of our own personal and national struggles.

Catch OROSMAN AT ZAFIRA on its LAST Saturday run

February 26 / 3PM / SAT @ MOA CenterStage

Ticket Price: Php350

Contact Onay @ 0918.536.2116 to reserve tickets.