RANAW: Isang Alamat

Ranaw: Isang Alamat is a theater production written, scored and directed by Sir Steven Patrick C. Fernandez, with contributions from Sir German V. Gervacio. The play was choreographed by Melvin Pascubillo and Leilani Fernandez. Ranaw is an Integrated Performing Arts Guild, more commonly known by IPAG, the institutes’ resident theater company of Mindanao State University – Iligan Institute of Technology. I had the good fortune of being able to watch its first showing during February 18, 2015 in the MSU-IIT mini theater.

Ranaw: Isang Alamat is the story of Bato Lakungan. Bato was a child left in the forest, and luckily the sultan and his servants found him and took him for his own. They named him Bato which literally translates to “rock”, for they blessed him with the qualities of a rock, strong and immovable. The sultan loved him and cared for him well, and planned to make Bato heir to his kingdom. However, the datu’s wife began to take fancy on Bato for his fetching physique and youthful prowess. The datu’s wife then began flattering and seducing Bato, and when he refused him, due to her wounded pride then wrongly accused him of taking advantage of her. Unjustly accused by his foster parents, Bato left.

Bato was then banished from his kingdom. He was left to rot in prison, wallowing in his misery. In his madness, he began to hear voices in his head, instructing him to break free from both his physical and emotional bonds, and he then discovered four enchanted weapons that gave him more strength. Bato, now enlightened, desired to find another home to start anew. After wayfaring over many lands and many seas, he finally found the place of his dreams; Ranaw.

Bato Lakungan came across a beautiful maiden and her servant being attacked. He then saved them and therefore sparked the fancy of the young woman. However, they were separated before they could be formally introduced. Bato was left curious for the mysterious woman.

Upon arriving in Toros, he found its inhabitants distressed. They told him of the flesh eating serpent called Niyaga that ravaged their kingdom and made it poor and desolate, completely different from the once great kingdom it had been.

Bato, in his newly found courage and vigor, asked the townsmen to help him defeat the monsters. The men scorned him for his folly, but through his encouraging words, the strongest men ventured with him to find the serpent and slay him. Bato and the townsmen defeated the serpent, and in their gratitude, the Raja and his wife adopted him in place for the son they never had. They named him “Datu” or ruler.

He then defeated Baringigan, a neighboring war-lord who constantly plunders Ranaw. Baringigan and his cronies vow to get their revenge. Again, in deep gratitude, the local people offer to marry him off to a local lass of their choosing. However, Bato’s head was still full of thoughts for the mysterious young lady. They meet again and confess to each other, and when their families find out, the reactions are negative. Bato’s foster parents forbid him to see her again. It turns out Kamayungan is actually betrothed to Baringigan, and he insulted and vows to avenge his dignity. The conflict among Baringigan, Kamayungan and Bato’s family heightens from the threat of an attack from a massive army of white men. The story ends.

This was my first IPAG show, and they met, even exceeded, my expectations.  Everyone who knew of them are always singing praises, and I guess I thought they were overstating a bit. After watching that, I was full of nothing but praises myself! It was absolutely wonderful. I loved all the aspects of the play.

I walked in their thinking I was about to watch a normal play. I guess the musical factor was meant to be a surprise, and surprising it was! Michael Lagura’s acting skills were truly superb. I love how his entire face can justify the emotions the scenes call for. And his singing voice, as well as most of the actors, are definitely world class. The songs are hair raisingingly haunting, while still retaining that cultural vibe.

First was the theme. As cultural plays go, the concept was strength and courage through tribulation, underlined with tones of love and unity. I may never encounter a serpent or an army, but I appreciate Bato’s courage in facing his fears. The “kilig factor” was also very good, playing to the audience who were mostly young adults such as myself. Juvy Pelos and Michale Lagura weaved chemistry for the roles they played, and they had me, and the entire audience as well, cat calling and hooting whenever they were together on stage. In fact, the whole cast were incredibly good actors. You could clearly observe their professionalism, as they play their roles and recite their lines by heart. There was not even a trace of hesitance in their acting, and they embraced their roles completely.

The dialogue was a mix of Tagalog, and some terms and phrases were of local descent, mainly Hiligaynon, Maguindanon, and Iliganon. It added to the authenticity of the entire play, as well as the props and wardrobe. The instruments for the sound effects was entirely new to me, such as the kulintang etc. They were obscure and unfamiliar, but worked well the costume and stage design nonetheless. From the moment I entered the theater, I felt like I went in through a portal and stepped backed in time.

Lastly was the hanging ending. I am a big fan of hanging endings, and this was no exception. The ending was met with gigantic applause from the audience.

We approached Sir Fernandez after the production and praised him for the brilliance of the play. However, some of my friends felt the need to have the ending explained better, and so they asked him about it. He told us that the ending was when the Spaniards or the so-called “white men” arrived. With their then newly invented guns and cannons, they defeated the tribesmen of the olden Mindanao. Apart from being authentic, this was also made for a memorable and dramatic exit.

We also had a chance to take pictures with the cast at the end, outside of the mini-theatre. They were hyped up as well and we had so much fun outside. They joked around with used and had wacky poses as well, and I found that incredibly humble and down-to-earth considering we’ve just seen them give an earth-shattering performance.

All in all, Ranaw: Isang Alamat was a five star play for me.