Theater Review
Doc Resureccion: Gagamutin ang Bayan
Presented by Tanghalang Pilipino
WITH only a few days before the national elections, Tanghalang Pilipino (TP) is streaming its timely play, Doc Resureccion, a filmed performance.
The story introduces Boy Pogi Resureccion (played by Jonathan 鈥淭ad鈥 Tadioan) standing outside his iron-sheet home and enjoying a song blasting from speakers. He is interrupted by an unannounced visit from his cousin Jess (Marco Via帽a) 鈥 a young doctor 鈥 whom he has not seen in a long time.
Set in a poor fishing village, the play follows an idealistic Jess Resureccion, who running for mayor with the promise of helping uplift the status of its residents. However, Boy Pogi, paid by the incumbent mayor to run as a nuisance candidate for the same post, stands in the way of Jess鈥 electoral victory. While Boy Pogi鈥檚 wife Elsa (Lhorvie Nuevo) tries to be hospitable to Jess, the latter tries to convince his cousin to back out from the race.
The play is an intimate conversation revolving around their opposing principles on self-worth, value for their family, and their community.
It was a joy to watch a live theatrical performance for the first time in two years of lockdown, even if it was one of TP鈥檚 technical dress rehearsals. I saw the play for a second time onscreen over the long Easter weekend. Both live and onscreen performances succeed in powerfully confronting the issues we continue to face as a country.
Directed by Dennis Marasigan, the framing and camera angles used for the filmed performance immerse the audience in the story, as if they were watching a film or television series rather than a stage play. The onscreen version has added sound effects of waves that enhance the atmosphere of its setting, a fishing village. There is a two-second overhead shot of the set which looks like the characters are in a real fishing village.
The close-ups of Messrs. Tadioan and Via帽a鈥檚 dialogue highlighted the actors鈥 expressions. I noticed while watching the show again onscreen that Sherry Lara (who plays Mamang) was the comic relief. Nanding Josef, who plays Papang, represents those who remain unaffected by their surroundings, despite his probable awareness of it.
One difference between the live performance and the filmed version was the difference in time of day 鈥 live, it felt like the story happened during the day, but the cool color grading in the filmed version made it seem as if it were set during nighttime.
With a running time of about 50 minutes (and almost nine minutes of credits), the filmed version is worth seeing for a break from work-from-home duties, or a weekend watch.
However, the show contains foul language and acts of violence which require adult supervision for young audiences when watching onscreen.
Fourteen years after its first staging in 2009 as part of the Virgin Labfest, and 10 years since TP staged it as part its Eyeball production, the message of the play remains relevant as it mirrors the recurring socio-political situation of our country.
It is recommended for first-time voters as it encourages critical thinking. The play leaves the audience reflective of who they are as a person, a voter, and a Filipino, and what they desire not only for themselves but for the country.
Doc Resureccion: Gagamutin ang Bayan is currently streaming until April 30 via . Tickets are priced at P350 (general audience), and P550 (a barkada promo for three tickets). Access to the show is for 24 hours on the buyer鈥檚 chosen date starting at 10 a.m. to 10 a.m. the following day. 鈥 Michelle Anne P. Soliman
