Inspired from the Philippine Stagers Foundation
It Was You
Neil Virgille I. Saldo
I never wanted history in my life. It’s full of chronological records of significant of events, events that form the subject, and evens that are arranged in order of time usually without analysis or interpretation. And also there would be an argument between histories vs. art. But there is someone who pushes me to history and combines it with art. Someone wanted me to watch his play. I arrived at the theater arena. Crowd was murmuring and waiting for the show start. As the lights were off, it was dark like there is no single star and moon in the sky. After a few seconds, the lights were blinking like fireflies at night as fast and as bright as it could, casts were running here and there at the uplifted stage, singing and dancing… and there you go the show has just begun. The play collides with a modern rock and a Filipino classical music in distinguishable fashion to bring out across Jose Rizal’s life. It was not a one-side play but a three-act musical play. One is the love life of Rizal. Two, is the love triangle relationship of the casts creating the play. And three, is on how to make a play. It leans for about two hours without any gap. In the play, they were making a play as the play. The whole kit of caboodle of companion at school unites after 12 years of advanced exercise in horsemanship to stand a good stead with their classmate in a melodious play about Rizal. The motif around Rizal is the retraction statement in order to have matrimony with Josephine Bracken. The performance starts to be convoluted as it stabs to parallel this senescent times with the newfangled times of history vs. art. It was so eloquent and pleasurable. The mechanical sounds having rhythm and the poetical compositions for the two mellifluous parts conflates faultlessly. The composition created by this art is reputable specifically the reposition of current reverse to impersonate Rizal’s stumble after being shot. The outfits were
Neil Virgille I. Saldo
I never wanted history in my life. It’s full of chronological records of significant of events, events that form the subject, and evens that are arranged in order of time usually without analysis or interpretation. And also there would be an argument between histories vs. art. But there is someone who pushes me to history and combines it with art. Someone wanted me to watch his play. I arrived at the theater arena. Crowd was murmuring and waiting for the show start. As the lights were off, it was dark like there is no single star and moon in the sky. After a few seconds, the lights were blinking like fireflies at night as fast and as bright as it could, casts were running here and there at the uplifted stage, singing and dancing… and there you go the show has just begun. The play collides with a modern rock and a Filipino classical music in distinguishable fashion to bring out across Jose Rizal’s life. It was not a one-side play but a three-act musical play. One is the love life of Rizal. Two, is the love triangle relationship of the casts creating the play. And three, is on how to make a play. It leans for about two hours without any gap. In the play, they were making a play as the play. The whole kit of caboodle of companion at school unites after 12 years of advanced exercise in horsemanship to stand a good stead with their classmate in a melodious play about Rizal. The motif around Rizal is the retraction statement in order to have matrimony with Josephine Bracken. The performance starts to be convoluted as it stabs to parallel this senescent times with the newfangled times of history vs. art. It was so eloquent and pleasurable. The mechanical sounds having rhythm and the poetical compositions for the two mellifluous parts conflates faultlessly. The composition created by this art is reputable specifically the reposition of current reverse to impersonate Rizal’s stumble after being shot. The outfits were