By NOEL D. FERRER
The transformation of local stage productions into captivating cinematic experiences has surged in recent years – thanks to the abundance of filmmakers and film festivals dedicated to take these stories to the big screen. “Several have garnered acclaim both locally and internationally. Here are some stellar examples:
“A Portrait of the Artist as a Filipino” – Directed by Lamberto Avellana, based on the Nick Joaquin play “Ang Larawan” – Directed by Loy Arcenas, based on Rolando Tinio’s “Larawan,” which, in turn, is based on Nick Joaquin’s “A Portrait of the Artist as Filipino”;
“Changing Partners” – Directed by Dan Villegas, based on Vincent de Jesus’s musical play;
“Imbisibol” – Directed by Lawrence Fajardo, based on the Herlyn Alegre play;
“Esprit de Corps” – Directed by Kanakan-Balintagos) and based on his own stage drama;
“Tatarin” – Directed by the Tikoy Aguiluz (Godspeed, Direk Tikoy!), based on the Nick Joaquin play; “Hintayan ng Langit” – Directed by Dan Villegas and based on the Juan Miguel Severo play starring Gina Pareño and Eddie Garcia, who was honored with a law on the welfare of artists and film and television workers yesterday.
Conversely, as live theater gains popularity in the country, original film projects are also being adapted for the stage.
One of the most celebrated film-to-stage adaptations is “Himala: Isang Musikal.” Based on the cinematic masterpiece by Ricky Lee and Ishmael Bernal, “Himala” or “miracle” follows the story of a young woman named Elsa who becomes a savior in the eyes of a bucolic town longing to put an end to its suffering. With music and lyrics by Vincent A. deJesus and book and lyrics by Ricky Lee, “Himala: Isang Musikal,” co -presented by The Sandbox Collective and 9 Works Theatrical, broke barriers in Philippine theater history.
“Batch ’81” is by director Mike de Leon, co-written by him, Clodualdo del Mundo and Raquel Villavicencio. The theater version was made by Tanghalang Ateneo with Guelan Luarca in 2019.
In 1982, there was a bold groundbreaking film by director Mike de Leon entitled “Batch 81” which used the violence of college fraternies as social commentary against Martial Law. An award-winning classic it was hailed.
In 2019, with the tense political and social turmoil of Martial Law seemingly coming back, prolific playwright Guelan Luarca, son of Ward Luarca (who played Pacoy in the film) thought it was time to bring the story of “Batch ’81″ back as well. Luarca adapted the original screenplay written by del Mundo, Villavicencio and de Leon into “Alpha Kappa Omega Batch 81,” that brings Sid Lucero’s story into the present time, this time on a theater stage. Luarca himself directed this new play, assisted by Tara Jamora Oppen.
“Bituing Walang Ningning” is a film by Leroy Salvador and Emmanuel H. Borlaza. The musical theater version was staged by Full House and Ultimate Entertainment Productions of Resorts World Manila in 2015 under Freddie Santos.
Originally told over a serialized comic strip by fictionist Nerissa Cabral, the story was made into a blockbuster movie in 1985 and was then re-made into a hit television series back in 2006.
The main cast of this original, all-Filipino production are theater stars Cris Villonco, Mark Bautista, and newcomer Monica Cuenco who shone as the new Dorina Pineda, a role popularized by Sharon Cuneta on film and Sarah Geronimo on the drama’s TV stint.
Accompanying the leads are Jon Santos, Ronnie Liang, Jay Roa, John Nite, Michael Stuart Williams, and the first lady of Philippine musical theater Menchu Lauchengco-Yulo.
“Maynila, sa mga Kuko ng Liwanag” is a film by Lino Brocka in 1975 from Edgardo Reyes’ “In the Claws of Brightness.” It was later staged by Tanghalang Pilipino by director and then made into a musical, with Joel Lamangan at the helm.
“Maynila, sa mga Kuko ng Liwanag” tells the story of Júlio Madiaga, a young man from the province of Marinduque who arrives in Manila for a mission to find his lover Ligaya. While making plans for his mission, he has to survive the conditions in the capital city, contending with issues like crime and prostitution.
A stage adaption of the film was done by Tanghalang Pilipino in the ‘80s and later released in 2017, directed by Joel Lamangan. It was presented by Grand Leisure Corporation and featured music by Von de Guzman, choreography by Douglas Nierras, and production design by Jun Flavier Pablo.
The musical stars Arman Ferrer as Julio Madiaga; Shiela Valderrama-Martinez as Ligaya Paraiso (with Lara Maigue as alternate); Floyd Tena as Pol; Noel Rayos as Atong; Aicelle Santons as Perla (with Rita Daniela as alternate); Dulce as Mrs. Cruz (with Ima Castro as alternate).
And we have the soon to be released “One More Chance,” “Bar Boys,” “Anino sa Likod ng Buwan,” “Karnal,” “Kisapmata” and “Here Comes the Bride.”
A film by Cathy Garcia, “One More Chance, The Musical” will be adapted to the stage by the Philippine Educational Theater Associatio (PETA), featuring the songs of the country’s most sought-after nine-piece band, Ben&Ben.
PETA’s musical adaptation not only brings the iconic love story of Popoy and Basha to life but also creates a more nuanced and expanded experience for audiences, thanks to Ben&Ben’s poetic, emotionally charged, and LSS-inducing songs. The musical includes the band’s smash hits “Kathang-Isip,” “Araw-Araw,” “Leaves,” and “Paninidigan Kita,” to name a few.
“Bar Boys,” a film by Kip Oebanda will be adapted to musical theater by Barefoot Theatre Collective with Pat Valera’s book and Myke Salomon’s music.
“Bar Boys” is a 2017 Philippine comedy-drama film written, co-produced, and directed by Kip Oebanda. The film stars Rocco Nacino, Carlo Aquino, Enzo Pineda and Kean Cipriano and revolves around a group of friends who will try their best to become aspiring lawyers in a law school.
“Anino sa Likod ng Buwan” is a Jun Lana opus to be mounted as a play -which it was originally – by IdeaFirst Company as their first theater production.
“Anino sa Likod ng Buwan” (“Shadow Behind the Moon”) is set in Marag Valley during an armed conflict between the Philippine army and communist insurgents in the early ‘90s.
Caught in the middle are three people: Emma (LJ Reyes), her husband Nardo (Anthony Falcon), and the couple’s friend Joel (Luis Alandy), who also happens to be a soldier. When we say caught in the middle, we mean that in the literal sense because much of the movie happens in an old and rundown shack right smack in the middle of what is known to be “no man’s land.”
“Karnal” is a Marilou Diaz-Abaya and Ricky Lee film that will be made into an opera by CCP, with book and libretto by Dennis Marasigan and music by Joed Balsamo.
The classic film, written by Ricky Lee and directed by Marilou Diaz Abaya, has already inspired four acts’ worth of music composed by Joed Balsamo, with book and libretto by Dennis Marasigan.
“Everything that happens in the 1983 film, the mystery and its intriguing set of characters particularly Puring, Narcing, Goryo and Gusting; the feels, the people of that small town, the tragedy and confusion – all of it make for great opera,” said Balsamo.
“Kisapmata” by Mike de Leon will be translated to theater by Guelan Luarca for Tanghalang Pilipino.
“Kisapmata” is a 1981 Filipino psychological drama film directed by Mike de Leon with a screenplay by de Leon, Clodualdo del Mundo and Raquel Villavicencio. It stars Vic Silayan, Charo Santos, Jay Ilagan and Charito Solis. The plot was inspired by the crime reportage, “The House on Zapote Street,” written by Nick Joaquin. The piece chronicles the events leading up to the highly publicized familicide committed by Pablo Cabading, a retired policeman.
And what’s this we hear that “Here Comes the Bride” of Chris Martinez is also being considered for a theater adaptation. Truly, theater is alive! And despite the prohibitive cost of tickets, why do you think theater has become a worthy alternative than watching films on the big screen? It must be the magic of the live experience!
