swordshines10: KANSER UPDATED 2016: THE REVIEW

KANSER UPDATED 2016: THE REVIEW

LET'S START WITH THE ENDING.

"SUNUGIN N'YO ANG AMING BANGKAY. IKALAT N'YO ANG AMING ABO. NANG SA GAYO'Y MAPAWI ANG UHAW KUNG DUMATING ANG PANAHON."

So went the lyrics of Kanser's finale scene, a very painful ending scene, as to which all the characters of the play appeared anew in varying emotions and messages that could be felt. There stood Rizal, a.k.a., Crisostomo Ibarra- almost like a statue in a platform, and his name and signature so miraculously blossomed on stage.

As the song "Sunugin N'yo Ang Aming Bangkay" went on, with its powerful melody and penetrating rhythms, you would cry and the spirit of being a true Filipino coming out alive again.

The characters of Noli Me Tangere, Dr. Jose Rizal's classic novel that became a instrument for Filipinos at that time to finally set themselves free from Spanish colonization, indeed, came back alive in Kanser (a play adaptation of the novel, so powerfully written by playwright Jomar Fleras when he was still 17 years old), The characters became alive again for two hours as the ensemble cast of the play performed. They all became real, like dead souls that visited a modern era, like spirits that somehow sent back eternal messages of freedom, sacrifice, passion and LOVE.

On that instant, all the characters stood and sang- revealed themselves fully and told everyone to scatter their ashes so that the thirst for a true Filipino spirit could be felt anew.

This was the FINALE scene of Kanser, a play with music and incredibly but genuinely directed by Frannie Zamora.

Tears were not enough, though. Tears that gathered in the eyes of one spectator as he finished watching the play. because the overwhelming feelings of Dr. Jose Rizal's great love for his country invaded his heart. And it was not enough just to cry. You would want to do something more to continue his legacy and show the youths of today that it's not the YELLOW people, nor the RED people who saved the Philippines. But it was Rizal who clearly defined the history of the Filipino people.

By watching KANSER, you would know why.

Yes, Gantimpala Theater Foundation never failed to deliver a TRUE AND LASTING legacy, meant to be taught over and over again to the young Millennials. THE MOST RESPECTED AND MOST GLAMOROUS THEATER FOUNDATION, that is, Gantimpala Theater Foundation. Other theater groups would copy its true intent and image, but the original would outlast them... for always.

With the most efficient, low-key and unpretentious production staff that a blogger had worked with and bonded with, every theatrical production that Gantimpala produces, especially their "classsics" (Florante at Laura, Kanser, Ibong Adarna & El Fili), had taught every Filipino 'young' the most important values of Education and Nationalism. Not, the FANATICISM, we repeat, not the FANATICISM that other theater groups who copied them had projected.

In Kanser, we saw true greatness. KL Dizon, who portrayed Maria Clara was the most wonderful and "alive" Maria Clara we had ever seen. In the past, in almost all stage plays we had seen about Noli Me Tangere, the character of Maria Clara was always as good as DEAD. She's always seen as sickly, naive, lifeless. And it's so hard to breathe-in a new life to that kind of a lousy and useless character that existed somehow. But with KL Dizon's experimental-kind of performance, Maria Clara became colorful, embracing, loving, passionate.... with her eyes revealing varying emotions of a human living thing. Indeed, an excellent performance for KL.

Carlo Manalac as Crisostomo Ibarra shone so much brightness on stage. His aura was magnificent, his stature composed and restricted, his anger was all too-powerful. He sang in an operatic manner, but was greatly justified by becoming real and almost like Rizal himself, or we'd rather say, Ibarra.

Francis Matheu as Elias was fast in action and movements- and that would really should be the case, because Elias was a man of action, rather than words. Through Francis' own kind of acting style, Elias showed an entirely different character compared to that of Ibarra. And when they both appeared on stage riding a banca, the true message of Kanser was fully revealed.

Through the two varying characters- you would know, yes, you would know, why the "cancer" of society should be prevented. And the two men of strength in words and actions were the only ones who could prevent it.

Norman Penaflorinda as Padre Damaso was overwhelming in performance. He delivered his lines with much clarity and conviction. He performed with so much class and wonder.

Newcomer Jansen Aguilar as Padre Salvi exceeded far beyond our expectations. His eyes spoke, his body gestures united with the melody of every scene. Jansen is the new theater actor to watch.

Dea Chua as Sisa and Angelo Ilustre as Crispin were both sympathetic to look at on stage, and that's because it called for their characters to became so. Thus, they both delivered true to their respective characters and acted with great angst and passion. Meanwhile, Albert Silos as Basilio made us cry, too, as he cried in one dramatic musical number. This theater child actor was truly so sensitive and enduring.

The rest of the ensemble cast all delivered with an everlasting impression of true great performers. Even at the background, they stole glances, performed their very best, and offered new impressions on the theater scene.

It was a vision that director Frannie Zamora shared to everyone. A kind of vision that would reach the gates of eternity and the bells of forever. With the most sufficient kind of direction, the message of Kanser was fully achieved. Alongside with the memorable songs and music, subtle light techniques, authentic costume design, superb stage design, too- and all the rest that went by this great theatrical presentation... Kanser, would continue soaring higher and higher.

Until it reaches...

the boundaries

FOREVER.

(written by robert manuguid silverio)