While the title is a parody of Rock of Ages, the Philippine Educational Theater Association’s (PETA) production is neither a spoof nor an adaptation of the Broadway hit or its embarrassing movie adaptation. In fact, Rak of Aegis is nowhere close to its western “counterpart” in terms of depth. Now, that statement may make you think that the show is downright grim and depressing. It is not. In fact, the show is one of the most entertainingly raw and heart-filled productions I have seen in a while.
Directed by Maribel Legarda and penned by Lisa Magtoto, the inventive rock comedy musical — inspired by the music of the popular 90’s OPM band Aegis —follows the flood-stricken Venezia residents as they face natural and man-made calamities that have wreaked havoc to their lives as individuals and as a community. Just like the songs of Aegis, the story is deeply Filipino. Rak of Aegis presents a visual essay on the way Filipinos handle tragedies, albeit with a light and comical approach.
The material isn’t perfect. The pacing tends to be uneven and certain scenes may be completely written out. But beyond this, the highly challenging task of balancing a serious topic with its comic touch is effectively achieved. More importantly, the show’s choice of tone doesn’t take anything away from the reality that it seeks to represent. Issues were never trivialized. It is our story and yes, we may laugh about its campy charm and humor in the show. But the commentaries and condemnations remain powerful, sincere, and true.
This, being an Aegis-inspired musical, one will have to summon every fragment of one’s willpower to not sing along with the cast. After all, we are all familiar with at least one Aegis song – no matter how hard we try to deny it. Given that, the songs in Aegis’ repertoire were given appropriate twists to cohere with the emotional demands of a particular scene. Myke Salomon’s arrangements and musical direction are both endearing and nostalgic. Unlike in other musicals, though, the songs generally do not drive the story forward. What they do is accentuate the disposition of the characters and the community. At its core, the celebration of Filipino’s musicality shines through and it leaves the audience reliving and singing the songs of the band – at least quietly in their heads.
The company of the musical was thoroughly relatable, engaging, and entertaining. From the ensemble to the main cast, everybody showcases a wide range of emotions and ultimately delivers a strong performance. On top of that, to say that their vocal acts were impeccable feels like a gross understatement. Jerald Napoles and Poppert Bernadas play barrio machos Tolits and Kenny with oozing masculinity while complementing these otherwise stereotypical characters with a lot of heart. Phi Palmos is store-owner and shoe designer wannabe Jewel. Palmos showcases brilliant timing and strong stage presence such that he steals practically every scene he’s in. Julienne Mendoza was delightfully affable as Fernan, the story’s quasi-villain. Kakai Bautista is predictably funny and surprisingly poignant as Mercy while the ever-reliable tandem of Robert Sena and Isay Alvarez essay compelling performances as Kiel and Maryjane with power, nuance, and depth. I can still remember how surprisingly good Aicelle Santos was in Katy the Musical and it is with a deep sigh of relief and delight to see her consistently effective on stage with her portrayal of Aileen in Rak of Aegis. I said it once and I will say it again: she is someone to watch out for in the local theater scene and I sure hope that she does more theater work after this. The rest of the ensemble populates the stage with character and presence that suitably pepper more life to the rowdy, gritty, and riotous universe of Venezia. The show also features other actors as alternates like Nor Domingo and Kalila Aguilos among others and I hope I get the chance to see them portray their respective roles in a future staging as well.
If there’s another winner in this show, it will have to be the set design. Mio Infante’s set encapsulates the grit, desperation, and misery of a long-suffering community. It is one thing to turn the stage to the platform where actors can perform and it is another to set up an intricate design of a flood-ravaged community that is rife with emotions on its own. Furthermore, the mis-en-scene it provides makes the milieu even clearer: defining the misery of a community living through tragedy; punctuating the socioeconomic status of the town, thus giving more depth to the characters’ persona.
The show’s charm stems from its Filipino mixture of humor, spirit, familiarity and self-awareness. In at least one instance, Aileen tells Tolits to start singing and in one number, the characters redirect their condemnation from each other to the audience. It knows it is just a show, but beyond that, it is aware of its purpose to say something meaningful to the Filipino audience. The show highlights the idea that the usual brand of Filipino escapist resilience is fallacious. But with the show’s approach, it makes it much easier for this bitter pill to swallow. It is such a shame that such timely piece will eventually stop running. Rak of Aegis deserves a bigger and wider audience. As early as now, I would like to propose an extension and a restaging. Yes, it has its flaws and issues. Its sincerity, timeliness, and drive for Filipino awakening, however, are more than enough to encourage many Filipinos to watch this show.
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'Rak of Aegis' runs until March 9, 2014 at The PETA Theater Center located at No.5 Eymard Drive, New Manila, Quezon City. Shows are Fridays-Sundays, Friday and Saturday shows at 3:00 P.M. and 8:00 P.M. and Sundays at 10:00 A.M and 3:00 P.M, except Feb 23 with shows at10:00A.M and 8:00 P.M. and Mar 2 at 3:00 P.M. & 8:00PM. Buy your tickets online here, or call Ticketworld at (63 2) 891-9999.
