Villanueva, Ma Socorro G. March 19, 2015

3BES1

A Critique Paper on Loy Arcena’s Arbol De Fuego

When the word “drama” crosses my mind, I initially think about intense feelings of

emotions such as grief, crying and all sorts of emotional pain. A person who exaggerates his

plight and constantly tries to resolve his own conflicts.

Expectations on Arbol De Fuego

The moment I found out that Cherie Gil and Angeli Bayani would star in a stage play in

PETA, my expectations immediately soared. I have always admired Cherie Gil’s role as an

antagonist and to see her being a protagonist is exhilarating and something to look forward to.

The first time I have watched Angeli Bayani in an indie film “bwaya”, I instantly became a fan. It

aroused my curiosity how these two actresses perform on stage and thus contributed to my

decision to watch the play.

Philippine Drama

The characteristics and identity of Filipinos are a composition of different nationalities.

When asked to describe what a Filipino is like, people often overlook the indeginous qualities

we original had before we were colonized. Filipinos are often physically described as morena,

with a medium height and other qualities that actually reflects Spanish. Many have forgotten or

are ignorant on what a real Filipino looks like -- that is, short, brown-skinned, flat nose and has

curly hair. In addition, our characteristics are diversed as well. We are often described as

hospitable, resilient and hard-working. Although, we were not able to carry on the

characteristics of indigenous Filipino, I think it has really been a part of our identity to be

composed of different nationalities.

Drama, as defined by Nicanor Tiongson, is the imitation by an actor of actions that happen

in real life. Moreover, it is “Philippine-ized” if it reflects the Filipino’s culture, answers the need

of the Filipinos at a given time and it works for the good of the many. However, it must be

separated from the black-and-white mentality which specifies that a play has to completely

reflect Philippines or not Philippine at all.

Since Arbol de Fuego was an adaptated play, it does not completely embody the first

characteristic of “Philippine-ness”. From the costume to the stage design and language, the play

was greatly influenced with Spanish qualities. The economic structure of the story were

instituted by the Spanish colonialists as well. The hacienda system were of Spanish origin and

were just entrusted to local natives. Although the components of the play were a mixture of

colonial and local qualities, the Spanish dominates those of Negros qualities in terms of

language, accent, economic structure, mentality, clothing and action.

The conflict in Arbol de Fuego was the separation from the glamorous lifestyle imbibed by

colonial mentality. Rica as portrayed by Cherie Gil, denies the fact that their wealth is

detoriating and continues to live lavishly. This can be supported by the scene when they reject

Nonoy Tiking’s solution to their problem which seems to appear as condescending. This exposes

the ills and foibles in society in 1970, when Filipinos were far from being liberalized from

colonial mentality.

In my perspective, Arbol de fuego both bares the idiosynracies of the Philippine society and

attend to the amusement of the audience. However, the play answers the need for

entertainment more than it aims to educate and move audiences to action because the text and

actions do not affect the audience’s emotions intensely.

The third characteristic of being “Philippine-ness” is what the play completely embodies.

The characters were so diversed, from the lowest rungs of the society to the middle and the

richest. People can relate to anyone of them. The play works for the welfare of the greater

many, which is the highest consideration of a truly and intensely “Philippine-ness”. Nonoy Tiking

embodies many of the Filipinos, who went from rags to riches because of hard-work. He was a

son of a slave but he worked hard and was blessed to be an assistant of a Mayor who became a

Senador, which contributed to his major development.

The notable colonial influences in the play were the Christianity that came from Spanish

colonial regime, this was portrayed in Adjie, who was very religious and devoted to the Virgin

Mary. Another was the sarsuwela from the Early American Occupation between Nina and

Dante, Pindot and Lingling, Caloy and Lingling and Charito and Nonoy Tiking. Their romance

were hindered by their own desires. Charito denies her love for Nonoy Tiking because she

thinks his wealth has completely changed him. Lingling keeps on chasing for Caloy who only

loves himself and own desires. Dante who believes Nina and him were greater than love was

just actually denying love. The love story between members of opposite classes has become

mainstream in Philippine shows. Revolutionary drama was embodied by Dante who was very

radical and does not conform to the status quo, who was in fact not living in reality. Caloy who

was very eager to raise his life from the low rung of the society who eventually became a social

climber and only cares about his own pleasure symbolizes some of the Filipinos who have tasted

comfort and was not able to manage to keep their feet on the ground.

The conflicts exist between man vs. himself which was the case of Enriquetta and Adjie who

would not let go of the hacienda but still lives as if their wealth can support it. Enriquietta and

Adjie denies their plight instead and plan and throw lavish parties rather than find solutions for

their problem. In the end, they were able to resolve it by embracing and taking the courage to

start a new life in Madrid and Makati. Dante was also in conflict with the society. Given that he

is very radical and philosophical, many would see him as out of touch with reality which in fact

he sort of is. He only lives in his own mind and ideas. However, his thoughts about importance

of work, laziness and stupidity of most intellectuals were realistic but they ignored it. While

Charito and Tiking are the only ones worrying about the state of the hacienda who were also

confronted with their denial and suppresion of their feelings for each other. Nina also faces the

challenge of her future’s uncertainty when Dante went back to her life. The household staff also

had their own predicaments with love and their future once the hacienda has been sold.

After all, the play was comprised with different social influences who tackles the common

troubles humans experience. Further, It was more of a feel-good play for it does not require a

profound mind to understand the plot. There are no big production numbers or

intellectualization that are difficult to grasp, it was all a superb experience of life with a gentle

touch of class, reality and sincerity.

Thoughts on the adaptation and the play

The characteristics portrayed by the characters in the play were very much like Filipino that

one would not even hint it as an adapted play. As mentioned in a review in Philippinetatler.com

“We still very much operate on a class system: the people who have the people who don’t have,

the people who think they have, the people who pretend they have, and the people who want

to have,”. Loy Arcenas gave justice to the adaptation and added a Filipino touch to it. The

casting were impeccable, they embodied their role whole-heartedly and made the acting look

natural. Not to mention, the emotions that were thrown by their dialogues which were

emphasized by Ilongo and Spanish language and accent that came off as genuine. Most

importantly, the script did not make any generalized statement and it did not sound like

pompous and sermonizing.

The performers worked as a unit, they were really engaged in their conversation. Unlike,

other stage plays were the actors seem like they are just waiting for their turn to speak their

line, the performers in Arbol del Fuego were actually relation to one another which made the

scenes look natural as if it were not staged. Despite Cherie Gil being the major character in the

play, she did not steal other characters’ spotlight. Raffy Tejada and Divina Aucina’s role deserve

to be commended, their acting were instinctive. No one steals one another’s spotlight. They

were all given their moment of recognition.

Loy Arcena’s work as a costume and production designer was impressive. The 1970’s

period, social status and personality of the characters were very much expressed in the choice

of clothing. The Jardelezas were dressed in a way like a haciendero would dress and it was also

simplified when they lost their wealth, like when Nina started wearing pants and shirt instead of

her usual elegant dresses. Dante’s deviation was reflected with how he dress as well, it was very

distinct that his clothing were very much different from other male characters.

The change of set-up was very impressive due to the fact that the staffs were also in

costume, they were dressed like kargadors. PETA is not as massive as other theaters, but the

performers were able to maximize the space outside of the stage. Their entrance and exit were

smooth. Loy Arcenas made great use of the space, the stage were spread outward which gives

the audience an illusion of fields backed with the sound effects.

The lighting matches the moods and dims when the performers are hit with nostalgia. The

actors were properly lit in their own scene, and yellow lights seemed appropriate for the 1970’s

theme. The lighting properly matched the sentimental points of the characters.

All through out the play, the emotions given to the audience were calm and moderate until

Bembol Roco capped it off. Every emotions were heightened in the ending which was

astounding.

To quote Wango Gallaga “The Arbol de Fuego (flame trees) that are mentioned constantly

throughout the play is not just a symbol within the play, it is a symbol of this production. This is

a production that is in full bloom and is on fire and I plan to see it again. It's that good.” The play

is not successful because it is a production of PETA, it is triumphant in its own sense and

architecture. It was the perfect mixture of cast, lighting, costume, text, music and director which

all worked harmoniously and gave a glorius adaptation of the Anton Chekhov’s The Cherry

Orchard. Arbol de Fuego gives a full theater experience that is whimsical and nostalgic.