Another look at ‘Mabining Mandirigma’

Feeling patriotic last June 12, the Philippine Independence Day, I thought I’d celebrate the date by watching “Mabining Mandirigma.”

This is an award-winning Tanghalang Pilipino musical about the life of Apolinario Mabini, a Filipino hero who is known as the brains of the Philippine revolution against Spain and the first prime minister during the American occupation.

I had always thought that the life of Mabini was no material for the stage. He was no Jose Rizal or Andres Bonifacio.

Paralyzed and confined to a wheelchair for most of his life, he did not fight wars or died on the battlefield. Neither did we hear of any amorous adventure.

What Mabini had was remarkable intellect that both dazzled and scared the powerful. He helped set the revolutionary government of Emilio Aguinaldo on the course towards the independence he dreamed of all his life. He was a figure whose ideas resonate to this day.

The message of his “True Decalogue” has not aged one bit. But he did not seem suitable for song and dance.

However, that did not stop a few intrepid creatives in the persons of writer Nicanor Tiongson, composer Joel Balsamo and director Cris Millado. They were not only daring to take on the challenge. They were also irreverent enough to twist the Mabini story into fun musical theater.

And it is not just an ordinary musical. It is a steampunk one, which I think is so well-suited to the rebellious theme of the story.

First performed in 2006, it has been restaged from time to time over the ensuing years and will doubtless return also from time to time in the future. I thought though that this recent one was quite special. Not only because it was Independence Day. It was also because “Mabining Mandirigma” was celebrating its release from its usual small black box venue to the large, history filled Metropolitan Theater in Manila. Freedom at last and in a huge way.

First performed in 2006, ‘Mabining Mandirigma’ is celebrating its release from its usual small black box venue to the large, history filled Metropolitan Theater in Manila.

That was one big move but it worked wonderfully. The bullet-point story telling remains. You know that kind, this so and so event happened on this so end so date. Let that go and you can then enjoy the show.

This “Mabining Mandirigma” was well-acted. Cheers to Shaira Opsimar as Mabini and Armand Ferrer as Aguinaldo and to the entire cast. It is well sung and in the case of the illustrado guys, well-danced, to Balsamo’s varied genre music that swayed and funked at appropriate times.

The set in steampunk style by Toym Imao is particularly impressive. It is filled with items replete with meaning. Think brains as a nod to Mabini, metal wheels pointing to the future, clocks saying timeless and those chairs, a massive throne for Aguinaldo, a wheelchair for Mabini, but looking strangely alike. And more.

Then to sew it all up there is Millado’s sure hand in everything, putting forth Mabini’s legacy but with a fun entertaining edge.

I just have a question. It is one that has bothered me for years. Why cast a female actor in the role of Mabini? Was this really just a gender-bending move as a nod to diversity or a simple case of para maiba naman?

Whatever it was I could not help but imagine how two male actors in the leads would sound singing those powerful songs. Sort of like a Javert and Valjean pairing. That will really rock. Maybe it will happen in some future rerun.

By the way, “Mabining Mandirigma” did two performances at the Met last June 12, a free matinee and a ticketed evening show. That free show was a nice gesture that I hope other producers would consider. At a time when tickets to live theater shows literally cost an arm and a leg, a free performance or two would be really nice.