During one of the last performances of Insiang at Tanghalang Huseng Batute (the CCP Experimental Theater), Hilda Koronel, who played the title role in the movie version directed by Lino Brocka, had a chance encounter with Bessie Badilla, the wife of Hilda’s ex-husband Bambi del Castillo. Now based in Connecticut with Bambi and their children, including Hilda’s 20-year-old daughter Isabel by Bambi, Bessie was here for a visit recently.
No, sparks didn’t fly (they are gracious ladies, remember?). When Bessie took her seat, imagine how surprised she was to see Hilda seated in front of her. No, the two ladies didn’t exchange "Hi’s!" (they are also good at subtle snobbery, remember?); they simply pretended that neither of them existed and (pretended?) to concentrate on what was going on onstage.
At one point, though, Hilda took out her compact powder to "touch up," but those around her claimed that she did look at Bessie on the compact mirror. There was no word where Bessie was looking at that crucial moment.
It’s a pity that the Funfare DPA forgot to ask Hilda how she found the stage version of Insiang which was originally written by Mario O’Hara as a radio drama and then as a teleplay before Brocka adapted it into a movie which drew raves both here and abroad, a hit at the 1977 Cannes Film Festival. Not many people know that Insiang was the original pito-pito movie, shot mostly at the Smokey Mountain in 14 calendar days. You see, it’s not the length of time spent on doing a movie; what matters is the finished product.
I watched Insiang a week before that subdued encounter between Hilda and Bessie, and I must again congratulate the talents before and behind the play for a job well done. Ricky Davao as Dado (played by Ruel Vernal in the Brocka movie) was utterly despicable in his portrayal of the cop-bully who makes the mother his mistress so he can get close to the daughter (Insiang) and release his lustful intentions on her.
Malou de Guzman as the mother (Mona Lisa in the movie) was daring, showing her breasts in some scenes ("It took her quite a while to internalize those scenes and agree to strip," said Ricky); while newcomer Sheenly Vee Gener, chosen from among 80 aspirants, was restrained and relaxed, obviously unaffected by her veteran and seasoned co-stars. (Sheenly is a graduate of the Philippine High School for the Arts, major in Theater Arts, and is presently an AB Arts Management scholar at De La Salle-St. Benilde.)
Mae Paner as the narrator Toyang was a scene-stealer, breaking dramatic scenes that threatened to turn "heavy" as a commercial does in a radio drama. (In fact, the play was presented like a radio soap, complete with "commercials" and informative, side comments by Toyang.) A UST BS Psychology graduate, Mae is an in-house director at Electromedia and a senior member of PETA (Philippine Educational Theater Association) who has acted in numerous productions.
Cheers, too, to the rest of the cast, including Paolo O’Hara (son of Jerry O’Hara) as Insiang’s boyfriend Danny (Rez Cortez in the movie), McDonnel Bolaños as Atong, Paolo Rodriguez as Atoy and Roeder Camañag (yes, the singer) who did a surprisingly impressive portrayal of Insiang’s late father in the flashback scenes (not included in the movie version).
Special kudos goes to Chris Millado (Calvin’s brother) for his superb direction; and to Hesus Lota (production designer), Joey Nombres (lighting designer) and Roni Reyes (stage manager) for the set that turned the whole Huseng Batute Theater into a slum area, making the audience feel as if it’s part of the play.
Now, the big news: Insiang might go not only on a national tour (due to insistent requests and demands) but also off-Broadway. "I do hope the plan will be pushed through so that Filipinos abroad can enjoy the play," said Ricky. "I’m sure a lot of Pinoys now abroad have watched Insiang the movie and they must be curious about the stage version. Also, sana mapanood ng mga foreigners and, why not, Broadway producers and talents, so they can see how truly good Filipino actors are."
Okay, Ricky, take another bow and let’s keep our fingers crossed that Insiang will reach Broadway (even only "off" it) – including every bit and piece of the intricately-done set.
"Von was a hit the first time," said Lito, "so this repeat performance."
During his shows, Von so captured the hearts of both Pinay entertainers and Japanese women that they showed their appreciation by inserting lapad under his belt. Asked what Von has that makes the women flock to him, Lito said, "Boses!" (See, it’s not what you think.)
In Japan, Von also won the hearts of a record producer (who’s behind Japanese artist Otada Hikari, touted as the Britney Spears of Japan) during Von’s show at the Century Pub Filipino Restaurant. Lito and the Japanese producer have already agreed in principle for Von to do an album (of both English and Japanese songs) in Japan, hopefully soon.
Before the end of the year, Lito plans to mount Von’s first major solo concert calculated to showcase not only Von’s good voice but also his body. "It will be a sexy concert," assured Lito. "The repertoire will be made up of mostly sexy songs."