With our country in the midst of political turmoil, Pingkian celebrates the strength of the Filipino spirit, and how even one voice can be loud enough to turn the tides.
It was around 1892 when a 17-year-old Emilio Jacinto would join the Philippine revolution. He would go on to become one of the youngest generals fighting alongside Andres Bonifacio, and one of his most trusted advisers. Considered to be the “brain of the Katipunan,” Jacinto would go on to write the Kartilya ng Katipunan, which would be the moral code and guiding principles on which the revolutionary group would be built upon.
All this before he succumbed to Malaria at the age of 23. And yet, the legacy Jacinto left is a battlecry for every Filipino burning with a searing love for country—”at what cost freedom?”
Pingkian’s story is set in February 1898, and Gen. Emilio Jacinto has been captured and shot. To hide his identity, he shows them the cedula of an insurgent kept in their camp. As he is being treated for his wounds, he drifts in and out of a delirium, and it is here that the musical begins. Call it a fever dream, if you will, because that is exactly what envelops you once the music swells.
According to Pingkian’s playwright, Juan Ekis, the question he often gets asked is how true is his account of the life and times of Emilio Jacinto, as he tells it in this story. As he writes in the souvenir program, with so little material to work on, he focused his narrative on Jacinto’s humanity. In light of the goings-on around him. In light of the people who stood by his side. In light of Jacinto’s intellect as told through his writing of the Kartilya, Liwanag At Dilim, and other works. From there, Ekis imagines what a conversation between Rizal and Jacinto would be like. What an encounter with Jacinto’s yet-to-be-born child would be. Steering clear of the idyllic, Ekis succeeds in giving us a deeper perspective into what it means to be a hero. To be consumed with a profound love for the motherland.
Jenny Jamora, as director, and Ejay Yatco, as musical director, then take this story and craft it into a musical that moves you. The audience surrounds the stage, drawing you into the story as it unfolds, and the music swells. Much like getting caught up in a frenetic fever dream. You witness Jacinto’s hallucinations, and yet it is colored by his dreams of a time where war is a thing of the past. Jamora’s direction is organic, letting the actors move with an intentionality inspired by their character’s motivations. Even in ensemble scenes, she leaves enough room for you to connect with each person’s journey on that stage.
While I’ve seen Yatco’s work as a musical director across different shows, this would have to be, hands down, his most inspired. While it was giving Hamilton in parts, with a bit of rap here and there, he steps away from that with sweeping anthems that, seriously, leave a lump in your throat. Do pay close attention to the lyrics, coz oof, those hit home, and hit hard. To be honest, it is the music that carries this musical from good to great. No cap.
Related Story: 5 actors to keep an eye on
Related Story: ‘Isang Himala’: A story told in light, shadow, and song
In the titular role of Emilio Jacinto is Vic Robinson, who delivers a compelling performance, and sings it just as powerfully. He gives us a Jacinto that is in search of clarity, driven by a greater purpose, and yearning to be home by his wife’s side. Playing as a counterpoint to him is Paw Castillo’s powerful portrayal of Andres Bonifacio – as a fearless leader who inspires the troops under his command. Props also go to Kakki Teodoro, who does a gender-bending portrayal of Jose Rizal. Generally not a fan of this approach, but in her case, it was a respectful, even moving portrayal of our national hero. The true heart of Pingkian lies in its cast — and the journey of the Filipino they take us on with them.
In July, Pingkian: Isang Musikal picked up quite a few well-deserved trophies at Gawad Buhay, which honors the best in Philippine Theater. Aside from being recognized as Outstanding Production of a Musical Using New Material, it also picked up awards for stage direction for Jenny Jamora, for Best Actor for Vic Robinson’s compelling portrayal of Emilio Jacinto, and for writing for Juan Ekis. The musical also won for original score, co-credited between Ekis and Ejay Yatco, who was also recognized for musical direction.
Whether it was intentional or not, the timing of Pingkian’s return to the stage feels serendipitous. In light of last weekend’s rallies, the musical feels like a testament that a Filipino hero can be any one person who stands up against those with corrupt and misaligned intentions. Jacinto was but a teenager when he first joined the revolution, and in six short years, he lay the groundwork for Philippine independence. He would never see the fight won in his lifetime, yet it was one he believed was worth any, and all, sacrifice. While the face of the modern day big bad has changed, the narrative remains the same. The question that remains is, do we have the same heart as the Katipuneros who saw love of country as the greatest of all callings. Pingkian plants that seed through song and story, hoping that history (and war) do not have to repeat itself for change to happen.
The musical’s cast, carrying cards with protest messages, offered their support for the September 21 rallies during the show’s curtain call. Paw Castillo, who played Andres Bonifacio, carried one that said “Huwag tayong impokrito. sa loob magsimula.”
Tanghalang Pilipino’s Pingkian: Isang Musikal runs for four more weekends, until October 12, at the Tanghalang Ignacio Gimenez Blackbox Theater, CCP Complex, Pasay City. Tickets are available through Ticketworld and Ticket2Me, or through direct showbuyers.
Related Story: 2024 was the year Philippine theater bounced back
