by Amadis Ma. Guerrero
"Minsa'y Isang Gamu-gamu," a stage adaptation by Rody Vera of the 1976 film written by Marina Feleo Gonzalez and directed by Lupita Aquino Concio. A Philippine Education Theater Association (PETA) production directed by Soxy Topacio. Ongoing at the Raha Sulayman Theater, Fort Santiago Fridays to Sundays until March 17, 1991.7:30p.m.
FLASHBACK, 1976. "A great actress," Lambert V. Avellana beamed, referring to Nora Aunor.
I have been interviewing the noted film and stage director (who would later be named National Artist) for the Daily Express, and Mr. Avellana had been discussing and evaluating the many actors and actresses he had worked with. Nora Aunor a great actress? Probably, although I didn't think so then, being a Hildanian (Koronel).
But Avellana's words came back to me later that year when I watched Aunor emote in the film "Minsa'y Isang Gamu-gamu." 1976 had been a banner year for the Philippine movie industry if only because of the Metro Manila Film Festival, which showcased three outstanding movies: "Ganito Kami Noon, Paano Kayo Ngayon?," "Insiang" and "Minsa'y Isang Gamu-gamu."
Hilda Koronel (as Insiang) won over Aunor (as Corazon de la Cruz) in the Best Actress category, but many people took note of Aunor's compelling portrayal of the nurse who undergoes a metamorphosis.
And so, through the years, one went to Nora Aunor movies whenever the director was good and the script promising; but for some reason I can't recall the titles, except for "Atsay." The most recent, however, was last December's "Andrea," where Aunor once again came out with a blue-ribbon performance as an NPA rebel who is also an anguished mother.
And now, when her movie career is at a low ebb (ironically because of good roles), comes a new challenge for La Aunor...that of repeating the role of Corazon de la Cruz, this time on the legitimate stage.
From the graceful, mesmerizing opening scene - a kind of dream sequence in which children are flying kites (symbol fo freedom) with designs from the Philippine and American flags - one knows he is not going to be disappointed. Then Aunor/Corazon emerges to deliver her speech. And the drama unfolds...the familiar storyline comes alive once more.
Corazon would like nothing more than to go to the US "to learn modern nursing techniques" and, of course, earn dollars for her family. But slowly, bit by bit, episode by episode, the painful reality of the US bases dawns upon her and the people close to her, climaxed by the death of her brother Carlito (McCoy Ocampo), whom an American sentry mistakes for a wild boar. (This is based on a real-life incident during the last 1960s.)
Despite some problems with voice projection, Aunor lives up to one's high expectations. The depth, fire and intensity are there, and she receives solid support from an excellent ensemble.
Outstanding are the two mothers in the play, Mely Tagasa as Chedeng and Bing Magtoto as Yolanda. Also impressive are Juan Rodrigo as Corazon's fiance, young Ocampo as the ill-fated brother, Ernie Cloma as Ingkong, Carmen Sanchez as the ferocious female guard, and Beng Santos as the activist Adeling (she's playing herself," someone quipped).
The various elements of theater coalesce here for a harmonious whole: the haunting music of Lutgardo Labad (including Aunor singing a taped song); the striking mural by Mel Bernardo and the production design by Jojo Sanchez,with its concentration - camp (Clark or Subic, take your pick) atmosphere; choreography by Mimi Villareal; the lights (red, green and blue) by Jun Gozarate; and the chilling sound effects (the menacing whir of helicopters, the drone of airplanes and the sound of gunfire).
Director Topacio and writer Vera do a good job but please, in future productions let's cut down the cursing. ("Si Nora lang and hindi nagmura, joked a musician friend of mine). Nakukulitan ako. One expletive is all right, but four in a row...? Also, the message is powerful enough; there is no need to ram it down the throats of the audience. All those chants, slogans, banners, and streamers should be used only when needed (as in the rally scene).
For theatergoer, however, what is most important is the overall impact. And the impact of this play is considerable. All in all, a triumph for La Aunor, Philippine theater in general and PETA in particular, now 24 years old and still going strong.