‘Walang Aray’: Musical Theater For Love, the Country, and the Filipino Seeking a Future Classic
‘Walang Aray’: Musical Theater For Love, the Country, and the Filipino Seeking a Future Classic
Love stories are one of the country’s most iconic expressions of art. Whether it’s the love yearned for between Crisóstomo Ibarra and Maria Clara, or the love stories on the silver screen, to be Filipino is to talk about love. Walang Aray, a love story between two people on the surface that expands to look at the love everyone else around them fights for, is one of those works that announces itself as one of the definitive Philippine love stories staged in modern-day.
This is the Philippine Educational Theater Association’s (PETA) second run of Walang Aray after its first run of shows in 2023. It’s easy to say that PETA’s staging is technically impressive, with admirable musicality carried confidently by its cast. Lance Reblando alone is worth the price of admission. An ensemble including Gio Gahol, Jolina Magdangal in her stage debut, and Ice Seguerra meets Reblando at her level with their talents acing the play’s musicality as much as their comedic timing lands with precision.
Reblando’s Julia is a beloved, pre-Philippine Revolution zarzuela performer who is courted by the farmer Tenyong (Gio Gahol). Julia’s mother, Doña Juana (Jolina Magdangal), hopes that Julia will take the hand of the wealthy Miguel for marriage, despite his airy privilege. Julia, even before her words say it, already finds her heart in Tenyong’s hands. Gahol plays Tenyong with an everyman charm that makes him a swoon-worthy leading man. Reblando and Gahol’s early chemistry makes the romance-centered first act a delight. Even when the second act casts a wider spotlight on its ensemble, their central tenderness never wavers. Along with this, there are moments that show Julia in her element peforming in the zarzuela that shows Reblando confidently commanding the audience to marvel at why Julia and the actress playing her are worth the adulation blessed upon them.
The play’s comedy MVPs are Magdangal and Johnnie Moran. Magdangal fits like a glove in this ensemble, shining bright enough to make the role of Pushy Mother Eager to Rise in High Society” endearing and funnier than the usual version of this story. Moran, as the villainous priest, uses humor to channel the ridiculous and infuriating aspects of a character whose authoritative deceit echoes similar political figures today.
Walang Aray’s musicality is a thing to behold, thanks to the energetic music accompanying Vince Lim’s lyrics. Director Ian Segarra brings all elements together, assisted by a lavish, detailed set with brisk set changes that don’t stall the momentum. Rody Vera’s script carefully brings the play’s two halves together, following a tender, star-crossed courtship as it becomes tested by separation during the Philippine Revolution. Even when the play highlights the power of solidarity in standing those who unjustly imprison the revolutionaries, there are many moments of humor that help its wisdom land smoothly. While some of the more modern references push close to the fourth wall more than they need to, there’s plenty of character and situation-based humor that prevents it from reaching into unserious territory.
The play ends on a hopeful note that can feel impossible as society dips itself more concerningly into fascism. Despite this, Walang Aray proves there’s no pain in earnestly hoping that your love and country can still grow in terrifyingly uncertain times. After all, if love is worth fighting for, and the Filipino is worth dying for, then our stories are worth the stages they’re being shared on.
