BFS Playbill by Joan Nacorda

Office of the Initiatives in the Culture and the Arts in collaboration with

Office in the Initiatives in the Culture and the Arts The OICA systematizes UPLB’s art and culture programs and develops medium- and long-term plans for the campus. It also integrates and enhances the functions of the Southern Tagalog Studies Program (STSP) and the Bicol Studies Program (BSP). Aside from serving as UPLB’s policy-making body on developing and managing culture and arts, OICA coordinates cultural performances and artists’ exhibits, conserves and promotes Philippine historical and cultural heritage through scholarly study and documentation of traditions, arts, crafts, and other cultural resources. It also serves as the conduit for the exchange of creative works between UPLB staff and students and people in neighboring provinces.

Department of Humanities Harmonya: The String Ensemble of UPLB and THEA 107: Theatre Communication (Sections Y & Z) present

Concept and Direction

Librettist

Layeta Bucoy

Joey Ting

Original Music

Marie Angelica Dayao and Harmonya: The String Ensemble of UPLB Kevin Carlo Abila Danielle Afuang Lois Aguilar Magno Aredenia Lester Andrada Yuri Amon Pamela Astejada Clark Banaag Nikki Culing Abbie Escarilla Rajee Florido Rinette Gayoma Jirehmar Isles Patrick Nitura Briar Nuestro Matel Patayon Neil Raagas Jules Rivera Joey Romualdo Maki Salas Myra Samson Sarina Sasaki Elmaz Sobrevega Kevin Solanoy Edward Solon Carl Virtucio Production Design

Props Design

Louie Navarro

Production Design Associate and Costume Styling

Erma Capucion

Cinematic Visual Effects Design

Rudyard Pesimo

Choreography

Mylene Mamalias

Patrick Labuguen

Co-Musical Direction

Vocal Coach

Joshua Vidal

Dramaturgy

Dina Mojica

Photography

Adrian Paul Marcelino Vlad Gonzales & Paoloregel Samonte Cinematic Visual Effects Associate

David Bryce Saguin Managing Direction

Carson Cruz

Playbill Design

Poster Design

Joan Nacorda Elmaz Sobrevega & Jalenico Lucero

Production Management

Allison Antonio

Stage Management

Alodia Percal

Technical Direction

Harold Medina

Message from the Chancellor My most heartfelt congratulations to the Office for Initiatives in Culture and the Arts, Department of Humanities under the College of Arts and Sciences, and Harmonya: The String Ensemble of UPLB for their artful staging of Bonifacio and the Freak Show. I would like to commend the master artistry of awardwinning playwright Prof. Layeta P. Bucoy and TV director and resident UPLB theatre faculty Prof. Goefferson Ting in commemorating the 150th birth anniversary of National Hero Gat Andres Bonifacio. Due recognition also goes to all of the members of the production team who have shown passion and dedication in reigniting and imprinting in us the value of Filipino heroism and that arts and performances should continue to inspire, enlighten, and empower its audiences. As we celebrate this year the 3rd Southern Tagalog Arts Festival, I encourage everyone to revisit our roots and reflect on how arts and sciences have allowed us to view life in different perspectives and made our world a better place to live in. Let the wise words of Woodrow Wilson resonate in us: “You are not here merely to make a living. You are here in order to enable the world to live more amply, with greater vision, with a finer spirit of hope and achievement. You are here to enrich the world, and you impoverish yourself if you forget the errand.” Congratulations and more power!

Message from the Dean It’s National Arts Month once again, this year we are celebrating the 3rd Southern Tagalog Festival organized by the Office of Initiatives in Culture and the Arts (OICA) of UPLB. OICA continue its commitment to uphold dynamism and diversity of Filipino Culture and encourage the thriving of artistic traditions. This year’s offering is a collaborative effort from different provinces of the Southern Tagalog Region. The event also coincided the celebration of the sesquicentennial (150th) year of our National Hero Gat. Andres Bonifacio, with the collaborative efforts of the three offices namely: Office of Initiatives in Culture and the Arts (OICA) together with the Department of Humanities, College of Arts and Sciences and Harmonya: The String Ensemble of UPLB which will also stage BONIFACIO AND THE FREAK SHOW. Let me commend the hard work, commitment, and dedication of each and everyone from the three offices involved in this endeavor. Moreover, the remarkable talent and contribution of Prof. Layeta Bucoy, writer, UPLB Artist II and award winning playwright and Prof. Joey Ting, Theatre and TV Director, and resident UPLB theater faculty that made the staging of Bonifacio and the Freak Show possible. Our diverse arts and culture is one of the national treasure and pride of our nation that we can pass to the next generation. Preserving and sharing this cultural heritage our important identity as a nation. I encourage all the UPLB constituents, faculty, staff and students to join and support the celebration of National Arts Month.

REX VICTOR O. CRUZ

Mabuhay ang buwan ng Sining!

Chancellor

ZITA VJ ALBACEA, Ph.D. DEAN, CAS

Message from the OICA Director Congratulations to the author, director and the whole production team of “BONIFACIO AND THE FREAK SHOW”! It is with pride and pleasure that the Office for Initiatives in Culture and the Arts (OICA), UPLB, commends the efforts of the people behind the creation of this unique and engaging, original Filipino play. Written by no less than UP Artist II and award winning playwright Prof. Layeta Bucoy, directed by UPLB theatre faculty Prof. Joey Ting and supported by the musical talent of Harmonya: the String Ensemble of UPLB, the play would surely be a well-crafted piece that would bring to great heights the aesthetic experience of the audience. The play BONIFACIO AND THE FREAK SHOW is being shown in time with the celebration of the sesquicentennial (150th) year anniversary of our National Hero Gat Andres Bonifacio and in celebration of the 3rd Southern Tagalog Arts Festival organized by the Office for Initiatives in Culture and the Arts, UPLB. It is hoped that BONIFACIO AND THE FREAK SHOW will bring to light a different perspective of the travails of one who wishes to join the benevolent group of the Katipunan, and meet the Supremo. Further, it is anticipated that the play would dwell into a fresh and unique treatment of artistic elements especially that of movement and space, and bring the audience to an enthralling experience of artistic delight. We look forward to more of this artistic endeavor in the days to come. Mabuhay!

Maria Teresa DV. Arejola Director, OICA

Message from the Department Chair Just when we thought we have seen every version and subversion of Philippine history and the lives of our most famous heroes, along comes Layeta Bucoy’s Bonifacio and the Freak Show, which promises to engage the audience in yet another re-presentation and re-valuation of history. But more than the social upheaval, this stylized rendering of the 1896 Philippine Revolution focuses on the more gripping struggle within the Katipunan and the ever riveting paradoxes of human nature, all told in the characteristic wit and irony of Bucoy. It should be exciting to watch how this dark comedy comes alive on stage under the direction of Joey Ting and with the music of Angelica Dayao and Harmonya. Never has making sense of history been this theatrical. On behalf of the faculty of the Department of Humanities, I commend everyone in this production for their sheer dedication and commitment. Congratulations and more power!

LEONORA M. FAJUTAGANA

Message from the Managing Director As we celebrate the 3rd Southern Tagalog Arts Festival, the Office for Initiatives in Culture and the Arts (OICA), Department of Humanities (DHUM), Harmonya: The String Ensemble of UPLB, and THEA 107 (Theater Communication) classes, proudly bring you Bonifacio and the Freak Show, an original musical that dares to explore a notable time in our story as a people from the lenses of fictional characters. Set in a crucial point in our history, Bonifacio and the Freak Show (BFS) examines treachery in its various forms. More importantly, it poses the question: How much damage can treachery inflict on ourselves, on people we love, and on causes we fight for? Mounting a production is a herculean task, and things would have not been possible without the dedication of the production and artistic teams. My sincerest gratitude and admiration go to the BFS team composed of Layeta Bucoy (book and lyrics), Angelica Dayao, Adrian Marcelino, and Harmonya: The String Ensemble of UPLB (original music), Louie Navarro and Mylene Mamalias (Production Design), Patrik Labuguen (movement), Erma Capucion (prop design), Rudyard Pesimo and Bryce Saguin (visual effects), Dina Mojica (dramaturgy), Harold Medina (technical direction), Alodia Percal (stage management), Sky Antonio (production management), and the Communication Arts students of THEA 107. A big kudos, of course, goes to our director, Joey Ting, whose able leadership, creativity, energy, and passion kept things going. I am really excited for the audience to experience this unique, compelling, and daring production and I hope that as they step out of the auditorium, a renewed interest and appreciation both of our nation’s rich history and enchanting folklore and mythology be ignited in them. Mabuhay ang teatro at mabuhay ang sining!

Message from the Musical Director and Adviser of Harmonya: The String Ensemble of UPLB It is with great pride that we create and perform the music for Bonifacio and the Freakshow! It has been almost four years since the group first performed the live musical accompaniment for a theatre production. The play was entitled Riders to the Sea. With Prof. Dennis Gupa as the director, UPLB Samasining invited Harmonya to become the official instrumentalists for the said production. Since then, the group realized different possibilities in creating rondalla music for theatre. Moreover, it was because of the group’s involvement in Riders to the Sea that the group continued collaborating with various theatre productions. In February of 2011, the group was once again summoned to perform the music for Teginef/A Dream Play, a production presented by the Office of the Chancellor through the Office of Alumni Relations. It was followed by “Ondine” and “Junto Al Pasig,” both presented by UPLB Samasining and the THEA 107 class of Mr. Ron Binas. After more than two years, Harmonya goes back to its roots and collaborates once again with another theatre director in the person of Prof. Joey Ting. What’s more exciting in this collaboration is that the members of Harmonya get to compose songs, not only perform them. Unlike previous productions, It was only I who was tasked to compose and arrange the music . We were able to discover new composers for theatre because of this opportunity and we are immensely thankful for that. Harmonya believes in the power of theatre, and ,we are one with OICA and THEA 107 in promoting such incredible art to the UPLB community. Theatre can definitely impart a sense of humanity to this seemingly inhumane world we tend to find ourselves in. We are proud to be part of the BFS team and we are proud to advocate the ideals of Bonifacio.

CARSON JEFFREY O. CRUZ MARIE ANGELICA A. DAYAO

Mula sa Manunulat Sa simula pa lang, nilinaw na ni Prof. Joey Ting na ang paradima (o teorya) ng circus ang nais n’yang gawing balangkas sa pagdidirehe ng dulang ito. Lubhang salat ang aking kaalaman tungkol sa circus bilang paradima o teorya. Ang alam ko lamang, lumaki akong inaabangan ang pagsapit ng piyesta sa aming lugar dahil tiyak kong darating ang perya. Natitiyak kong sasakay ako sa maingay na roller coaster, babaril ng maliliit na bibe at laruang sundalo o magpapaputok ng lobo gamit ang suligi o dart upang makakuha ng premyong kending hindi papantay sa halaga ng aking binayaran upang makabaril o makapagpaputok ng lobo. Tiyak ko ring sasakay ako sa horror train at babambuhin ng nakatiklop na payong ang taong nagpapanggap na aswang kung sakali’t bigla akong hawakan nito. Tiyak na tiyak ko ring pipila ako upang masaksihan ang pagkanta o pagsayaw ni Dwendinang anak daw ng dwende, at ng sinumang mahikerong magpapakitang-gilas sa pagmamadyik. Maghahagis ako ng barya sa makinis na mesang may maliliit at makukulay na parisukat, kakain ako ng hotdog na nasa istik at binabad sa malabnaw na ketsup, at uubusin ang isang istik ng matamis at malagkit na cotton candy na kulay pink. At buong katiyakang ako’y maglalaro ng Bingo at tataya sa roleta upang makapag-uwi ng palanggana, tabo, at baso. Sa perya ako unang nakakita ng mga taong sinasabing sumisirko. Sila’y tuma-tumbling, at mistulang lumilipad sa ere gamit ang fly bar. Sa pagmalas ko sa kanilang mistulang paglipad sa ere, una kong naranasan ang takot sa kamatayan sapagka’t isa sa kanila ang nahulog. Mabuti na nga lamang at mayroong malaking lambat na sumalo sa kanya at kanyang tinalon-talunan. Ang takot sigurong ‘yon ang dahilan kung bakit hindi ako nahilig sa panonood ng circus bagama’t nanatili ang hilig kong pumunta sa mga peryahan. Dahil wala naman akong talagang alam tungkol sa circus bilang teorya, sumali ako sa produksyong itong nananalig na lamang sa kaalaman ni Prof. Ting. Ayon sa kanya (o maaaring mali ang aking pagkaunawa), bahagi ng pagsasa-teorya sa circus ang pagkakaroon ng mga tauhang aswang, manananggal, kapre, tikbalang, atbp., sa isang dula. Sila na mga itinuturing na freak ang s’yang bubuo sa freak show na sumasailalim din sa pagsasa-teorya sa circus. Kaya’t simula pa lamang, nasa pamagat na ang freak show. Dahil sa salitang freak, naisip ko ang aking pagkaunawa sa carnivalesque ni Bakhtin, na ang mga tinuturing na freak ay ang s’yang mga bida sa isang carnival. Iniaangkop ko ang mga peryahang aking kinalakihan sa salitang carnival sapagka’t ‘yun lamang ang saklaw ng aking karanasan. Pinipilahan at magbabayad pa upang makita lamang si Dwendina na sa paniwala ko’y kinukutya o pinagtatawanan sa labas ng perya. At di nga ba’t dumarating ang perya sa kapistahan ng isang bayan? Ang piyesta’y para sa patron, ang banal na gumagabay sa isang bayan, nguni’t ang perya’y naglalaman ng sugal at inuman. Sa perya, naroon ang sari-saring tinig mula sa mga pulitikong namamasyal, namimigay ng pambayad sa rides, at nakikipaghuntahan sa mga tambay at nag-aabang ng balato hanggang sa mga tinuturing na lumpen ng lipunan.

Ilang ulit ko na ring narinig na mistulang circus o perya ang ilang mga kaganapan sa Pilipinas. Di ko tiyak kung iisa lamang ang circus at perya sa antas ng pagsasa-teorya. Batay sa aking karanasan, ayoko sa circus, gusto ko sa perya. Di ko pinagduduhang ang isang kaganapan ay maaaring bigyan ng iba’t ibang interpretasyon o unawain gamit ang iba’t ibang lapit, circus man, carnival, o perya. Di ko rin pinagdududahang maaaring unawain o tingnan si Andres Bonifacio gamit ang iba’t ibang lente. Buo lamang ang aking paniniwalang kinakailangang maging maingat sa pagpasok kay Andres Bonifacio sa konteksto ng dulang ito sapagka’t bagamat bukas ang bawat buhay o bawat kaganapan sa iba’t ibang interpretasyon, makatarungang responsibilidad ng bawat nagbibigay ng kahulugan na ang bawat interpretasyon ay sumandig sa lohika, malinaw na intensyon, at matibay na mensahe. Ang unang konseptong binuo ni Prof. Ting ay ang pagpapakita sa sabi n’ya’y tatlong bersyon ng kamatayan ni Andres Bonifacio. Ang ikatlong bersyon ay ang pinakamarahas. Dahil sa karahasang taglay nito, maaaring ipakita sa entablado na ang mga pumatay sa ating bayani ay unti-unting nagiging mga aswang, manananggal, tikbalang, kapre, atbp. Kung ang transpormasyon ng mga pumatay kay Bonifacio ang magiging tutok ng dula, kinakailangang saliksikin ang kanilang kanya-kanyang buhay upang mailahad ang ibubulid na kahulugan sa pagiging aswang, manananggal, tikbalang, kapre, atbp. nila. Kung ang pagtingin naman nila kay Bonifacio ang magiging tutok, kinakailangang makakuha ng kanilang mga sulatin o sinulat ng ibang taong batay sa kanilang salaysayin tungkol sa pagtingin nila sa Supremo. Hindi tiyak kung may mayamang batis ba ng mga datos tungkol sa kanilang buhay. At hindi rin tiyak kung sila nga’y matatawag na aswang, manananggal, tikbalang, kapre, atbp. sapagka’t bagamat sinaksak daw ni Jose Ignacio Paua sa leeg si Bonifacio, at marahil daw ay ginahasa pa ni Agapito Banzon si Gregoria de Jesus na asawa ni Bonifacio, hindi nananaksak o nanggagahasa ang manananggal, mapaglaro lamang ang tikbalang, palakaibigang mahilig umibig ang chain smoker na kapre. Sa isang digmaan, lumalabas ang kahinaan at kalakasan ng tao, lumilitaw ang kalikasan ng tao sa pinakamatinding pagkapit nito sa kabutihan o sa pagkabulid nito sa pinaniniwalaan ng nakararaming mga masamang gawain. Ang mga aswang, manananggal, tikbalang, kapre, atbp., ay madaling unawain bilang mga freak sa konteksto ng kanilang pagiging “iba.” Nguni’t hindi ko makitang freak ang mga pumatay kay Bonifacio sa konteksto ng digmaan, pagtatatag ng republika, at kalikasan ng tao. Kinalaunan, dalawang katiyakan ang gumabay sa unang bahagi ng pagluluwal sa dula: kailangang kasama si Andres Bonifacio, at may mga tauhang magiging aswang, manananggal, kapre, tikbalang, atbp. Upang higit na mapalinaw ang landas na maaaring tahakin ng dula, hiningi ang payo ni Prof. Dwight David Diestro, tagapangulo ng Kagawaran ng Agham Panlipunan at isang historyador. Ayon sa kanya, nakikita n’ya ang pangangailangan na mag-ingat sa paglalahad ng mga kaganapan sa dula, kailangang maging malinaw ang hati sa pagitan ng mga kaganapang bunga ng imahinasyon at mga kaganapang tinatanggap na bahagi ng kasaysayan. Pangunahing dahilan n’ya ay ang mga mag-aaral bilang pangunahing manonood. Di man matatawaran ang pananampalataya sa kakayahan ng bawat mag-aaral na makilahok sa diskurso ukol sa kasaysayan, ang kaguluhan sa isipang s’yang maaaring maging daan tungo sa isang pagkatutop o pagkaunawa ay maaaring manatiling kaguluhan lamang kung hindi magiging bahagi ng intensyon ng mga mandudula ang makapagparating ng pangkalahatang mensaheng batay sa maliwanag na pagkaunawa.

Naging malinaw ang bihis ng dula: ang porma ng pagtatanghal ay ibabatay sa circus at ang mga tauhan ay kabibilangan ng mga aswang, manananggal, kapre, tikbalang, atbp.

Director’s Notes

Sa simula, Bonifacio Freak Show ang naisip ni Prof. Ting na maging pamagat ng dula. Dahil dito, hindi maaaring tanggalin si Bonifacio sa dula. Hindi man s’ya maging tauhan, kailangang may kinalaman pa rin sa kanya ang dula. Dahil hindi naman s’ya ang pangunahing tauhan ng dula, ang paglikha sa tauhan o mga tauhang may opinyon o saloobin tungkol sa kanya ang tinutukan. Kaya’t nalikha si Valentin, isang aswang na umiidolo kay Bonifacio, nangangarap na makapasok sa Katipunan bagama’t para sa personal na kadahilanan.

Point A. The project Bonifacio and The Freak Show (BFS) is some sort of a reminder to everyone else that there are 1,001 ways to tell a story.

Upang maibulid sa kamatayan ni Bonifacio (na s’yang unang konsepto ng dula) ang buhay ni Valentin, pagtataksil ang naging paksa ng dula – pagtataksil sa kasintahan, pagtataksil sa uri (ang kapre’y di malaman kung magiging tapat sa kanyang pagiging kapre o kaya’y kakampi sa tao dahil s’ya’y isang Katipunero), pagtataksil sa kapwa, pagtataksil sa bayan atbp. Ang paglilihim ba sa kabiyak o kasintahang pinangakuan ng buong katapatan ay isang anyo ng pagtataksil? Ang paglaban ba sa kaibigang minsang nagmalasakit ay pagtataksil? Mabibigyang katarungan ba ng magandang adhikain sa kinabukasan ang isang pagtataksil sa kasalukuyan? At kailan masasabing tunay nga nating pinagtataksilan ang ating sarili, ang ating uri, ang ating bayan? Sapagka’t hindi si Bonifacio ang freak sa show, at hindi rin s’ya ang nagpa-freak show, minarapat na maging Bonifacio and the Freak Show ang pamagat ng dula. Ang mga tinuturing na freak, “iba,” ay may sariling palabas kung saan hindi na sila ang nasa “labas” ng naghaharing gahum, nguni’t nasa sentro, kabilang, hindi “iba.” Nagpapasalamat ako kay Prof. Joey Ting sa pagtitiwala sa pagluluwal sa dulang kanyang lalapatan ng konseptong direktoryal na alam kong mahalaga sa kanya at kanyang binubuhusan ng panahon upang patuloy pang mapalalim ang kanyang pag-unawa, kay Prof. Dwight David Diestro na patuloy na nagbabahagi ng kanyang mga kaalaman sa tuwing s’ya’y aking hihingan ng tulong, kay Prof. William Remollo na masugid na tagapagsuporta sa mga produksyon sa UPLB dala ang paniniwalang dapat suportahan ng komunidad ang iniluluwal nitong sining, kay Bb. Angge Dayao at sa mga bumubuo ng Harmonya dahil kahit unang sabak pa lamang nila sa paglikha ng walang-patid na musika sa isang dulang pang-entablado, pilit pa rin nilang binigyang katuparan ang iniatang na responsibilidad sa kanila, sa mga artista ng dulang ito mula sa mga may malalaking parte hanggang sa may pinakamaliit na bahagi (lalo na sa mga suking sina Myra, Matel, Jules, Dolel, Neil) na ipinakita ang kanilang di nayayanig na pagmamahal sa sining ng pag-arte, sa production staff na nagpamalas ng tapang, dedikasyon, at malasakit, kay Dr. Nora Fajutagana, tagapangulo ng Kagawaran ng Humanidades para sa kanyang suporta (na taal n’yang ipinamalas sa kanyang pagpapahayag ng malasakit para sa kapakanan ng mga mag-aaral), sa buong Kagawaran ng Humanidades, sa buong OICA sa pamumuno ni Prof. Tet Arejola, sa administrasyon ng UPLB, at sa ‘yo ginagalang na manonood.

Layeta P. Bucoy

THE SALIENT ALPHABETIC POINTS OF THE FREAKS.

Point B. One of the 1,001 ways to tell a story is this one. Point C. Perhaps, the story emanated from a prescribed plot of Aristotle (ergo, the graphic dramatic elements teachers teach in literature classes) and that the chain of actions of BFS did not really start from the beginning. Instead, it starts with the conflict and ends with a climax -- that short that has started from the middle end to beginning ending! Note: with no resolution at all. Point D. Thus, the plotting is obviously and extremely unconventional in form, using the concept of fast-faster-fastest. Point E. While one may think that BFS is centered on Bonifacio’s life, IT IS NOT. It tells the story of the others -- specifically the other side of world, less explored and less talked about. The hero’s life is incidental. Point F. BFS is in musical form -- a customized body of pulse, beat, rhythm and pop culture. Definitely poppish, iconic, concerttype, thrilling, interactive, mash-ups, danceable and the many other contemporary popular explosions and influences of MTV. Point G. That in order to achieve the goal of such customized musical form, one has to use the traditional music ensemble. HARMONYA: THE STRING ENSEMBLE OF UPLB is the most appropriate of them all. The mixture of those pop tunes with formal orchestra is very much exciting though not to mention the musicians doing the rap-through. Point H. The concept of circus is significant in this production but insignificant to reality. Philippine circus is a relative notion of imperfection where aerial stunts, muscle contortions, fast-paced choreographic patterns and magic are ridiculously imagined and conditioned. Hence, the continuous quest for

perfection is absolutely targeted -- and yes, we’re talking of a Philippine setting. Point I. Do not expect a traditional formula of a Bonifacio piece. Do not expect pieces of evidence in mocking the murder of Gat Andres in BFS. Do not expect anything at all as anything is open for interpretation, evaluation and criticism. Point J. Expect Philippine lower mythological creatures such as Kapres, Manananggal, Aswang, Tikbalang, Mangkukulam to be giving the audiences entertainment and information. I am just the facilitator of these enchantments. Credits must go to the actors as well as our Philippine folkloric studies. Point K. Expect the production design (set, props and costumes) to be functional in the musical. Balete trees are steel-made as seen in the traditional use of bamboos and wood to represent it. Point L. The use of multimedia as cinematic visual effects takes a participative role in the production, hopefully filmic. Point M. Expect the actors to perspire sweat, blood and even intestinal juices. The theater process in the production is all about it. Point N. Incidental music is an additional texture to the entirety of the BFS production. One would hear Spanish soldiers, friars and land-owners in the middle of the Philippine revolution because after all, this is the contrapuntal of the voices of Filipinos, a cry for freedom that would end its colonial history. But NO, here comes the Americans... Point O. That doing a musical is expensive has been the issue of producing musical theaters in the Philippines. Through the generosity of the Office for Initiatives in Culture and Arts in UP Los Bańos, the production did materialize, at least. Doing such has never been so easy.

Point P. That two weeks before the opening night of this production, the cast, the artistic and production await the release of funds from the state. Scary and even scarier not to see any developments in the theater process, not even the substitute properties but... Point Q. The magic of theater lives on. This concept becomes the hope of this engagement. Thanks to the support of various offices that made BFS like a light under a dark tunnel. UPLB OICA headed by Professor Tet Arejola and 3rd Southern Tagalog Arts Festival Director Professor Louie Navarro along with a very hardworking OICA administrative staff, Department of Humanities headed by Dr. Nora Fajutagana and Speech Communication and Performing Arts head Professor Jea Buera. Point R. Everyone in the production realizes the how’s in the theater. Through BFS, the students and faculty have joined hands to fulfill the promise of theater as a healing place. Point S. Thanks to the ever hardworking CommArts students hired to be the Ate’s and Kuya’s of this project. Production Manager Sky Antonio, Technical Director Harold Medina and Stage Manager Alodia Percal. Without your presence, the THEA107 students this academic term will not be exposed to learning the rudiments of theater. Also in the list are Dramaturg Dina Mojica, Production Design apprentice Mylene Mamalias, Elmaz Sobrevega (Poster and Graphic Designer in Publicity), Audience Development Glenn Briones, Marketing and Sponsorship Hannah Aman. Point T. The visual metaphor of BFS production is in tangent with the last objective of the KKK. The objective is to re-learn ethics and morality issues such as good manners and morals as well as the hygiene. The critical judgment on obscurantism, religious fanaticism and weaknesses of each character among its members have also been evident in the production -- a parallel discourse in black comedy and a fine sampler of postmodernism. Point U. The FREAKS (ACTORS) who selflessly shared their enormous, potential and viable talents, thank you so much for getting involved with BFS. The learning process is indeed a priority. Valentin (Rajee, Carlo, Joey, Jireh), Jose (Jay, Edward, Maki), Mariano (Lester, Jules, Mags), Honorata (Matel, Lois, Dane, Rinette, Yuri), Felisa (Sarina, Elmaz, Pamela, Abbie),

Caridad (Myra, Nikki, Briar Rose, Mamino), Mabalasik (Clark, Patrick, Neil), Taliba (KC, Rafael, Kevin). Point V. UPLB Chancellor Dr. Rex Cruz who has always been so supportive of the arts in UPLB as well as the VC for Academic Affairs Dr. Oscar Zamora and the Dean of the College of Arts and Sciences Dr. Zita Albacea, a million thanks! Point W. The faculty members under the Department of Humanities who took extra efforts to witness the evolving process of theater in UPLB, many thanks to you Mr. Carson Cruz (Managing Director), Prof. Louie Navarro (Production Designer), Prof. Erma Capucion (Prop Designer), Mr. Rudyard Pesimo (Cinematic Visual Effects Designer). Point X. Special thanks to: Patrik Labuguen (Choreographer), Bryce Saguin (Cinematic Visual Effects apprentice), Jalen Lucero (Graphic designer in Publicity), Paoloregel Samonte and Professor Vladimeir Gonzales (Photographers) and Josh Vidal (Vocal Coach) and Joan Nacorda (Program design and lay-out). Thanks as well: Rus Lighting and Sound Sir Romy and Kuya Arnold and Kuya Augie for the set design execution. Point Y. Teaching professionalism in the theater is a daunting task. Let BFS be a good example how flexible and nurturing theater is. Again, theater is not you. You are just a part of it. THEA107-Y and THEA107-Z students under the Department of Humanities, many thanks! Point Z. Finally, special thanks to Professor Layeta Bucoy for the wisdom and wit of writing BFS as well as Ms. Marie Angelica Dayao in providing the leadership in music composition, arrangement and direction. Thank you for making BFS a memorable production. P.S. I dedicate this production to a memory that lives on -- my Dad (George Ting Sr.), Theater Mentor (Professor Rogelio Juliano Jr), Broadcast Mentors (Dir. Romy Veron and Dir. Gilbert Perez). The passion and talent you have shared with us at one point will never be forgotten.

UP Los Baños, Laguna February 5, 2014

Synopsis Valentin dreams of joining the Katipunan and meeting the Supremo, and is prepared to do everything that is needed in order to do so. However, the road to his goal is not smooth as family, friends, love, and a secret that thrives in the dark of night combine to try to prevent him from reaching his goal: He is an aswang. Set in the time of the Philippine revolution, Bonifacio Freak Show tells the story of Valentin and his quest to become a member of Andres Bonifacio’s Katipunan. In a time where secrecy and betrayal regularly occur under the light of the moon, will Valentin be able to keep his secrets hidden or will he fall prey to others and be betrayed?

Pangarap ni Valentin ang sumapi sa Katipunan at makilala ang Supremo. Handa siyang gawin ang lahat magkaroon lamang ng pagkakataon. Pero sa gitna ng daan patungo sa kanyang pangarap ay ang mga balakid na pumipigil sa katuparan nito: kanyang pamilya, mga kaibigan, pag-ibig, at isang sikreto na sa kadiliman ay nabubunyag, na siya ring magiging dahilan ng pagvtataksil: Isa siyang aswang. Kung sa Katipunan ay isang malaking kasalanan ang pagtataksil, maiiwasan ba ni Valentin na gawin ito sa kanyang mga minamahal? O siya rin ba ay magiging biktima ng mga lihim at pagtataksil ng mga tao sa kanyang paligid? At siya nga ba ay nag-iisa lamang, o may iba rin na sa dilim ay lumalabas ang tunay na anyo?

Dramaturg’s Notes On the night of July 7, 1892, at a house in Azcáragga (now Claro M. Recto Avenue)—near Elcano Street, Tondo—Andres Bonifacio, Teodoro Plata, and a few others formally established the Kataastaasan Kagalang-galang na Katipunan ng mga Anak ng Bayan (KKK). The group had three main objectives: 1) the political objective was to free and separate the Philippines from Spain; 2) the civic objective was to defend the poor and the oppressed; and 3) the moral objective was to teach good manners, hygiene, good morals and, attacking obscurantism, religious fanaticism, and weakness of character to each of its members (Agoncillo, 2007). It is the last objective that Bonifacio and the Freak Show explores, specifically the concept of betrayal. Before the Spandiards’ discovery of the Katipunan on the August of 1896, the KKK held the final elections for the group’s Kataastaasang Sanggunian (the group’s highest governing body) and elected Andres Bonifacio as the Supremo (President). Bonifacio held the position until the Katipunan established a new government during a meeting on March 22, 1897 (now known as the Tejeros Convention) and elected Emilio Aguinaldo as its new President with Bonifacio as its Director of Interior. The decision regarding Andres Bonifacio, however, was met with objections, and the meeting ended with Bonifacio nullifying everything that occurred after almost shooting one of the Katipunan’s members. Despite this, some members of the Katipunan decided to follow the new government, and Aguinaldo was sworn in as President. He would later on order his men to capture Bonifacio and his followers, thanks to the persuasion of some of his generals, which would lead to the trial and execution of the Bonifacio brothers—despite the lack of evidence to prove their guilt (Agoncillo, 2007). Bonifacio and the Freak Show explores the severity of the Philippines’ fight for freedom against the Spaniards through a black comedy. A black comedy is a “kind of drama in (or, by extension, a non-dramatic work) in which disturbing or sinister subjects like death, disease, or warfare, are treated with bitter amusement, usually in a manner calculated to offend and shock” (Baldick, 2001, p. 27). In the case of the play, creatures of Philippine Lower Mythology such as the aswang and the manananggal take center stage instead of Bonifacio and the other human participants in the revolution. These creatures were said to exist—with books such as Maximo D. Ramos’“Creatures of Philippine Lower Mythology” chronicling their origins, appearances, and behaviors—however, no accounts were written regarding their activities during the war. The play specifically explores the creatures’ relationships and their beliefs, and their methods of survival.

The comedic elements of the play are also exhibited in the rap-through of the dialogue, which is reminiscent of Andrew E., Francis M., Salbakuta, or Gloc9. Music serves other uses aside from the rap-through—it establishes the mood, rhythm, and plot of the play using genres raging from traditional Filipino to contemporary pop to create an upbeat, humorous, and unpredictable atmosphere. Aside from being a black comedy, Bonifacio and the Freak Show also presents a postmodern interpretation of the events that occurred during the revolution, which can be primarily seen through the play’s visual elements. Elements such as lighting is used to establish time and to highlight the otherworldly elements of the characters. Also, the play’s set and costumes have features that represent both the real world and the fictional world, such as costumes that allow the transformation from a human to a mythological creature. The main postmodern element of the play, however, is represented by the visual graphic effects as it is the primary tool to connect the real world to the fictional. Bonifacio and the Freak Show is set during a time of internal conflict while in a fight for survival—from the tense moments when the Katipunan was first discovered until Andres Bonifacio’s execution on the morning of May 10, 1897 (Agoncillo, 2007)—wherein members of the Katipunan cannot trust no one but themselves. The war was escalating and members of the Katipunan betraying their cause made the atmosphere more tensed. The seriousness of the situation almost mirrors the aftermath of 2013’s Typhoon Yolanda—the areas most affected by the calamity became a battlefield wherein people from the same land turned against each other in order to survive. These kinds of situations emphasize the question posed by Bonifacio and the Freak Show: Will you betray your kind in order to survive? Dina Angeli C. Mojica December 20, 2013 References Agoncillo, T. (2007). History of the Filipino people. (8th ed.). Quezon City: Garotech Publishing. Baldick, C. (2001). The concise Oxford dictionary of literary terms. (2nd ed., p. 27). Oxford: Oxford University Press.

Kinukubli ng Kadiliman Lyrics by Layetta Bucoy Composed and arranged by Stud Jader

Aking ningas ay umaandap Tulad ng pusong ligalig Di liwanag ang inaapuhap Sa dilim nagkukubli May lihim na kinukumot Sa kadiliman ng gabi S’yang di kayang malimot Ng mga tikom na labi

Songs

Kinukubli ng kadiliman Ang ayaw maipaalam Kinukubli ng kadiliman Hinabing kasinungalingan Kinukubli ng kadiliman Ang tunay na hantungan Nitong aking mga paang Paalam ay d’yan lamang Di magawang maipahayag Tunay na pupuntahan Di magawang maibahagi Tunay kong adhikain Sa kabiyak o kaisang palad Kaisungalingan ang alay May kutob mang taglay Ipinagkikibit ng balikat Kung kaya’t Kinukubli ng kadiliman Ang ayaw maipaalam Kinukubli ng kadiliman Hinabing kasinungalingan Kinukubli ng kadiliman Ang tunay na hantungan Nitong aking mga paang Paalam ay d’yan lamang

H’wag nang Magsinungaling Lyrics by Layetta Bucoy Composed and arranged by Kian Beltran

H’wag nang magsinungaling H’wag nang ako’y inyong lokohin Ang ginagawa sa aking tiyahin Sa akin ay huwag n’yo sanang gawin H’wag nang magsinungaling ‘Pagkat kayo’y bukong-buko Ano’ng sakit ang sinasabi? Si Mang Tasyo’y kay bilis tumakbo Takbo rito, at takbo pa rin doon Sa sobrang bilis di ko mahabol Ang katawa’y kay lusog Ako ang muntikang mahulog H’wag nang magsinungaling Kawawa naman aking tiyahin Panatag ang kanyang kaloobang Kayo’y tapat na kaibigan H’wag nang magsinungaling Sabihin kung sino ang katagpo Ipahayag kung sino ang dahilan Ng inyong gawang kataksilan.

Kataksilan

Lyrics by Layetta Bucoy Composed and arranged by Almon Kalibpatra Merep

Kabiyak o kasintahan, kapatid, magulang o kaibigan Hindi nararapat na handugan ng anumang uri ng kataksilan. Kung pagtitiwala’y inihandog kahit na hindi hinihiling Dapat na alagaan at di nararapat na tahasang bale-walain Pagtitiwala’y mistulang hiyas na hindi basta ipinamumudmod Masusing pinipili ang s’yang karapatdapat na makatanggap Ng hiyas na hinubog ng buong pagmamahal, mula sa puso Kung kaya’t kailangang ihandog lamang sa magbibigay lingap Ang iyong kataksila’y pagwasak sa hiyas na hinubog ng puso Ang iyong kataksila’y pagbale-wala sa pagmamahal na handog.

Hindi Ako Taksil

Ano’ng Alam Mo Tungkol Kay Andres?

Kataksilan bang maituturing Ang dikta ng aking puso? Kataksilan bang maituturing Ang magmahal ako? Pinagpilitan ko itong pigilin Kung pagmamahal ay tao Ito’y akin na sanang sasakalin Nguni’t ako, ako ang tao Sa dikta ng aking puso Ako’y mistulang isang alipin Paano’ng naging pagtataksil Kung ang aking puso Dalawa ang kayang lamanin?

Lyrics by Layetta Bucoy Composed and arranged by Adrian Paul Marcelino

Lyrics by Layetta Bucoy Composed and arranged by Marie Angelica Dayao

Kataksilan bang maituturing Ang gumawa ng kabutihan? Puro at dalisay, isang lihim Ang bunga’y di lamang akin Ito’y para sa mga nakararami Kung di ko man maipahayag Bunga kasi’y isinaalang-alang Ang puso’y di lamang pag-ibig Para lamang sa iisang nilalang Malawak ang sakop ng puso Maaaring lamanin din nito Ang higit pang nakakarami Hindi ako tulad mong taksil Hindi ako taksil, hindi ako taksil Sigaw ng puso’y di ko lang masiil Pagmamahal di magawang mapigil Hindi ako taksil, hindi ako taksil Hindi ako taksil, hindi ako taksil Sigaw ng puso’y di ko lang masiil Pagmamahal di magawang mapigil Hindi ako taksil, hindi ako taksil.

Ano’ng alam mo tungkol kay Andres?

Tagabenta ng ipinagbabawal na mga babasahin Kanyang itinatago ang mga papeles Sa sombrerong balanggot o sa kanyang katawan Upang hindi mahuli ng gwardya sibil Sa kalye Sagunto matatagpuan ang tahanan Ano’ng alam mo tungkol kay Andres? Tatlo ang kapatid na lalake, dalawa ang babae Mahilig magbasa ng mga hilig mo rin Les Miserables, El Filibusterismo, Noli Me Tangere Kay Monica, minsan din s’yang umibig Nguni’t sa kasawiang palad, si Monica’y namatay Ano’ng alam mo tungkol kay Andres?

Di Lamang Kutob

Lyrics by Layetta Bucoy Composed and arranged by Liezel Dizon and Elisha Beltran

Nagsimula sa kutob sa mga gabing ika’y wala Nagpapaalam na mamamasyal Nguni’t kahit na minsa’y di ako niyaya Alam nating dalawang di papayag mga magulang Nguni’t ang mahalaga para sa akin Ay ang malamang gusto mo akong makasama Nagsimula sa kutob sa mga umagang ika’y balisa Di ako sapat upang ika’y sumaya Masisisi mo ba ako kung ako’y tubuan ng duda? Di lamang kutob, di lamang mumunting hinala Ikaw ay sinundan sa ‘yong pamamasyal At ikaw ay nakitang nagmasid sa isang dampa Di lamang kutob, di lamang mumunting hinala Sino’ng dilag ang iyong pinagmamasdan Sa dampang iyong dinayo sa kabilang ibayo? Di lamang kutob, di lamang mumunting hinala Iyong tinarak sa puso ko’y katiyakan Aminin mo ngayon, may minamahal kang iba

Katipunan

Lyrics by Layetta Bucoy Composed and arranged by Adrian Paul Marcelino

Katipunan ... Triyumbirato ng Rebolusyong Pranses ang modelo At triyumbirato ng Sinaunang Roma Tatlong taong kailangan sa pagbuo ng organisasyon Walang presidente o bise presidente Upang walang maghangad sa mataas na posisyon Katipunan... Sina Isa, Dalawa, at Tatlo ay ang unang grupo Bawa’t isa bubuo ng grupong tatlo Si Isa ay makikigrupo kay Apat at saka Lima Ang alam lamang ni Apat at Lima Ang kanilang tanging kagrupo ay ito ngang si Isa Katipunan... Kung kaya’t kung si Lima ay sakali mang mahuli Alam n’yang kagrupo si Isa at Apat Hindi na n’ya alam ang kina Dalawa at Tatlo At ang iba pang mga maaaring grupong Binuo ni Isa sa ibang lugar o iba mang panahon Katipunan...

Mangkukulam

Lyrics by Layetta Bucoy Composed and arranged by Franchesca Nicole Lynne Vistal, Darwin Landicho and Kian Beltran

Nangkukulam? Nangkukulam? Mangkukulam? Mahaba ang buhok, hitsurang hukluban Bihirang lumabas sa kanyang tahanan Kinatatakvutan, ayaw maging kaaway ‘Pagka’t kung gumanti nakapapatay Nangkukulam? Nangkukulam? Mangkukulam? Nagtutulos ng kandila, mayroong manyika Sinusundot ng karayom, pinapatakan Ng luha ng nauupos na kandila at kagalit Siguradong sa sakit ay mamimilipit Nangkukulam? Nangkukulam? Mangkukulam? Gumagawa ng gamot na kakaibang sangkap Mga nilagang ugat, dahon, o mga kulisap Hinahalo-halo, pinapahid o pinapainom At ang sakit o sugat ay tiyak na naghihilom Nangkukulam? Nangkukulam? Mangkukulam?

Ako Ba’y Mahal Mo Pa? Lyrics by Layetta Bucoy Composed and arranged by Pauline Mendoza

Maari ka bang magtapat sa akin? Nadarama iyong sabihin Ako ba’y mahal mo pa? O may mahal ka nang iba? Di ako magagalit o magdaramdam Basta’t ikaw ay umamin Ako ba’y mahal mo pa? O may mahal ka nang iba? Ako ba’y mahal mo pa? Oh sabihin mo sa akin Ako ba’y mahal mo pa? H’wag mong ipaglihim Masaktan man ako, ito’y kikimkimin Hindi kita hahabulin Hindi kita guguluhin Ako’y handang magtiis Ako ba’y mahal mo pa? Oh sabihin mo sa akin ‘Pagka’t kung hindi na Mahal na mahal pa rin kita Mahal na mahal pa rin kita Ako ba’y mahal mo pa?

Dapat Ilihim/Ako Ba’y Mahal Mo Pa? Lyrics by Layetta Bucoy Composed and arranged by Marie Angelica Dayao

Kung ito’y di makabuti Di ba’t dapat ilihim? Kung dulot ay pighati Di ba’t dapat ilihim? Ayokong ika’y mabalisa Ayokong ngiti’y mawala Puso ko ma’y nagdurusa Sa lihim di ka idadamay Dapat ilihim, dapat ilihim Kung dulot ay panimdim Ako na lang ang magdusa Ganyan, ganyan kita kamahal Ako ba’y mahal mo pa? Oh sabihin mo sa akin Ako ba’y mahal mo pa? H’wag mong ipaglihim Ako na lang ang magdusa/Ako ba’y mahal mo pa? Ganyan, ganyan kita kamahal/H’wag mong ipaglihim Dapat ilihim, dapat ilihim Kung dulot ay panimdim Ako na lang ang magdusa Ganyan, ganyan kita kamahal

Mga Aral ng mga A.N.B.

Tunay na Matapang

Unang aral ng mga anak ng bayan Ang kabuhayang hindi ginugugol sa malaki At banal na kadahilanan, kahoy na walang lilim Damong makamandag

Andres Bonifacio tunay na matapang Di dahil kayang makipagpatayan Sa mga itinuturing na kaaway Kundi dahil kayang makipagpatayan Sa minsa’y tinuring na kaibigan

Lyrics by Layetta Bucoy Composed and arranged by Adrian Paul Marcelino and Darwin Landicho

Kabanala’y pagkakawang-gawa Ang pag-ibig sa kapwa at ang isukat ang kilos Maging gawa at ang bawa’t mong pangungusap Sa talagang katwiran Ipagtanggol mo ang bawa’t naaapi at kabakahin ang umaapi Pagkatandaan lagi, ipagtanggol bawa’t naaapi Kabakahin ang umaapi

Tunay na Sarili

Lyrics by Layetta Bucoy Composed and arranged by Kian Beltran and Pauline Mendoza

Pilitin mang magbago Pilitin man ang ibang bihis Pilitin man ibang kilos Lumalabas pa rin Tunay na sarili Kahit na anong pagtatago Aliwin, libangin man ang sarili Hindi pa rin maigugupo Lumalabas pa rin Tunay na sarili

Lyrics by Layetta Bucoy Composed and arranged by Pauline Mendoza

Ang tunay na matapang hindi takot Mawalan ng dati’y mistulang hilot Na s’yang sa sakit ng damdamin Ay ang tanging nagbibigay gamot ‘Pagkat kaibigan kanyang turing Katapanga’y madali kung kaharap Ang iyong tinuturing na mga kaaway Kung kaalitan ay ang kaibigan Lumalabas ang iyong karuwagan Dahil sa takot na masira ang ugnayan Andres Bonifacio tunay na matapang Matinding galit n’ya sa kataksilan ‘Yun ang tanda ng kanyang katapangan Dahil ang tiwalang ibinigay mula sa puso Tapang sa pagmamahal, tunay na matapang Kaya’t sa kataksilan, bulkang sumasabog.

Iisa

Lyrics by Layetta Bucoy Composed and arranged by Iana Charmane Moran, Jerome Sabado and Marie Angelica Dayao

Ikaw ay isang aswang Ako’y mangkukulam Tayo’y magkaiba. Tulad ba ng Tagalog? Bisaya o Ilocano? Na sabi ng Supremo ... Iisa. Magkaiba man ang uri Iisa pa rin ang lahi Iisang bayan, magkakapatid Iisa ang ating lahi. Iisa. Tulad ba ng Tagalog? Bisaya o Ilocano? Na sabi ng Supremo ... Iisa. Wala sa salita o yaman Lugar, gawi, kultura Kung iisa ang bayan Magkakaiba man ang uri Iisa pa rin ang lahi Iisang bayan, magkakapatid Iisa ang ating lahi.

Kung Sino ang Magkatulad

Lyrics by Layetta Bucoy Composed and arranged by Franchesca Nicole Lynne Vistal, Darwin Landicho and Marie Angelica Dayao

Kung sino ang magkatulad S’yang dapat magkatuluyan Tayong mga nasa kadiliman Di dapat umibig sa liwanag Kung sino ang magkatulad S’yang dapat magkampihan Tayo ang nagkakaintindihan Tayo ang dapat magmahalan Buksan ang iyong mga mata Akong katulad mo ang masdan Bakit sarili’y ipagpipilitan Para sa hindi mo naman kauri? Nandito ako, Oh irog ko Bisig ko’y bukas para sa iyo Tiyak na ikaw ay tatanggapin Dahil ika’y tulad ng sarili Kung sino ang magkatulad S’yang dapat magkatuluyan Kung sino ang magkatulad S’yang dapat magmahalan

Tayo’y Magpatuloy

Lyrics by Layetta Bucoy Composed and arranged by Liezel Dizon and Elisha Beltran

Ang minsang sinubukan Di ba nagpaligaya? Bawal na prutas na tinikman Di ba hinahanap Ng iyong panlasa? Ang minsang sinubukan Ibabaon na ba sa limot? Mistulang isang kayamanan Di ba nais mahukay Kasiyahan ang alay? Tayo’y magpatuloy Sa minsang sinimulan Tayo’y magpatuloy Sa pag-ibig na tinikman Tayo’y magpatuloy Sa pagtahak sa daang Kung saan naghihintay Ang ligayang inaasam.

Bakit Di Sapat Ang Pag-Ibig

Lyrics by Layetta Bucoy Composed and arranged by Pauline Mendoza

Bakit di sapat ang aking pag-ibig?/ Ako sa iba’y lubos na umibig Ibinigay ko na ang lahat-lahat/Nais kong magmahal ng buong tapat Nguni’t sa huli nanatili ang nais/ Nguni’t may takot akong kinikimkim Na ako ay iyo lamang pasakitan/ Baka ako’y di n’ya lubusang matanggap Bakit di sapat ang pag-ibig Bakit kay dami pa ring hinahanap Nandito ako tapat na umiibig Nguni’t di malasap ang iyong yakap Bakit di sapat ang pag-ibig Bakit kay dami pa ring hinahanap Handa kong ibigay ang lahat Upang ika’y makasama sa alapaap Humihingi ako ng paumanhin Minsan din naman inakala rin Na ang pagmamahal ay maaari Kung ito’y para lamang sa kauri

Katipunan (Reprise) Lyrics by Layetta Bucoy Composed and arranged by Adrian Paul Marcelino Nagpupulong sa dilim Hindi magpapagapi Ang dalisay na hangarin Kalayaan sa nang-aapi Tiyak na ating makakamit Katipunan! Sa mga nais na sumapi Ihayag ang pangalan At tumugon ka, Kapatid Paano ka namumuhay? Paano ang iyong buhay? Katipunan! Nagpupulong sa dilim Hindi magpapagapi Ang dalisay na hangarin Kalayaan sa nang-aapi Tiyak na ating makakamit Katipunan! Ano ang dito’y hinahanap? Nababatid mo baga Dito iyong matatagpuan Ang iyong hinahanap Kapagkaraka, kapagkaraka Katipunan! Sino ang nagbunsod sa ‘yo At hangad ay ganoon? Di mo ba nababatid pagsapi Sa Katipunan namin Dulot sa ‘yo’y kapahamakan? Katipunan! Maaari ka ngang maitapon Sa lupang malalayo O kaya naman ika’y mawalay Sa piling ng minamahal Tapang ba’y di nabubuwal? Dinanas na kaapihan Dulot sa aki’y katapangan! Katipunan!

Parusa Sa Taksil

Lyrics by Layetta Bucoy Composed and arranged by Salmiah Capiz and Kim Rosel Gutierrez

Ano itong parusa sa taksil? Bakit buhay ang sinisingil? Gayong baka pagkawaglit Ng tiwalang minsa’y kipkip Maaaring di sinasadya Tao’y sadyang nagkakamali Ano itong parusa sa taksil? Buhay ang s’yang sinisingil Ilabas mo na iyong pangil Taksil iyong dapat kagatin Wala talagang kapatawaran Ang nagawang kataksilan Ano itong parusa sa taksil? Buhay ang s’yang sinisingil Kailangang ating unawain Kung buhay din ang nanganib Sa binalewalang sumpa’t tiwala Buhay din magiging kabayaran

Dugo

Minsang Kataksilan

Lyrics by Layetta Bucoy Composed and arranged by Marie Angelica Dayao

Dugo, dugo sa buong paligid Nabunyag ang Katipunan Di na ngayon isang lihim Ang kanyang mga kaanib Bigla na lang tinutugis Duguan ang buong paligid

Di magawang isalba ng pag-ibig Ga’no man ito kalawak at kalaki Ang lingap ay nawawala Ang bunga ng minsang kataksilan

Dugo, dugo sa buong paligid Mula sa away sa dawalang piso Dagdag sa sahod ni Patino At ng kasamahang si dela Cruz Isiniwalat ni Patino sa kapatid Na si Honoria ang Katipunan Dugo, dugo sa buong paligid Matapos ipagtapat ni Honoria Ang nalaman mula sa kapatid Sa madreng si Sor Teresa Na ginamit ang impiyerno Upang takutin itong si Patino Dugo, dugo sa buong paligid Mula nu’ng ang takot na si Patino Ikinumpisal ang tungkol sa batong Ginamit para sa mga resibo Pati na rin ang ibang dokumentong Naglalaman ng mga miyembro Dugo, dugo sa buong paligid Si Bonifacio ay nagpatawag ng pulong Itinaas ang mga cedula at pinunit Kamaynilaan sinimulang atakihin Sa buong paligid, dugo, dugo Nagsimula na ang rebolusyon!

Maghilom man ginawad na sugat Naroon pa rin ang isang lamat Ang lingap ay nawawala Ang bunga ng minsang kataksilan Walang nagwawagi sa isang daigdig Kung magkakaroon ito ng mga taksil Sana’y di ka na lang sa akin nagtaksil Walang nagwawagi sa isang daigdig Kung magkakaroon ito ng mga taksil Sana’y di ka na lang sa akin nagtaksil Sana’y di ka na lang sa akin nagtaksil

Minsang Kataksilan (Reprise)

Lyrics by Layetta Bucoy Composed and arranged by Marie Angelica Dayao

Di magawang isalba ng pag-ibig Ga’no man ito kalawak at kalaki Ang lingap ay nawawala Ang bunga ng minsang kataksilan Maghilom man ginawad na sugat Naroon pa rin ang isang lamat Ang lingap ay nawawala Ang bunga ng minsang kataksilan Walang nagwawagi sa isang daigdig Kung magkakaroon ito ng mga taksil Sana’y di ka na lang sa akin nagtaksil Walang nagwawagi sa isang daigdig Kung magkakaroon ito ng mga taksil Sana’y di ka na lang sa akin nagtaksil Sana’y di ka na lang sa akin nagtaksil

The Cast (in order of appearance)

Jose . . . . . . . . . . JOHN ALEXANDER MONTANEZ Valentin . . . . . . . . . RAJEE FLORIDO Mariano . . . . . . . . . . . LESTER AVAN ANDRADA Honorata . . . . . . . . . . MARIA TERESITA PATAYON Caridad . . . . . . . . . . MYRA SAMSON Felisa . . . . . . . . . . . SARINA SASAKI Mabalasik . . . . . . . CLARK ALDWIN BANAAG Taliba . . . . . . . . . KEVIN CARLO ABILA

Cast

Jose . . . . . . . . . . EDWARD ALLEN SOLON Valentin . . . . . . . . . REUEL CARLO VIRTUCIO Mariano . . . . . . . . . . . JULES CHRISTIAN RIVERA Honorata . . . . . . . . . . LOIS AGUILAR Caridad . . . . . . . . . . MARIA DOMINIQUE CULING Felisa . . . . . . . . . . . ELMAZ SOBREVEGA Mabalasik . . . . . . . KARL PATRICK MAYNARD NITURA Taliba . . . . . . . . . RAPHAEL MASA

Jose . . . . . . . . . . MARK SALAS Valentin . . . . . . . . . JOSHUA RENIEL ROMUALDO Mariano . . . . . . . . . . . MAGNO ARDENIA JR. Honorata . . . . . . . . . . LOUISE ERRECA AGUILAR Caridad . . . . . . . . . . BRIAR ROSE NUESTRO Felisa . . . . . . . . . . . PAMELA ESTEJADA Mabalasik . . . . . . . RICHARD NEIL RAAGAS Taliba . . . . . . . . . KEVIN SOLANOYww Mga Kasapi: JIREHMAR ISLES; ADELENE MAMINO; RINETTE GAYOMA; KRISTINE AMON; ABBIE ESCARILLA

Valentin

Isang binata na gustong gamitin ang kanyang mga kakayanan bilang isang aswang para sa tingin niya ay ang nakabubuti para sa lahat—nais sumali ng Katipunan para hindi na mga inosenteng Pilipino ang kanyang kainin, kundi ang mga mananakop na Kastila. Dahil sa kanyang takot sa magiging reaksyon ng kanyang mga mahal sa buhay, hindi maamin ni Valentin ang tunay niyang pagkatao.

Rajee Florido

Rajee is a BA Sociology student and Bonifacio and the Freak Show is his first UPLB production.

Reuel Carlo Virtucio

Carlo is a BS Computer Science student and Bonifacio and the Freak Show is his first UPLB Production.

Joshua Reniel Romualdo

Joshua or commonly known as Joey is a BA Communication Arts student. His first production in the University was Isko’t Iska (2012).

Mark Salas

Maki as he’s commonly known is a BA Communication Arts student majoring in Theater Arts. He has been a part of Teginef- A Dream Play, Alunsira Desap, Junto al Pasig, Sanctuario, Fourplay: Paper Clip, Genes XX & XY: Supling, Hiyas at Harimus, Ramon Bautistar and his tales from the friendzone, Banwa (2013).

John Alexander Montanez

Jae as he’s commonly known is BA Communication Arts student Majoring in Speech Communication. He has been a part of : Isko’t Iska 2011: Alert! Massive FEEnomena, Isko’t Iska 2012: System MONEYpulated, Isko’t Iska 2013: Scene of Commercialization and Oppression

Edward Allen Solon

Edward is a BA Communication arts Student. He has been part of Sanctuario (2013) and Haciendero (2013).

Jose

Si Jose ay ang tiyuhin ni Valentin na kasapi sa Katipunan. Dahil sa pagsunod sa kanya, malalaman ni Valentin ang tungkol sa samahan at gugustuhing sumali dito; ngunit, ayaw pasalihin ni Jose si Valentin dahil makasarili pa ang dahilan ng pagsali ng nito. Dahil kay Valentin ay mabubunyag ang isa pang anyo ni Jose—isang tikbalang.

Jules Christian Rivera

Jules is a BS Development Communication student. He has been part of Isko’t Iska 2010: Alert! Massive FEEnomena, ShushuGud: Ang Gulok, DVD at mga Shushumenelyn, Elbi Pie 16: Ang Mga Hayop ng Pag-ibig(2012), Fourplay(2013), Operation Balik Tao(2013) and Elbi Pie 17: Rufo and the Ruflettes(2013).

Lester Avan Andrada

Lester is a BA Communication Arts student majoring in Theater Arts. He has been a part of Ondine(2008), Riders to the Sea(2008), Banwa(2013) and appeared in the movie The Flu (2013).

Magno Ardenia Jr.

Mags is a BS Development Communication student majoring in Community Broadcasting. Bonifacio and the Freak Show is his first UPLB production.

Mariano

Binatang kaibigang matalik ni Valentin. Sa kabila ng kanilang pagiging magkaibigan, hindi nito maamin kay Valentin ang tunay niyang anyo—isang Kapre. Sumali sa Katipunan sa pag-aakalang ang mapaalis ang mga Kastila ay nangangahulugang matatanggap ng mga tao ang kanyang pagiging kapre at lumaya mula sa takot na hindi siya tanggapin bilang isang tao.

Honorata

Si Honorata ang kasintahan ni Valentin. Pinaghihinalaan nitong nagtataksil sa kaniya si Valentin at may binibisitang ibang babae sa mga gabing nagmamasid ang binata sa Katipunan.

Maria Teresita Louise Patayon More popularly known as Matel is a BA Communication Arts student Majoring in Theater Arts. She has been a part of Operation Balik Tao (2013) and Elbi Pie 17: Rufo and the Ruflettes (2013).

Louise Ereeca Aguilar

Lois as she’s commonly known, is a BS Biology Student and Bonifacio and the Freak Show is her first UPLB production.

Danielle Lois Afuang

Dane is a BS Development Communication student and Bonifacio and the Freak Show is her first UPLB production.

Caridad

Isang mangkukulam, albularyo, manghuhula, at iba pa. Para sa kanya, ang mabababang uri ng mangkukulam lamang ang ginagawang negosyo ang pangungulam (pero ang panghuhula ay isang tunay na negosyo).

Sarina Sasaki

Sarina is a BA Communication Arts student majoring in Theater Arts. She has been a part of BANWA! (2013), Haciendero: A Christmas Musical (2013), Fourplay: Reunion (2013), Para Kay B (2012), and En Campos De Batalla De Dr. Jose Rizal (2011).

Myra Samson

Myra is a BA Communication arts student majoring in Speech Communication. She has been a part of Elbi Pie 16: Ang Hayop ng Pagibig Mo, Operation Balik Tao and Elbi Pie 17: Rufo and the Ruflettes.

Elmaz Sobrevega

Em as sheâ&#x20AC;&#x2122;s commonly known is a BA Communication Arts student majoring in Speech Communication. She has been part of Banwa! (2013).

Maria Dominique Culing

Nikki as sheâ&#x20AC;&#x2122;s commonly known is a BA Communication Arts student majoring in Speech Communication. She has been a part of ShushuGud.

Pamela Astejada

Pam is a BA Communication Arts student majoring in Speech Communication and Bonifacio and the Freak Show is her first UPLB production.

Briar Rose Nuestro

Bei is a BS Computer Science student. Bonifacio and the Freak Show is her first UPLB production.

Felisa

Isang manananggal na dating kasintahan ni Valentin. Nais niyang makipagbalikan kay Valentin, at naniniwalang ang mga magkakauri lamang ang maaaring magsama.

Clark Aldwin Banaag

Clark is a BS Argicultural Economics student and Bonifacio and the Freak Show is his first UPLB production.

Taliba

Isa ring miyembro ng Katipunan na katulong ni Mabalasik sa mga “initiation rites”. Sa orihinal na ritwal, ang Taliba ang isa sa mga unang uusig sa mga nais sumapi ng Katipunan

Kevin Carlo Abila Karl Patrick Maynard D. Nitura

KC is a BA Communication Arts student majoring in Theater Arts. He has been a part of SPCM Night (2013) presentation and acted as Napoles.

Patrick is a BS Argibusiness Management student and Bonifacio and the Freak Show is his first UPLB production.

Raphael Masa Richard Neil R. Raagas

Neil is a BA Communication Arts student and he has been a part of Elbi Pie 17.

Mabalasik

Si Mabalasik ay isang miyembro ng Katipunan na namamahala sa proseso ng pagpasok ng mga nagnanais na maging miyembro ng samahan. Sa orihinal na ritwal, ang Mabalasik ang “master of ceremonies” ng “initiation rites” ng Katipunan.

Raphael is a BS Agriculture student. Bonifacio and the Freak Show is his first UPLB production.

Kevin Solanoy

Kevin is a BA Communication Arts student. Bonifacio and the Freak Show is his first UPLB Production.

Adelene Mamino Aja is a BA Communication Arts student majoring in Speech Communication and Bonifacio and the Freak Show is her first UPLB production.

Rinette Gayoma

Rinette is a BA Communication Arts student majoring in Theater Arts. She has been a part of Banwa! (2013).

Kristine Amon

Yuri is a BA Communication Arts student and Bonifacio and the Freak Show is her first UPLB production.

Abbie Escarilla

Abbie is a BA Communication Arts student and Bonifacio and the Freak Show is her first UPLB production.

Jirehmar Isles

Jireh is a BS Development Communication Student majoring in Community Broadcasting. He has been a part of Genes XX and XY.

Mga Kasapi

Artistic Staff

About the Librettist Professor Layeta Bucoy is a successful writer who has contributed well to Philippine literature and theatre. She earned her Bachelor of Arts (cum laude) degree in Communication Arts at the University of the Philippines Los Baños, and acquired her MFA in Creative Writing (with high distinction) at De La Salle University. She was a Teaching Associate and an Instructor 2 and 6 in the Department of Humanities, College of Arts and Sciences in UPLB. She was member of the ABS-CBN Creative Pool of Writers; a columnist in Head Writer of GLORIA! Project and BRAINS International, Corporation; a columnist of Ibang Class-e!, Pinoy Parazzi, Republika Publishing, Kumpisal kay Manong, Dyaryo Nobela, Nobela Erotica, Photo Nobela, Pinoy Parazzi, and Republika Publishing; episode writer for TV5 specials presents the Diamond Star Maricel Soriano; Screenplay Writer for Reality Creative Group, Revolver Studio; Screenplay Writer for Rigodon, Viva Films and Melodrama Negra, Cinema One Originals; and, Screenplay Writer for Pajaros Salvages. Aside from writing for broadcast media, Prof. Bucoy has written numerous plays at have been staged both locally and internationally. She is the playwright behind UPLB productions “Let’s Go Tarugo” (2001), “Icebag” (2001), “Icebag 2” (2002), “Let’s Go Tarugo 2: The Gerry T. Jones Diary” (2002), “Elbi Pie 11: YuPiElBi Rewind” (2009), “Elbi Pie 12: The Monodrama Special” (2009), and “En Campos de Batalia de Dr. Jose Rizal” (2011) among others. Her plays have also been staged by the Philippine Educational Theater Association (PETA), such as “Isang Libong Tula Para sa Dibdib ni Dulce” (2001) and “Kaisplit” (2002). Her works have also been staged in the Cultural Center of the Philippines (CCP): “Ang Anak ni Gloria” (2006) [Virgin Lab Fest 2], “Ellas Inocentes” (2007) [Virgin Lab Fest 3], Walang Kukurap, and Sandosenang Sapatos. Her play, “Tu Dulce Estranjera” was staged in Dublin, Ireland in 2011. In between writing for theatre, Prof. Bucoy also writes for various publications. Under UST Publishing House, she published “Isang Libong Tula Para sa Dibdib ni Dulce” (2005) and “Taguan sa Puntod ni Elena” (2006). She published “Bull’s Eye ni Cupido” (2007) [Heartbeat Romance #2]; “At Tumigil ang Panahon” (2007) [Heartbeat Romance #4]; while “Mommy ni Carol”, “Tanging Anak”, “Si Madonna, Scientist”, “Sabi ni Balagtas”, “Prof. Pong Pagong”, “Ice Cream”, and “May Isang Teacher” were published in Sopas: The Second Serving (2009) under Psicom Publishing House and writes for True Philippine Ghost Stories. Also, her plays “Doc Resureccion: Gagamutin ang Bayan” and “Ellas Inocentes” were published in Virgin Labfest anthologies.

Prof. Bucoy has received several awards for her contribution to Philippine media and art. In 1997, her teleplay, “Ang Kalapati ni Ne” won in the ABS-CBN Scriptwriting Contest. She holds several Don Carlos Palanca Memorial Awards for her plays: “And Repleksyon ni Miss Trajano” won 2nd prize in the Don Carlos Palanca Memorial Awards for Literature, Filipino Division, Teleplay category (1998); “Ellas Inocentes” won 3rd prize in the Don Caros Palanca Memorial Awards for Literature, Filipino Division, One-act play category (2007); “Doc Resureccion: Gagamutin ang Bayan” won 1st prize in the Don Caros Palanca Memorial Awards for Literature, Filipino Division, One-act play category (2009); and “El Galeon de Simeon” won 2nd prize in the Don Caros Palanca Memorial Awards for Literature, Filipino Division, One-act play category (2011). “Doc Resureccion: Gagamutin ang Bayan” also won the Best Original Script in the 2013 Philstage Gawad Buhay. She was awarded the BA Communication Arts Distinguised Alumna in 2012, and was one of the UPLB College of Arts and Sciences Oustanding Alumni in 2013. In that same year, she was made University of the Philippines Artist II. Currently, she is an Assistant Professor in the Department of Humanities, College of Arts and Sciences, University of the Philippines Los Baños. She is also a Resident Writer at PsiCom Publishing House, and a Visiting Professor at the Philippine High School for the Arts.

About the Director

Prof. Joey Ting is an established and prolific professional actordirector for theater, television and film in the Philippines for 21 years and counting. He has also been a noted theater and film critic in the country as well as a theater educator, scholar and researcher of performance, artistic forms and styles for theater and the arts.

Ting has studied and earned a Bachelor of Arts (2001) and Master of Arts (2013) degrees in Theater Arts at the University of the Philippines in Diliman. He has also acquired a Master of Arts (2005) degree in Education (with distinction) in Far Eastern University Manila where he received numerous teaching excellence and perfect attendance awards from the various top colleges and universities in Manila. He has taught theater and film courses in De La Salle College of Saint Benilde School of Design and Arts, St. Mary’s College Quezon City, San Sebastian College Recoletos Manila, Colegio De San Lorenzo Quezon City, AMA Computer College Makati and Far Eastern University Manila as well as taught English, Humanities, Philippine History and Sociology courses in Colegio de San Juan de Letran Intramuros, Manila that led him to become an influential artist of his generation. In UP Diliman, he has directed a number of stunning, intriguing and memorable projects under the UP Dulaang Laboratoryo of the Department of Speech Communication and Theater Arts, College of Arts and Letters. Among them were Tony Perez’s Oktubre...Noong Tayo’y Nagmamahalan Pa (1993); Edward Albee’s Three Tall Women [Allan Palileo translation] (1995); August Strindberg’s Miss Julie (1998); Alan Ayckbourn’s Invisible Friends [RD Salacup translation] (1999); Euripides’s Trojan Women [Zeus Salazar translation] (2000) and the most recent, Harold Pinter’s The Dumbwaiter / Elevator Action [Vlad Gonzales translation] (2012). In addition, as an active studentleader and has become its president twice during the 90s, he has directed numerous outstanding productions for UP Theater Council, a student-centered theater organization that continuously aims to provide student-produced theater projects for the Diliman community. Among them were as follows: Allan Palileo’s Kapatiran The Musical [co-produced by UP Alpha Phi Omega Fraternity] (1996), Break A Leg 2: New Auditions [satirical show] (1997), Allan Palileo’s Hilakbot (1998), Break A Leg 3 TC2K [satirical show] (2000), Break A Leg 4 Hafi Pyestah [satirical show] (2002) and Comeback [Krystel Dionisio’s Dyuts and Carlo Cannu’s Couture] (2008). He has also been invited to direct Merlinda Bobis’s Daragang Magayon [UP Sigma Delta Phi Sorority] (1995).

Because of his talent and discipline in theater directing, he directed two productions of Dulaang Talyer production season under Paul Alexander Morales, currently the artistic director of Ballet Philippines of the CCP. He directed Vincent De Jesus’s Quinn [Dulaang Talyer Fringe Festival at Khavn Dela Cruz’s Ora Cafe in Kamuning] (1999) and Nick Pichay’s Uyayi ng Ulan The Musical (2001) where he received his first nomination as Best Director in a Musical and the production as Best Musical for Aliw Awards. Prof. Ting embarked to stay in Far Eastern University Manila to establish the very first theater academic arm of the Department of Communication and served as artistic director / founder of FEU Art Theatre Clinique (ATC) in 2007-2011. He has directed the following - Habilin Ang Simula ng Apocalipsis [deviced performance on global warming] (2007); Visiting Strindberg [devised fusion of A Dream Play, The Father and Miss Julie] (2007); Spoof [satirical show] (2008); Euripides’s Electra [Vlad Gonzales translation] (2008); Julian Cruz Balmaseda’s Sa Bunganga ng Pating [official entry of FEU for the UP Sarsuwela Festival] (2009); Spoof [satirical show] (2009) and Pedro Calderon De La Barca’s Life is a Dream (2010). He has directed under FEU Theater Guild a Richard Rodgers and Oscar Hammerstein’s musical The King and I (2002) in celebration of FEU’s Diamond Anniversary Celebration. His interest to study circus in the Philippines has led him to direct last academic semester’s production of Thea107: Theater Communication and Thea108: Acting classes. Om Velasco’s Banwa! [an adaptation from Edward Mast’s Jungal Book and inspired from Rudyard Kipling’s The Jungle Book] (2013) won as Best Filipino Play (New / Revival) in the recent 2013 Broadway World Philippines Awards. In between the productive years in the theater, he has founded a niche on television doing directorial projects in ABS-CBN (Today with Kris Aquino, GIMIK, Ipaglaban Mo, G-mik, SWEET News, Pat-P) and eventually in GMA (Kids On Q, Bawal Ang Pasaway Kay Mareng Winnie, Sa Larawan Presents Ruffa Mae, musical episode segment of Party Pilipinas); conceptualizing for Summit Media’s special projects and events; and writing for The Manila Times, Philippines Free Press and Commuter Express as a theater-film critic and opinion columnist. Currently, He is an Assistant Professor and a full-time faculty member of the Division of Speech Communication and Performing Arts under the Department of Humanities, College of Arts and Sciences at the University of the Philippines Los Baños in Laguna.

Artistic Team

Harmonya: The String Ensemble of UPLB

Violinists

Joey Ting, Layetta Bucoy, Marie Angelica Dayao, Louie Navarro, Erma Lacorte, Mylene Mamalias, Patrik Labuguen, Rudyard Pesimo, Joshua Vidal, Dina Mojica, Adrian Paul Marcelino, David Bryce Saguin, Carson Cruz, Allison Antonio, Alodia Percal, Harold Medina

Jaydison Aniwer, Christian Biglaen, Michael Cedric Bartolome, Clarissa de Guzman, Daniel Estrellado, Ella Eiveren C. Lubag, Jonathan T. Macuroy, Rica Cynthia Maddawin, Franchesca Nicole Lynne Vistal

Dramaturgs

Banduria & Octavina

Marilee Ignacio, Dina Angeli Mojica, Illiot Kevin Cubero

Maricar Dela Cruz, Liezel Dizon, Ynna Flores, Nicholas Ryan V. Oliver, Kenneth Rae Rosales, Sandy Thea SJ. San Carlos

Guitar

Omar R. A単onuevo, Herald Josh Melchizedek P. Balaccua, Jesiah Cantindig, Salmiah Capiz, Janell Contreras, Kim Rasel Gutierriez, Alwin T. Lacanlale, Darwin Landicho, Jerome Marquez, Carlos Mindanao, Iana Charmane Moran, Arnel Oclinaria, Stephanie Pearl Orendain, Oliver John Ortiz, Shamah Reynaldo, Althea Jane M. Roa, Jerome Jay C. Sabado, Mark Froilan B. Tandoc

Bass & Percussion

Kim Camille Beltran, Almon Kalibpatra Merep, Stud Neil P. Jader, Adrian Paul A. Marcelino

Production Staff

Production Management

Technical Staff

Arielle Kaye Manalo, Allison Antonio, Angelika Marinel Costa

Muriel Dizon, Eunice del Rosario, Jan Aaron Lim, Harold Medina, Miguel Miguel Cordon, Jennifer Caag, Ma. Antoinette Furio, Abigael Saldana

Stage Management

Costume and Props

Elizabeth Ruth Deyro, Denise Colleen Cabili, Charise Encina, Alodia Day Percal , Cara Mae Bilangel, Gillian Rey Cara, Michaia Bea Gregorio

Carl Angela Cagandahan, Ma. Elaine Royo, Glenn Briones, Charlene Mina, Sarah Masiba, Ma. Angela Isabel Sevilla

Publicity

Marketing

Paula Mae Dreu, Dorothy Aireen Lipit, Elmaz Sobrevega, Joan Nacorda, Jalenico Lucero

Pamela Astejada, Kian Beltran, Sharmaine Caldino, Jan Erik Chua, Patricia Florentino, Patricia Mae Legardo, Ma. Lineil Ann Manzares, Iana Charmane Moran, Bianca May Rufo, Edward Allen Solon, Donn Miguel Soriano

Audience Development

About THEA 107

The BA Communication Arts program of the Department of Humanities, College of Arts and Sciences of the University of the Philippines Los BaĂąos houses three major fields: Writing, Speech Communication, and Theatre Arts. Students are to choose one field of study to focus in but are also required to take courses from the other two major fields in order to broaden the scope of the studentsâ&#x20AC;&#x2122; knowledge and appreciation of the arts.

Carl Angela Cagandahan, Ma. Elaine Royo, Glenn Briones, Charlene Mina, Sarah Masiba, Ma. Angela Isabel Sevilla

As part of the curriculum, THEA107 (Theatre Communication) is a three-unit core course, alongside THEA101 (History of Theatre), taken by all students under the BA Communication Arts program. In order to enroll in the course, students must finish its prerequisite, ENG4 (Masterpieces of World Literature). Handled by the Speech Communication and Performing Arts Division of the Department, classes are divided into one-hour and thirty-minute sessions that take place twice a week. In the course, students of the program are exposed to the different aesthetics of theatre, as well as the different committees involved in a production.

Cinematic Visual Effects

By the end of the semester, students from the course are expected to be able to produce their own theatre production, with each student performing his/her own task in the various committees, as a project recital. THEA107 classes have given the UPLB community various theatre productions in different genres that range from classic, Western text, Filipino text, experimental theatre, to original plays by faculty members of the Department. They have also collaborated with other BACA courses such as THEA108 (Acting), THEA109 (Directing), and ENG105 (Playwriting).

Nelvina Abanes, Ayhen Loisse Dalena, Kim Karol Di, Gianno Marco Lalap, John Matthew Prieto, Licelle Varias

Currently, Prof. Joey Ting handles both classes of THEA107.

Artworks in Bonifacio and the Freak Show Isabella Filla discovered her interest for art already in her early childhood. In early 2013 she got interested in working with water color and started publishing her work on her tumblr http://dawnmemories.tumblr.com. Most of her art works are portraits, but she is aiming for a broader field of working, seeking new inspiration and experiences with every painting. Majority of the artworks used in Bonifacio and the Freak Show posters were made by Isa.