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In celebration of De La Salle Lipa’s 50th anniversary, a musical play dubbed as Jubilaryo Lasalyano: Ala Eh! Limampu will be staged tonight, March 1, 7PM at the Sentrum.
What you will read below is the production notes, the background of the musicale, and the rest of the people who made this big event possible.
Happy 50th De La Salle Lipa! Animo La Salle!
The 50th Year Anniversary (1962 – 2012) of De La Salle Lipa is an event of jubilation. It is but fitting that DLSL’s Jubilee Musicale Production JUBILARYO, LASALYANO, becomes a commemoration of its accomplishments, challenges, and changes.
In Kierkegaard’s reflection, he emphasized the notion of “living forwards, but understanding backwards”. To the Maori, the past is in front of them so they “walk backwards into the future, facing the past; because one can see it and keep ones back to the future because one can’t”.
In anthropological sense, life has a cyclical rhythm, defying the western sense of linear progression of time. Finally, to American Modernist poet E.E. Cummings, “Nothing regresses like progress”.
In this production of JUBILARYO, LASALYANO, from the Prologue to Acts 1 , 2 3, and Epilogue, the progression of scenes, is an attitude rather than a strict historical rendition of the 50 years.
In a non-linearity of time, the five decades are woven seamlessly as late 50s and 60s in Prologue, the 70s in Act 1, the 80s in Act 2, the 90s and the Millennium in Act 3, the future in the Epilogue, all gleaned in the Jubilee time capsule ritual.
Images of archival data on screen, interspersed with art, live performances, kundiman and harana songs, punctuate the changing landscape of Batangas. The acoustic band atonal and non-melodic
dissonances render the contrast sharper. Cleaving the theme song Lasalyano, Lasalyano formulation is into 3 music genres of standard – hip-hop rap- reggae beats, assert the aesthetics of the time.
However, the continuum prevails while the inter-textuality of the narrative continues to deconstruct itself.
The motif of the Subli, becomes the tapestry to open the invisible 4th wall curtain, signaling the end of Prologue. Salindayaw enters and claim the space/s of interrogation and interpretation of Kalye Batangas. It is a lost landscape as wet markets give way to malls in the region.
Voices choric interpretations of the overture Dalagang Batanguena, Kung Ako’y Mag-aasawa, Ligaw Probinsyano, are remembrances of things past.
The market vendors provide the local color. The fractured costumes from subli to deconstructed ballet get-up, the subli tapis and skirt when removed by the koros during the curtain call, is an act of transforming cultural artifacts, into symbols of change.
The actors ages 8, 10, and 12 are the future DLSL administrators, faculty, alumni icons of the School. Fifty years from now Alisha, Daniella, Patrice, Tasha (playmates and butterflies), Zedric and Gerald (APO/leads), are the investments of the Jubilaryo, Lasalyano. May their memory imprint propel them to be the Lasalyano they should be. May some of them, be equipped and return to their Alma Mater and give back to it, their life of faith.
The world has changed, but we do not want to recognize it. It is fearful. To bring a sense of being, the Filipino family is central to the play. The nuclear family is in burden, as parents and relatives are scattered around the globe for work. The diasporas of peoples of earth to cope with new economies, new technologies, new cultures of fragmentation are threats to family’s coherence.
The family songs of the Lolo, the Lola, Apo, the OFW parents, are paeans for the disintegration of marriage and family/pro-life battle. The world’s changing attitude and behavior in terms of gender versus the Biblical story of creation is taken as meta-/fiction. The work of the church’s teachings of Paradise on Earth, the promise of Jesus Christ as our salvation, are becoming only talk shows topics, debates, and media bytes.
Globalization has created the Mediapolis or cyber community. The new language of communication, new technologies, and the netizens in the virtual world, are the new platforms.
The Jubilee concept is as old as civilization. Each 50 year cycle, humans stop and take time out to rest, let the land refresh, let bygones be bygones, return the goodness of neighbors, celebrate the unity of tilling the land and sharing its produce, of forgiving debts and debtors, and bring back what is originally from nature, heal the land, and in so doing embrace the mystery of life again.
Life is a beautiful engagement and to perceive the newness of everything, Christians most especially, make offerings, sanctifying faith, by extending and giving thanks to the Lord.
The world of today has a growing feeling of the absence of God does not matter anymore, because life continues anyway. The Jubilee play ends with an indigenous text of Ama Namin (National Artist Rolando Tinio lyrics, Maestro Francisco Feliciano music), a de-westernization of our liturgy. The Closing theme song Great Beginnings is an exhibit of God’s truth through Jesus Christ, the Christ who is omnipresent.
The Epilogue is the laying of the Jubilee Time Capsule. The ritual carries the promise of the 50 items that should be preserved – seeds, vegetable samples, butterflies, water, banana leaves, human captured in photos, and all that makes life authentic. It is juxtaposed on screen by the real time capsule of DLSL 2012.
In so doing, the community is reminded of the strength of humanity. Woman/Man is a created being, yes, but s/he is not above other creations. Human is co-equal with the sun, the air, the sky, plants and animals, all creatures being equal, in the hands of God.
Therefore, human should never think s/he has sole dominion over nature. And that s/he can devastate the environment viciously, as if it is only created for human alone to exploit for the pleasure of his/her existence. Not really. The Jubilaryo, Lasalyano is echoing the stand of eco-criticism.
Let the world debate over this. In prayerful ways, DLSL cry out for the Lasallian contribution in affirming that the School, receiving divine inspiration, will make a stand for what should not change in life.
Br. Joaquin S. Martinez FSC, leading the DLSL-ians, into the Lasallian tradition that the purpose of the School is to provide a human and Christian education for the youth especially the poor, and that this is sustained, supported and made possible by the association of Lasallians who pursue this mission with zeal and faith.
Washing each other’s feet, breaking the bread for others, suffering through renewal of faith, is the life of every Lasallian. The understanding, appreciation and promotion of the Philippine Arts and Culture, is one of the values of a Lasallian education.
The celebration in the forms of various performances, accelerates the value of culture in the Lasallian education. Cultural programs and events enrich each other over time. It is about cultural memory. After all, the best curriculum is the one that provides multi-sensorial education.
The academic leadership of La Salle is challenged in the spiritual realm. The lives of La Salle brothers and saints, are living testimonies, focusing on conversion as mission work. Every soul is a mission work.
The OFW tableau entering in Act 1 as a happy bunch of workers, but through Act 2 and 3, even with the coming of a newborn, by a mother trapped in a foreign land, may not be a happy-ending for the family. The situation is lost in consumerism.
However, hope springs up, as the grandparents take the wisdom of choosing a good school for the Apo.
The struggle may go on for this family, but the education that will shape up the boy is an assurance, that a Christian life will see them through.
Observation of one’s own neighborhood, it is common to see, the head of the family has extended contract abroad eternally, without knowing his real intention of staying away from the family. Is it for
decent house, clothing and shelter?
The change in lifestyle of people, put emphasis on technology gadgets, the house garage has to have a car, the amortization in the basic house is almost done, and a condominium unit is next. Desire is pushed to the extreme. Most families climb for comfort and lifestyle, and being simple is not suited for needs of today.
In sharing with the community, this Jubilee tells us to continue to believe, to live our faith with joy. To receive joy is possible because beauty is ever present.
In simple terms, God is the one beautiful. It is not the new gadget toy, not the branded item, not the media icon, not the celebrity, not the car nor the condominium unit, or anything material that the heart desires endlessly, with the 50 years has passed, and all that hard work for something perishable?
It is this text of theater, the genre of open ended view, that Jubilaryo, Lasalyano, connecting references, with a whole host of movements in the history of dance, drama, music, multi-media art, so that an encounter / an engagement meaningfully, can take place between the actors and the audience.
Indeed, the Jubilee production is an affirmation of the beauty of what is simple, the job well done despite all odds, the joy of sharing music, dance, and drama, invented by human. To look ahead more, in the next 50 years, and simply declare that this Earth, this archipelago, this region, this province, this specific gift of a School – the DLSL… IS HOME.
JUBILARYO, LASALYANO : Ala Eh! Limampu
CAST
APO
Zedric Nicholas S. Bisenio / Roman Gerard N. Loreto
LOLO/BARBERO
Rhon Kenneth H. Mercado
LOLA/DIWATA
Shyne Cindy M. Ronolo
DALAGA/OFW MOTHER/
Ceasandra Amyl L. De Gala
OFW FATHER/ FACULTY
John Henry B. Balaoro
FAIRY BUTTERFLY/ DALAGA/TEACHER
Nala S. Zamora
GOLD BUTTERFLY
Anne Tasha M. Tanjuakio
SILVER BUTTERFLY
Anne Patrice M. Tanjuakio
KID BUTTERFLY
Alisha Janine Dy, Lian Ross Pasahol
DALAGA / DIWATA
Patricia Anne S. Medina,
Ma. Jessica L. Pilapil,
Jhenna Catherine C. Cueto
TAUMBAYAN / MOVERS
Claire Anne D. Roldan, An Christine Lour D. Baculpo, Jem Mervic T. Santos, Daniella Ynez S. Medina, Kateleen L. Navarro, Jade Nicole P. Cabrera, Genevieve T. Somoso, Yhzavel Keirstine Joiece L. Metrillo, Shane Bernabe, Kaye Angeli C. De Castro
DLSL-PLAYMATES
Shane Frances M. Bernabe, Anne Patrice M. Tanjuakio,
Anne Tasha M. Tanjuakio, Lian Ross Pasahol
SALINDAYAW
PRINCIPAL DANCERS
Myleen Thereze A. Laguardia, Avery V. Valle, Ira Kenner Anonuevo, Bryan Dominic R. Deangkinay, Nexus Niko P. Borjal, Jomel Neri T. Aliswag, Louie Ann O. Laylo, Shyne Cindy M. Ronolo, Jesfer D. Obliga, Andrea Noelle P. Sandoval, Ma. Bernadette D. Feliciano, Kim B. Dela Cruz, Alex L. Dimaculangan, Jhonnel R. Alday, Phenpion D. Bañas, Jenrick Abaña, Shermen Arwie N. Oldiem, Adel C. Tañamor, Pamela Mae C. Delgado, Racel May V. Organo, John Paul M. Guan, Ricc Paulo B. Adarlo
DE LA SALLE VOICES
SOPRANOS
Rebecca D. Magbuhat, Mari Claire Pormento
ALTOS
Rosemarie Briones, Mariz Araullo, Joyce M. Sangalang, Sonia Fajardo,
Judy Anne del Mundo
TENORS
Aljon Patrick Mingi
BASES
Albert Manibo, Ted Tayag, Maron Somotia, Joseph Paulo Silva
SPEAKING KORO
Joan Lyka P. Mosca, Do-Marie P. Lumban, Anne Bernadette D. Gaba
Maria Teresa S. Medina, Vince Cedric K. Dimaculangan, Margaux Ann L. Concepcion, Christian B. De Torres, Roman Gerard N. Loreto, Jose Miguel G. Caibal, Daven Gerard S. Felipe, Shane Frances M. Bernabe, Shirley T. De Jesus, Sendhara M. Trillanes, Liam Josef V. Ebora, John Henry B. Balaoro
ACOUSTIC BAND
Rafael Soquerata, Joaquin Sison, Robert Paulo S. Gandolas, Josh Crae P. Alaban, Jasper Lemuel S. Kaanino, Emmanuel C. Ong, Jr.
ARTISTIC STAFF
DIRECTOR / PLAYWRIGHT
Aurora Ma.Veronika
ASSISTANT DIRECTOR
Crecee Dimayuga Roldan
ASSISTANT STUDENT DIRECTOR
Christian B. De Torres
MUSICAL DIRECTOR/Arranger
Getulio “Bro. Jett” Digal
VOICES CHOIRMASTER
Joven Valeras
VOICES COORDINATOR
Rosemarie Briones
MASTER CHOREOGRAPHER
Rommel M. Quizon
ASSISTANT CHOREOGRAPHER
Cir-Anthon Paolo C. Garing
SPEECH CHOIR MASTER
Maria Teresa S. Medina, Shirley De Jesus, Roman Gerald Loreto, Margaux Concepcion
SET DESIGNER
Rogger Basco
LIGHTS
Ray Mayo
SOUND DESIGNER
John Christopher “JC” Mendoza
ART VIDEO
Eugene De Luna, Ralph Quijano, Steve Cardona, Hector Lincallo Jr., Play Prod.
PRODUCTION STAFF
PRODUCTION MANAGER
Arnold Capuloy
DEPUTY PRODUCTION MANAGER
Crecee Dimayuga Roldan
DEPUTY STUDENT DIRECTOR
Rhon Kenneth H. Mercado, Christian B. De Torres
TECHNICAL DIRECTOR
Hansel Jay C. Samera
TECHNICAL ASSISTANT
John Christopher “JC” Mendoza / Josh Crae P. Alaban
STAGE MANAGER
Jhenna Catherine C. Cueto, Brandhy Leigh M. Ramos
ASST. STAGE MANAGER 1
Ma. Jessica L. Pilapil, Karmela Basco, Fuma Yamamoto, Alisha Janine Dy, Ela Hannah L. Mendoza, Maria Fritz, Desiree Conge, Jose Lorenz B. De Castro, Odette Kay Aguzar
VOICES PRODUCTION ASST.
Vince Cedric K. Dimaculangan
A. BAND PRODUCTION ASST.
Fuma G. Yamamoto
PHOTO/VIDEOGRAPHER
Celina Cleofe D. Padernal, Ella Castillo, Melvin Quiros
LAY-OUT DESIGNER
Noel Pascual
ASSISTANT LAY-OUT
Eugenio De Luna Jr.
PR WRITER/ RESEARCHER
Catherine Perez, Annjanelle J. Peji, Ma. Florita L. Bebeng, Karmela Rae T. Baldo
COSTUME CONSTRUCTIONIST
Agnes Delatado / Leila Contillo, Razel Canino, Myrna Marbida, Armin Tugano, Zeny Cuenca
FRONT-OF-HOUSE MANAGER
Donabel Orcena
TRANSPORTATION OFFICER
Alfredo Bong Cubilla Jr.
Service Drivers
SD Personnel, Eduardo Raya, Joelito Reyes, Reynaldo Gamul, Jose Llanes Jr. , Edgardo Bonito
Service Utility & Facilities Crew
GSD Personnel and SMSS Personnel
FOOD CATERER
Elise Food Services, Syronn Trading
DLSL SENTRUM CREW
SENTRUM SUPERVISOR
Jojo Magsino
SENTRUM MAINTENANCE
Eustaquio Malapitan, Mario Marasigan
LEADMAN ELECTRICIAN
Anastacio Magbilang
TECHNICIAN
Resty Dimayuga, Ariel Dimaano, Alex Lucero
MASTER CARPENTRY
Ulysses Fule, Ariel Dimaano
CARPENTRY CREW
Lito Cataquiz, SMS Personnel, Eduardo Ani, Apolinario Malunes, Morris Glenn Bayot, Bienuinedo Mapolon Jr., Arnold Obispo, Jimmy Pauvela, Carlito Cataquis, Ulysses Fule, Marasigan Gener, Mario Cosico, Reyes Juvenal, Larry Castillo, Moises Oguilda, Nelson Magnaye, Arnold Morada, Fernando Katigbak, Renato Sarala, Rey Mercado
IRON WORKS
Rommel Calalo
