'Himala' is as powerful and as essential as ever

In “Himala: Isang Musikal”, the lives of the residents of small town Cupang are upended when the Blessed Virgin Mary purportedly appears to a barrio lass named Elsa, who becomes a savior to the desperate townsfolk of Cupang.

When Elsa miraculously heals an asthmatic man by the power of touch and prayer, they are quick to venerate her and put her on a pedestal. But is Elsa the real deal? Why was she chosen? What secret is she hiding?

This tale has been oft-told, of course, starting with the 1982 film version that was written by Ricky Lee and directed by Ishmael Bernal; the movie that birthed the immortal line that has become a trivia night staple for generations of classic Filipino film lovers: "Walang himala! Ang himala ay nasa puso ng tao! Nasa puso nating lahat!"

"Himala" moved from screen to stage in 2004, and has been revived a few times since. This latest incarnation is made possible through the efforts of feisty theater groups The Sandbox Collective and 9 Works Theatrical, which is responsible for noteworthy theater productions over the years; from Broadway hits like "Newsies" and "American Idiot", to original offerings like "#NoFilter".

That the-powers-that-be chose "Himala" as their next project is, in itself, worthy of praise. They undoubtedly must have had a pick of the lot of material to bring to life—both local and international, Broadway triumphs and risky, original content—and the fact they they decided on all-Filipino classic says a lot about their sensibilities and what they feel deserves to be put under the all-too-literal spotlight.

But, as a production absent of all its socio-political meanings, does this "Himala" deliver?

For the most part, yes — and quite convincingly.

Casting is its first and biggest triumph. As Elsa’s doting and protective mother, Bituin Escalante proves for the umpteenth time that her name is an aptonym if there ever was one — a star of the highest order. Kakki Teodoro (Nimia, the former prostitute and current runner of the town brothel) and Neomi Gonzales (Chayong, Elsa’s childhood friend and girl Friday) bring such commitment and weight to their roles that they light up every scene they appear in. Also watch for show-stopping solo numbers from David Ezra as the filmmaker Orly and Sandino Martin as Chayong’s once and future lover Pilo.

And as the confused and conflicted Elsa, Aicelle Santos succeeds in her most challenging role yet. Although the pop star imbues her Elsa with a delicate, almost virginal quality for most of the production, she proves she is more than capable of delivering power and force when needed. Although she is hardly new in the business, watching her here was like watching a star come into her own.

RELATED: ELSA REBORN: Aicelle Santos finds her footing in stripped down version of "Himala" musical

Director Ed Lacson Jr. made some bold choices related to blocking and set design, some of which hit the mark, but some, sadly, did not. Because the stage was a square on whose four sides the audience sat, the production achieved an intimacy even greater than the already tiny venue allowed. It became easier for spectators to place themselves within the musical’s reality, and often, it was as if they themselves were part of the action.

The flipside is that it was sometimes confusing and disorienting to see the actors walk and run this way and that, turn their back and to their side. And because the decision was made for the actors not to amplify their vocals using microphones, some lines of dialogue and even songs got lost in the shuffle. These choices were certainly a risk, but they were minute and ultimately did not take away from the experience.

But perhaps the biggest risk was the decision to use only the piano to accompany the actors. It’s certainly not the first time in stage musical history, but in this case, the risk paid off. In such an intimate setting, there was little to distract audiences from the actors’ voices, their words and their emotions.

In the climactic scene, Elsa stands tall and proud and chastises the Cupang townsfolk — when bad things happen, the knee-jerk conclusion is that the person, thing or place is cursed. If it’s the opposite, it is a blessing from the heavens.

People never take responsibility for their actions — we are never to blame for our faults and we hesitate to take any credit for our achievements. This attempt to explore and deconstruct the perhaps uniquely Filipino trait of placing too much emphasis on the divine is at the heart of "Himala".

Anyone who has seen the original film and any of the musical stagings would already know what "Himala" is about so there should be no surprises in this staging. But Nora Aunor, who played Elsa in the 1982 film and arguably the country’s greatest living actress, was present at the press preview, and judging by the rapt attention she gave the production from beginning to end, it’s clear that this is one story that remains as powerful and as moving as when it was first shown over 35 years ago. And considering how often we dismiss or forget things these days, perhaps that is the biggest “miracle” of all.

Until March 4, 2018, Power Mac Center Spotlight at Circuit Makati. +63917 5545560 and +632 5867105 or Ticketworld +632 8919999 or email sab@thesandboxcollective.com

Paul John Caña is a writer and live music geek. Check out his blog manontheotherside.blogspot.com. Email him at pjcana@gmail.com or follow him on Twitter and Instagram @pauljohncana