Napo presents never-ending "drama" plays

THE densely populated coastal village of Napo may make it to official records on Philippine theater as the venue of the country's longest running series of stage plays.
The community theater in Napo has its beginnings in the years of the moro - moro, a form of entertainment during the Spanish times highlighted by simulated Muslim - Christian fight scenes that are always won, as expected, by the latter.

Since many decades ago, every May 25 without fail, local thespians mount a play to highlight the celebration of the feast of the Santa Cruz (Holy Cross). World War II cut short the staging of the play, but it was immediately resumed after the liberation of the country from the Japanese occupation.

For the local residents, the play is the single biggest cultural event of the year, the success of which everybody wants to be a part of. Thus, the fisherfolk share with the rehearsing actors their meager catch. Some volunteer to make errands for the director. Above all, the barangay allocates at least 10,000 pesos per year to mount the production. Napo residents working elsewhere also donate cash.

Regardless of theme - whether the play is comedy saga, war epic or fairy tale the locals call the annual stage presentation a drama, the same reference they have of any radio soap opera.

Jose Lugo, a postal employee, currently directs the drama. He started playing roles, mostly comic, early in his teens. He has been a director for teen years now.

Lugo says the best director the drama ever had was Bernardo 'Leon' Romea. Although much younger than Romea, Lugo learned from this elders that he was a very strict mentor, always using a stick to emphasize how a role should be played and would not hesitate to strike anything or anyone with it them he ran out of patience.

Directors and playwrights

Born March 12, 1892, Romea was probably the most prolific Boholano lyricist - composer and playwright of his time. Teodosia R. Luminarias, retired public school teacher and one of Romea's children, reveals that music was her father's greatest passion. He composed countless church hymns, most of which were lost with the passing of the years.

Romea was a principal of Loon Central Elementary School established in 1915. He once served as secretary to Loon Mayor Rosendo 'Tan Sendoy" Lopez.

During his peak years, Romea mounted a musical every December 22 when his firstborn Zenon would celebrate his birthday. This he would do to thank the Lord for giving him a long awaited child.

Locals writers produced original scripts for the drama. Some of these playwrights and samples of their works are: Leon Romea (Anak Sa Akong Asawa Igsoon Ko), Jeremias Mejorada (Jessica), Melchor P. Monreal Sr. (Tinubdan sa Kasilag), and a certain Lauron (Mga Anak Ko).

Gloria Sevilla - Andaleon is the only known female drama writer.

Some of Romea's scripts, staged mostly during the pre- war years, have been adapted for modern presentations. Eugene Mejares of nearby Maribojoc town, who traces his roots in Napo, is an avid collector of drama scripts or 'orihinal', some of them Lauron's masterpieces.

Generally, however, there is no current effort to collect all drama manuscripts and publish them in one volume. Some of the local masterpieces, specially the old ones, are lost and can no longer be retrieved.

Lugo says many drama presentations in Napo carry Muslim themes. He adds that the colorful costumes, the sound of real kris clashing with another, the royal nuances of the datu, and the graceful movement of women dancing the Singkil have become the audience's favorite. These visually arresting scenes were present in 'Sultana Maginda', 'Sahara', 'Duha ka Dagsa" and 'Ikaw ba, Regil?'

The drama is instrumental in developing the raw talents of the residents of Napo. Jerry Mejorada, for example, started as a child actor and seasoned into a lead performer. He later wrote original scripts and eventually directed some of the more memorable dramas.

Dramaturgos

Most Napo residents remember the performances of good 'dramaturgos' or actors. Nory Mejorada had such a clear and loud voice that he sometimes did not need a microphone. Among the leading ladies, the locals have fond memories of Rosario Robles and Corazon Dalugdog. The latter has been considered the best performer in the late '60s to the '70s. Meanwhile, nobody has dethroned Julie Miranda now a public school teacher, as Napo's Muslim - dance queen. The best script prompter the drama ever had was Ilot Mejares.

Drama watchers also remember Edna Ocat who played a contravida role and was accidentally hit during a sword fight because of unsynchronized choreography. Real blood oozed from her arm in perfect adherence to the script! The sounds of swords clashing cannot be faked, and so they had to use the real ones.

Runs in the blood

In Napo, acting also runs in the blood. Lugo descends from a line of local entertainers. Simeon his father was also a former actor and director. The Sevilla siblings composed of Arsenio, Gloria, Marivic, Gilda, Philip and Bernie all took to the stage with the relative ease of fishing for katambak or gathering aninikad (edible sea slug).

The singing Mejares brothers, Joel and Jonas, followed in the footsteps of their parents whose marriage to each other only served to culminate their performance as stage lovers. Jonas continues his singing in church after having become an Agustinian priest.
The earlier version of the drama used a local rondalla to provide the musical score. Napo residents remember with fondness Pedro 'Indong' Marcojos, Daniel Salomon, Loloy Vidal and company and their instruments.

When the combo, with its electric guitar and drum set became a fad, it replaced the rondalla to the dismay of the older audience. Lugo prefers the rondalla, but with most band members having grown old and tired, there is no other choice. There is, however, a potential for using pre - recorded sound tracks.

For the sounds of guns, real ones are borrowed from local policemen.

A drama in Napo is not complete without the lead characters singing the play's theme song. Some of the songs used in the drama are compiled by Justino Romea, Mejares and Monreal, himself a playwright, composer and director in his native Basdacu.

Advisers

All dramaturgos of past productions assist in the mounting of current dramas. They give advice on how to sing a certain song, especially if the drama is based on a recycled or rehashed script.

During the month of May, the local residents keep the Cebuano songs alive here in Napo, Lugo says. Even the children repeat what the actors sing during the drama, thus sustaining the melodies for years.

In the early '90s, the drama tradition caught the attention of the PROCESS Foundation's Bohol team led by Suki Plaza, now a development consultant. The foundation facilitated an acting workshop, with resource persons coming from the Philippine Education Theater Arts, Inc.

Lugo reveals that the most significant learning his group experienced with PETA is theater management. Where long ago the members of his cast would prepare the set, they now concentrate on how to attack their roles with precision. Also, days before the fiesta, they are forbidden from joining discos and sports competitions to preserve their voice and become physically fit at show time.

Lugo selects his actors several months before the barangay celebrates its fiesta. Selected cast members who are based elsewhere go home early to rehearse their roles.
The director believes that there is no substitute for real acting talent showcased in a live performance. True indeed, because in Napo, the drama tradition survives despite the influx of high-tech entertainment. (Reigh P. Monreal)