Written and photographed

By Jude Thaddeus L. Bautista

Medea is one of the most revered of Greek tragedies, the story of a woman who plots revenge and damages a whole kingdom. Perhaps Shakespeare himself may have gotten the inspiration for the line, “Hell Hath no fury than a woman scorned” from the ancient play. So the insight of having a Filipino twist to it proves intriguing, especially since our own culture is maternal. The most powerful names in Philippine politics have included women. We have had two women presidents in Corazon Aquino and Gloria Macapagal Arroyo. And before that Imelda Marcos was already a world renowned figure.

The director and playwright, Mara Marasigan while Roeder Camañag looks on

No wonder the strong female character in the play inspired director Mara Marasigan to adapt it. She successfully added important Filipino elements. The play starts out with the famous Leyte Lullaby “Inhan Kong Mahilok” which reminds parents of the pain that children will bring. Mara explains that children would have to eventually leave their parents to start their own lives or they may not fully reach their own potential. The Ibanag dialect from Cagayan Valley is also included chanted by ‘the chorus.’

The Chorus from Left: Jihad Mariano, Sarah Salazar (behind) and Dreps Tatad photo by Jude Bautista

The story and Filipino elements are weaved well into the dialogue which was also adapted by Mara. She was able to showcase her skills as a writer in the project that is a Thesis requirement for her degree in Theater (U.P). She also made use of directorial insights gained through her exposure to theater since childhood.

Irma Adlawan was spellbinding as title character Medea. Photo by Jude Bautista

The character Medea is supposed to be a stranger in a strange land. Her most emotional lines are in Filipino, while the rest is delivered in English. Medea is played by the lovely and talented Irma Adlawan. The meaning of the Leyte lullaby is doubly meaningful as Adlawan also happens to be the mother of the young director. Mara is coming into her own as playwright and director now casting her mom as lead actress. Mara’s father Dennis Marasigan is an established film director having made “Tukso” and “Vox Populi” for Cinemalaya. Dennis worked as producer and technical director of the play.

Dolly Gutierrez as the Messenger / Nurse

One of the more important directorial decisions for Mara was the set design and blocking for the actors. The stage in the Teatro Hermogenes Ylagan in the U.P. Faculty center was a crisscross of ramps. Seats for the audiences spread from the middle to the corners of the venue. They were literally thrust into the space of the performers. There was no need for mics as audiences could almost reach out into the actors.

Roeder Camañag (center) played 3 separate roles convincingly. Photo by Jude Bautista

The skillful Roeder Camañag was cast for three roles: the King of Creon, Jason and Aegeus. His entrance for each character came from a different point in the ramp. Medea only entered from one side. In this way the delineation between Roeder’s character’s were clear. Even with slight costume differences, people clearly knew he was a different character each time he entered a scene. The stance, voice and delivery by Roeder also helped make the transition from character to character easier to distinguish.

Roeder Camañag will also play Abdalap in Alexander Cortez’ reinterpretation of “Orosman at Zafira”. It will open in MoA on Feb 14, 2011. Photo by Jude Bautista

Mara was involved in two classic Filipino dramas. She was assistant choreographer for “Ang Kiri” and assistant director for “Lulu” and “Orosman at Zafira.” Both were directed by her professor Dexter Santos. Mara said, “Through the experience of seeing and going through the development of these productions first hand, I began to ponder the possibility of producing “Medea”: using Filipino elements in producing and interpreting this Greek theater classic for the Filipino audience of today.” Alexander Cortez will have a reinterpreted version of Dexter Santos’ “Orosman at Zafira” starring: Jay Gonzaga, Delphine Buencamino and (also) Roeder Camañag. The newer version will play at Center Stage in Mall of Asia from Feb 14, 2011.

Medea had expressive choreography an indication of director Mara Marasigan’s dance background. From right: Jihad Mariano and Sarah Salazar. Photo by Jude Bautista

Mara’s dance background was apparent. The chorus characters played by Jihad Mariano, Sarah Salazar and Dreps Tatad would enter and exit each scene using a difficult pirouette or sometimes leaping or crawling.  Theater icon, director and actor Tony Mabesa was all praises for Mara’s Medea, “It’s quite innovative. I love the use of two languages. It’s also quite daring. Of course Irma is a brilliant actress. I think it’s a very brave production.”

from right: the newest theater director and playwright, Mara Marsigan, her father Theater and film director Dennis Marasigan, her mom, multi awarded actress Irma Adlawan and Medea cast member/ photographer Mari Benjamin Marasigan

Irma also has a huge blockbuster film with Marian Rivera in the upcoming Metro Manila Film festival entitled, “Super Inday and the Golden Bibe”. Sponsors of “Medea” include: John Robert Powers, ZAGU, Belle de Jour, Vitan Audio & Lighting Systems, RD Maharlika.

from right: Mari Benjamin Marasigan, Irma Adlawan, Leon Miguel Fernandez, Roeder Camañag and Jihad Mariano take their bow.

If Medea is any indication, Mara has an enormously bright future as director and writer. She has adeptly moved from one role to another in a lot of previous projects not least of which is co writing “Tukso” which won Best Screenplay in Cinemalaya. The world awaits her next triumph.