‘Anino’s’ rebirth from film to gripping stage drama
More than the kissing and sex scenes, lead actress Elora Españo said the more challenging part of performing in the stage play adaptation of “Anino sa Dilim” was conveying the emotional complexities required for her character, Emma.
“Aside from the complexities of the character, what’s harder to convey is depth. The intimate scenes were just choreography—a matter of understanding why we are doing them,” Españo said.
The play is a psychodrama featuring three characters: Emma, her husband Nardo (Ross Pesigan), and their friend Joel (Martin del Rosario). It explores the tangled lives of these individuals as they navigate politics, love, and betrayal during the height of military operations in the early 1990s.
As for the biggest emotional hurdles Españo had to overcome while portraying Emma, she admitted they varied every time. “One of the most difficult scenes is her confession of love for Joel. Another is the revelation of her father’s true identity. These two scenes are quite heavy for me. It has to be clear to me and to the audience what Emma is trying to say—it can’t just be all about emotions.”
Despite the serious themes of the play, Españo described working on it as a fun experience. “The people I’m working with are all very collaborative and respectful of my boundaries. Masaya lang talaga. Walang halong bigat. I’m sure this will continue to evolve. As we go through rehearsals, we will discover more about each other and how we can further develop our characters,” she said.
First prize
“Anino sa Likod ng Buwan” was originally a one-act play written by Jun Robles Lana in 1993, winning first prize at the Bulwagang Gantimpala playwriting contest. In 2015, Lana adapted his own play into a film (international title: “Shadow Behind the Moon”), starring LJ Reyes, Anthony Falcon, and Luis Alandy. The stage adaptation recently had a special media run at the Arete in Ateneo de Manila.
“During our rehearsals, walang dikit or hawak,” Del Rosario said about handling the intimate scenes with Españo. “I guess what you saw today was one of the first times we kissed or touched each other in a sensual way. It feels more natural because what we did was simply react to our coactors.”
“I’m excited for the actual run starting March 1,” said Pesigan. “I guess if you already have a context for why you’re doing things, you can call that manipulation. For us, the sex scenes were only secondary—it’s like we’re doing this ‘just because.’”
For Del Rosario, “Anino” marks his first foray into stage performance. Comparing theater to acting for TV and film, he observed: “I cannot help but compare the discipline—ibang-iba sa theater. I’ve been doing TV and movies for a long time now, and I can say theater is more intense. The lines are long, and you only get one take. This is apart from the stage blocking that you have to remember. But after the run tonight, I felt a different high that I can’t explain.”
When asked how his version offers a fresh take on the material, director Tuqx Rutaquio explained: “After I read the script, I already had a picture of it in my head. Also, when I saw the film, it felt like a stage play—but the set was really a house, and we don’t have that luxury here. I focused more on the psychological spin. I really studied how I would place everyone and everything on stage. But of course, I made sure the essence of Jun’s screenplay remained. Film is different because of its cinematic language—I can’t do close-ups and all that. The challenge was how to achieve the same effect on stage. That’s what we have been working on for over four months now—I hope it works.”
Power of storytelling
Lana admitted that seeing the full run made him appreciate the screenplay he wrote at 19. “I asked myself, ‘What struggles did you go through back then, at only 19, that you were able to come up with something like this?’”
When he started directing films, Lana sought material suitable for an uninterrupted one-shot take. “Of course, the difference was that film was cinematic—it felt like a dance. So when we decided to turn the film into a stage play, I took a step back. I didn’t meddle because I wanted to surprise myself and experience it as it was meant to be seen: onstage.”
Lana added, “It was fascinating to see it again, being so different from the film. It’s the film, but at the same time, it’s not the film. The lines are the same but delivered differently. The director and actors had a unique take on it. I think it’s a testament to the power of storytelling, regardless of the medium.”
Because the theater space is much bigger, a lot of the movements had to be larger, Rutaquio noted.
“The film is quiet and heavily dependent on camera work. The challenge on stage is magnifying it so that more people can hear the actors and see their actions. It helped that Ross and Elora are theater actors, so it’s easier for them to draw out emotions. With Martin, I was surprised because he auditioned for this role. I was impressed. Now, it’s just a matter of fine-tuning his voice and helping him deliver his long lines without getting tired easily.”
Rutaquio made sure to go over techniques with his actors. “We had to study how to say the lines with proper breathing while maintaining the truth in their characters. A lot of it was their hard work. I guess the two other actors ‘infected’ Martin in terms of discipline. Now, he’s addicted to it. So, I guess it won’t be the last time we see him on stage.”
“Anino sa Likod ng Buwan” is the maiden production of IdeaFirst Live, Lana revealed. Its sophomore offering will be the stage musical adaptation of “Die Beautiful,” produced by Elmer Gatchalian.
The play runs until March 23 at the Peta Theater Center and is strictly for adults only. Edward Benosa is the understudy for Joel, Denise Esteban for Emma, and Vincent Pajara for Nardo.
Get tickets via ticket2me.net/AninoSaLikodNgBuwan or through bulk buyers. Contact dave@theideafirstcompany.com.
