Insiang is a story of a girl awakening to the harsh reality around her, as she is abused by everyone that she loves and trusts. Insiang (Sheenly Vee Gener) is still haunted by her father’s death. She turns to her mother for affection, only to find out that her mother loves her boyfriend, Dado (Ricky Davao), a sly con artist, more than her. Vulnerable, Insiang, like any teenage girl, reaches out to Danny (Paulo O’Hara), her boyfriend, who abandons her after exploiting her. She is trapped. Her life is full of thirst and desperation, fulfilled only by pain and by pain again. Until, she finally awakens to the cruel world, transformed from innocence to malevolence.
Written by Mario O’Hara, Insiang was originally produced for a radio series and then adapted for a television series. In the 1976 Manila Film Festival, Insiang was modified for the big screen under Lino Brocka’s direction. Later, it became the first Filipino movie shown at the Cannes Film Festival, and it copped awards and recognition for Brocka and its lead actress, Hilda Coronel. After 30 years, it was re-created to fit for stage in the Tanghalang Pilipino’s 16th Theater Season, and it was directed by Chris Milado, who made it a box-office hit of the season.
Staged for the Tanghalang Pilipino’s 21st Anniversary, Milado fashions a wrap-around set, plunging the audience to the silent and destitute world of Insiang. With a stage design by Hesus Lota, lighting design by Joey Nombres, soundscape design by Jethro Joaquin, and fight scenes choreographed by Jack Yabut, Insiang was played in a chamber theater in the Tanghalang Huseng Batute of the Cultural Center of the Philippines.
An exemplary characteristic of the re-created play is the experience to be on stage with the actors. Another feature that O’Hara creates is the character of Toyang (Mae Paner). She is the thread that binds the poignant tale of each character. She converses with the audience and most of the time, lightens the heaviness of the drama. She makes raw, painful, and powerful scenes more enjoyable to watch.
However, the director and the cast of characters warn interested audiences that Insiang is fitted for 15 years old and above audiences because of the brief portions of nudity and strong vulgar languages used throughout the play. Jude Bautista quotes O’Hara who explains, “Insiang is about the slices of truth that are hidden from plain sight. How will you be able to show the truth if you do not take it realistically? And people from the squatters really curse that much. It does not take anything away from their humanity. [It is] just the language they use….”
The other cast of characters includes Mailes Kanapi as Pacing; Roeder Camañag, Bong; McDonnel Bolaños, Atong; Paolo Rodriguez, Atoy; and Vanni Liwanag, Ludy.
Insiang recognizes the aftermath of poverty—an inivisible world borne out of shame and greediness. It focuses and realizes on one story, the story of a girl holding onto some parcel of hope until even that was taken from her. Insiang learns not to give the other cheek to suffer, instead, to exact revenge to her tormentors. By doing so, she blossoms into a dangerous flower where other members of the community can stand and witness her.
Insiang is a provocative play that gives justice to every character’s attitude, so that, in conclusion, the antagonist himself cannot be solely disputed. Thus, the audience gives pity to every cast, and they are forced to blame the destitution that every one is a slave to.
As the play focuses on the depressing reality of our fates, it teaches us to be like Insiang, to find the strength within ourselves and stand up against our oppressors, though the decisions that she took were certainly against the eyes of society.
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