A BEACON OF LIGHT FLICKERING IN THE DARK (an attempt to review the seniors' play) By: Mrs. Rowena Ramos

The passion play recently held by the seniors was a revelation of sorts. It was a fitting finale for a 13 year, colorful, fun-filled and wonderful stay in St. Jude. It was exhilarating to see how one scene smoothly led to the other; the seniors evolving, growing with the character. Had I not known that these actors were my students, I would have believed for one second that they are amateur stage players. But what was exceedingly beautiful was to witness how one actor complimented the other, never competing, never trying to eclipse the other in an attempt to upstage or outshine. It was like watching an orchestra where every member was in harmony with the rest to produce a musically concordant sound, never cacophonous. They were just playing their roles to the hilt, giving justice to the role assigned to them so that even the bit players came out so well and stood out even in the midst of the ordinariness and minuteness of their role. It was just magical to see the seniors bloom and unfold with such glamour and finesse.

The play has succeeded in giving the audience a sense of awe and wonder, of anticipation, of inimitable interest which is crucial to hold the attention of a very critical audience. I have prepared myself to expect nothing spectacular or miraculous but what begun to unfold before me was a blend of rhythm, style, poignant characterization and yet bringing home the message uniquely embedded in any passion play. It was fast paced, unpretentious, credible yet very simple .Its simplicity was glaringly appealing. Minimalism aptly described the set and props. The stage was made to look smaller and closer to the audience .This in keeping with the trend in plays nowadays; to focus on the performance while the stage takes a backseat but not really neglecting the essentials.


It strove to satisfy the discriminating taste of its youthful audience via the inclusion of Broadway numbers but never forgetting the most important message. There was a valiant effort to sway the audience to look at the passion of Christ with a new perspective, with the lens of hope, love and optimism. Noteworthy is the resurrection which was expressed via the dynamism of the dance and the presence of Christ. It was enough to paint the glorious aftermath of the salvific act of Christ. I came out of the auditorium with a renewed sense of conviction and euphoria, not saddled and afflicted with pain and suffering. As a Religion teacher, this part is the crux of any discussion and review of the play.


Furthermore, the play has changed forever the tone and texture of the succeeding plays. If I may humbly say, that it has become the trendsetter, the yardstick by which succeeding plays will be gauged. There was never a dull moment. One scene smoothly glided into the next, bringing new heights of interests and expectations without let up. I only hope that the next performers will find inspiration in your work and attitude.


While there are small loopholes, I was ready to overlook them in view of the over-all impact of the play. There was the technical disruption which stalled the play for some seconds; there were times when the actors forgot that they have an audience, absorbed in their own roles; there were misplaced reactions and small items here and there that could have merited some attention. But there are two major things that are
Crucial for me in the play that I wanted to discuss.


First, Mary Magdalene was inadvertently called a prostitute. To set the record straight, nowhere in the gospels was she identified as such. It was a misreading of the text that calls her a sinner. It would be an act of injustice to perpetuate a misconception that is a product of misinformation. Secondly, the play was supposed to have been narrated with the perspective of Judas Iscariot. However there were instances which could never have been witnessed or known to Judas. The primordial criterion of selecting the narrator should have been somebody who was with him from the very start or at least the beginning of his ministry. Another option is to unveil the faith proclamation of a bystander who is originally detached from the unfolding drama but became increasingly involved which leads to a dramatic metanoia in his life.


Please allow me to indulge a little on the performance of the major actors who shone brightly in their individual roles.


DIMITRI ROLEDA as JUDAS ISCARIOT has impressed me. He came across as a very intense performer, giving justice to a very difficult role. I saw a profusion of emotions and for one brief moment, the audience identified with his anguish and soul- searching. The blend of a beautiful face coupled with the gut-wrenching confusion, depicted in stark detail, the nuances of Judas Iscariot’s complex personality.


MIKHAIL UY as PONTIUS PILATE has been effective in eliciting from the audience a feeling of distaste bordering to wrath at his seeming indifference over the fate of Jesus. He communicated with his unique brand of interpretation the detachment and hauteur, typical of a Roman official at that time. Passionate yet single-minded.


THEO TAN as KING HEROD was the scene stealer who gave a fresh interpretation to the despotic Herod in his song and dance number. We got a glimpse of the psyche of a ruler who is motivated by power yet appeared nonchalant, almost casual about the whole thing but his personal agenda was never far behind. Funny but effective.

JOHN LAWRENCE CRUZ as CAIAPHAS and ARVIN ANG as ANNAS were intense and unmitigated. It is a sheer pleasure to see students transformed with their credible characterization. Had I not known them, I would have believed for one moment that they were capable of such ruthless monstrosity .They brilliantly exuded the haughty demeanor of the High Priests.

PAULO COBANKIAT, PAULO MARQUEZ and KEVIN ONG AS HIGH PRIESTS. They perfectly fit the role as if it was tailor-made for them. They were not just play acting their parts. They have actually internalized their parts so well that for a fleeting second, I could not separate the students from their characters. They were effectual in portraying the kind of sinister power that Jesus was up with during his time.

THERESE GRUBA as MARY MAGDALENE. She has successfully painted a woman who is helplessly torn, distressed and in pain. Her interpretation of a woman devoted to her master was unsullied, pure and unmistakable that belied the intensity of her emotions with such astounding force. Her characterization was like a fresh breath of air that swept everybody by surprise. Her role and presence gave balance to an otherwise, male dominated play.


PORFIRIO BELGICA III as JESUS was in his best element. He gave a new twist to the usual interpretation of Jesus. His portrayal showed impenetrable strength yet sprinkled it with a lot of compassion and gentleness. He might appear passive initially but his presence was strong and distinct. Nobody could have done it better than the way he essayed it so effortlessly. It was like having access to the historical Jesus. Knowing that he is one of the directors, one begins to wonder how he could have excelled in two equally demanding major parts at the same time.


Let me congratulate the directors for their crucial role in the success of “Jesus Christ Superstar.” They have set a standard that is quite difficult to follow. Their dedication to their craft; the research that went into the making of the script; their passion for excellence and their commitment to give us a play that is unforgettable were all deeply entrenched in the product that we all witnessed.


Lest I forget, a lot of credit goes to the producer, Mrs. Genalyn Alfonso for her tireless efforts, indomitable spirit and unwavering support to the seniors. She has been with the group from day one and has relentlessly guided them in their quest for perfection. Mentors like her are hard to come by and it is a joy to see that a lot of students are actually touched from her insurmountable sacrifice and dedication.


Finally, to all those who made up the play, from the actors to the directors, from the stage crew to the different committee heads and managers, from the donors to the critics, hats off to you! You’ve done one hell of a job that your alma mater is proud of.

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yeah, it was a wonderful wonderful play, and i'm way way way proud of it! that's my batch! but...didn't she notice the props? I mean, I spent more than a month making those spears and other stuff! I hoped she'd mention just a little something about the props...something like, "and the properties used on stage looked fit for their roles too" or something else...oh well, the life of beyond-the-seen people, never appreciated, never creditted. All that was attributed to us is a single sentence at the very end of the review..."props committee" wasn't even mentioned, only the stage crew and the heads and managers...what about the members who slaved?!?!?!

thanks for the praises anyways...