‍“Wala ba kayong pakialam?

Buksan ang mga mata

Hindi niyo ba nakikita?”

— Sienna in Hindi Basta Alamat

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We are born into the world theatrically—crying upon leaving our mother’s womb, chasing for another body’s warmth, and acclimating to the environment as we sense it. Just as Shakespeare wrote, “All the world’s a stage,” where humanity is the main cast and every movement and action affects the environment we are situated in.

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Such is reflected in Mediartrix - University of Santo Tomas’ (MDX - UST) production Sierra Madre: Isang Musikal. The play was written by Joshua Peter Tolentino, Hannah Karylle Espiritu, and Rio Celine Zafra, directed by Jearianna Maerizze Burgos and Lourdes Angel Gonzales, and managed by Enrico Byron Sacramento and Ana Katrina Gomez.

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The story follows the journey of Sierra, played by Jewelrae Ferrer and Marian Villasquez, alternately, toward becoming the next and rightful Hara while braving adversity. Alongside this, it also narrates the story of Sienna, played by Joemmaeus Mercado, in her attempt to halt the government’s imposed construction plans on the mountain range. Through both tales, the play underscores that the environment constantly protects humanity from natural disasters, but it also ultimately seeks the protection of humanity from humanity itself.

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The storyline employed a nonlinear technique that shifted between Sierra’s time as Hara and her granddaughter Sienna’s life in the mountains. Each narrative interrogated power dynamics and political disputes through respective antagonists driven by selfish desires and personal satisfaction. Bugsong Hangin (EJ Recalde and Benedict Pami, alternately) waged wars that disrupted environmental balance, while Mayora (Andrea Noble) pretended to care for the welfare of her citizens. Overall, the plot critiques the current socio-political tensions and environmental concerns in the Philippines in an excellent narration of Sierra Madre’s timeless significance.

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Commendable from the production was also its intelligible use of costumes, which signified the change in setting between the time periods. The distinguishable red elements and diamond patterns found on Sierra’s garments contrasted Sienna’s casual clothing, signaling shifts in the storyline that served as an exceptional use of the nonlinear narrative technique. The lights further enhanced these aspects to envelope the stage and audience in feelings. Be it Bugsong Hangin’s rampage out of wrath or Sienna’s cries for help, red and black spotlights respectively emphasized their emotions, a sublime utilization throughout the musical’s run time.

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Furthermore, the choreography and props complemented each other, especially during Lusong (Kenzo Carolino) and Bugsong Hangin’s duel for Sierra’s hand in marriage and the authority over the nation. In the song Mata sa mata, Ngipin sa ngipin, the ensemble’s rhythmic use of arnis and coordinated, powerful movements throughout the number elevated the faceoff. The scene finally built to the climax after Lusong’s victory over Bugsong Hangin that resulted in Sierra’s rise in position as Hara.

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In spite of the play’s unprecedented caliber, its set would be enhanced by a more intentional layout. On one hand, additional setups that better illustrated the change in time period would have benefitted the transition between scenes. On another note, the sound design could be better refined, especially when switching between performances and dialogues. There were instances wherein Sierra could not be understood audibly or projected too loudly into the microphone in Gabing Walang Bathala. While mastering the sound system management would have bolstered the quality of the production, the cast still executed a laudable performance.

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Regardless of the shortcomings, the musical’s message is clear, simple, and effective: As Sierra Madre continues to safeguard humanity, we must do our part in preserving the mountain range. With Mayora’s true intent to build infrastructures on the mountain range, it then resides in humanity to not just resist authority but defy power—to act not in individual movement but in shared agency. As portrayed in the present timeline, Sienna heeds the call of the people, stressing the magnitude of humanity’s actions in the production’s finale:

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“Kung ito ang aming huling hiling

Huwag mong ipagkait ang aming ugat,

Ang aming tahanan, at huwag mo hayaan 

Na mamatay ang aming laban”

— Sienna in Hindi Basta Alamat

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Sierra Madre: Isang Musikal tells not a story of fiction but a narrative of truth, uncovering the realities faced by locals, activists, and advocates who incessantly take care, protect, and defend Sierra Madre from politicians and capitalists who reason with long-term solutions to mask up financial gain. However, when the government is a tyrant in authority, how much space can humans even occupy on a stage that favors power? But, so long as people unite and fight toward collective action, the voice of authority will favor humanity’s solidarity with each other and the environment.

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Jules Aranjuez is a sophomore studying psychology. He lives by the motto, “I’d rather try while regretting than regret without trying,” so if you find him watching theater productions with so much awe and inspiration, it’s because he wants to try being a part of a play without regrets than to regret not trying at all.

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