Talking horses, warring kingdoms & a foundling

MANILA, Philippines – “He is a foundling,” declared the character named Arsheeh (played by Robie Zialcita). “I found the boy Shasta (Reb Atadero) in a small boat with a knight who had died of starvation, and I raised him.” So he did, but he treated Shasta as little more than a slave, and abused him.

The boy longs for freedom, as symbolized by the kingdom of Narnia. In hoping to realize this dream, Shasta finds an ally in a talking horse named Bree (Joel Trinidad). In fact, there are two talking horses; the other is Hwin (Jill Pens). So there is a horse boy and a horse girl (Cara Barredo), but we are getting ahead of our story.

Thus begins CS Lewis’ The Horse and His Boy, a Trumpets Production directed by Jaime del Mundo and now on its last weekend at the Meralco Theater in Pasig City: Nov. 21 (3 p.m. and 8 p.m.) and Nov.  22 (3 p.m.). Log on to #trumpetshhb#epic ride.

So Shasta riding on the talking Bree, insecure about his unknown past and in search of a father figure begins the “epic” journey to Narnia, where Azlan (Jeremy Domingo), the Great Lion, reigns. Along the way, they meet the headstrong Aravis (Cara) and her mare Hwin, both also seeking their destiny in Narnia.

Shasta and Aravis join forces and in the way of future lovers, quarrel and separate for a time. Aravis, who once tried to kill herself, has her own lessons to learn from Azlan, no less.

A lot of colorful characters good as well as bad, swirl around the two (actually four) protagonists. There is Prince Corin (Gab Medina), a look alike of Shasta (shades of Mark Twain’s The Prince and the Pauper) and his father, King Lune (Steve Cadd).

Evil is represented by the Calormen emperor, Tsiroc, who has a wicked and decadent court, and his son Rabadash (Mako Alonzo), whose tantrums and thirst  for power pave the way for war with Narnia. And there are other talking animals who aid Shasta, plus court figures, princes and princesses and soldiers.

The Horse and His Boy is part of Lewis’ The Narnia Chronicles, which has been successfully adapted into plays and films. It is a kind of sequel to the popular The Lion, The Witch and The Wardrobe. The adaptation is by Luna Inocian.

Music during the right moments along with songs (although it is not really musical), special effects and judicious lighting by light board man Jayr Andres help propel the magical quality of this production, despite what seems to be  a budget set design. The director keeps things at a lively pace, with the actors all keyed up.

In a key moment, Shasta takes pity on himself, bewailing the fact that he is a foundling, probably an orphan, that he does not know who his real father is, and that he was adopted by an old fisherman who beat him regularly. When he gets to know who he really is, he will not feel so wretched.

The climax comes with the battle between the forces of Narnia and Calormen.

Like all the C.S. Lewis novels, The Horse and His Boy is a fairy tale, a fantasy, a family show meant for children but with moral lessons and a subtle religious fervor best appreciated by adults. When Shasta’s real identity is revealed, it is like a Biblical prophecy being fulfilled.

Azlan is a God figure. “Justice should be tempered with mercy,” he declares. And ”freedom should be an opportunity to do something better.”

This Trumpets play is entertaining, delightful, multi-layered and ultimately moving.