As stunning as the Bernal film

Himala: Isang Musikal

MANILA, Philippines — After wrapping up her bravura performance in the stirring production of Himala: Isang Musikal, Aicelle Santos is headed for London end of the month to join the ongoing UK tour of the acclaimed musical Miss Saigon.

She will be away for many months playing the bar girl Gigi, but the non-stop accolades she earned playing Elsa, a pseudo-visionary turned faith healer in the depressed town of Cupang, will not be forgotten for a long time as she embarks on a higher journey as an international theater artist.

We’re grateful to have caught Himala at Circuit Makati’s PowerMac Center Spotlight, presented by 9 Works Theatrical and Sandbox Collective, with one more performance today.

As Elsa, Aicelle (with ethereal Pinay morena features) surprisingly can hold a candle to Nora Aunor who originated the iconic character in the much-celebrated 1982 film by Ishmael Bernal.

With her haunting stage presence and restrained but intense acting as marvelous as La Aunor’s, Aicelle’s show-stopping singing prowess helps her give the demanding role a fresh take and make it her own under the excellent direction of Ed Lacson. It actually comes as no surprise from an artist named Best Actress in a Musical for Rak of Aegis, and Best Featured Actress in a Musical for Maynila Sa Mga Kuko ng Liwanag.

Deserving a special mention is Bituin Escalante for her knockout turn as Elsa’s mother, Nanay Saling. With a breathtaking voice and a dignified acting, Bituin nails the role originated in the silver screen by respected character actress Vangie Labalan. Like Aicelle, her presence on stage commands respect and attention.

Himala: Isang Musikal, written by Ricky Lee with Vince de Jesus as musical director, allows the rest of the ensemble to shine with almost equal amount of importance and exposure. Sandino Martin as Pilo, Neomi Gonzales as Chayong, Kakki Teodoro as Nimia, David Ezra as Orly, Floyd Tena as the town priest and Omar Uddin as the little boy from Cupang all deliver high-powered numbers mirroring the barrio’s fanaticism, ignorance, greed, opportunism, lust, despair and misplaced faith.

The set is bereft of outlandish props, except for Elsa’s nipa hut, a dead giant tree in a corner and dried bushes here and there depicting serious drought and misery. There are no microphones or lapels either to further highlight the actors’ terrific vocals.

In the Second Act, one heavy scene after another provides emotional punches and hair-raising moments, from the gruesome attack on Elsa and Chayong by the “beasts in the desert” and the suicide of Chayong, to the fatal cholera outbreak and the climactic assassination of Elsa as she delivers the immortal “Walang Himala” speech.

How the audience is strategically seated inside the intimate theater also plays a big part in making Himala a theatrical spectacle. It’s like spectators are all given front row seats to witness the harrowing events in Cupang unfold before their very eyes. By the time a deafening gunshot goes off and hits Elsa’s bosom, the audience instantly becomes part of a chaotic mammoth crowd jolted by the death of the last hope for salvation.