Edit: HARING LEAR: Insanity at Its Most Complex

The Shakespearean Pieta: The King holding his beloved daughter who has done no wrong but be truthful and frank.

Feudal Japanese Clothing, Post-Apocalyptic Setting, Shakespearean Madness, Bald Actors, Filipino Language: Five things I would never think of being mixed, prepared and served.


But then again, I haven't seen much of anything really. So a fresh take on anything would be a wonderful slice of heaven after days when you just feel so "toxic".


So what else is in this bowl? Well, we could add great new friends, a possibility of acting the lead and relatively good seats to the mix. And when the mix is cooked and served, it comes in this wonderful white post-modernist box, the PETA Theater Center, lined with red and an eye-catching Neo-Filipino piece that looks into the history of the theater. What's inside is most probably the most eye catching of all. A red large room, decorated with destroyed paper lanterns, with some of them having the backbones to keep its shape. In addition to the post-apocalyptic state of the room, there were chandeliers with the covers nearly torn and an amazing throne of bamboo with a crown floating above the seater's head before the backdrop of bamboo frames that seemed to remind me of Encantada. I felt I was where I was supposed to be by merely entering the theater.


Given the setting, I would have never guessed what my gustation would come across: Shakespeare's King Lear. But with this new take on a classic, directed by Nonon Padilla, and being all-accepting as I am, I carried on with so much more excitement - more particularly with their clothing. Putting the Samurai skirts against the tight cotton tight tops was a flash genius! I would have never thought such fashion could be so modern and refined, most especially for men, since the Japanese fashion have only influenced female fashion, seen in the likes of Alexander McQueen. Furthermore, clothing ranged in limited colors of black - yes, shades of black, some very dark maroons, and even a few grays. This is in stark contrast to the whites of the main characters, Cordelia and Lear. The King's wardrobe has shifted from a dark-colored summer-polo-and-cargos combo to an added garbage bag cape and crown to a white Old English Top and tights ensemble that has defined his enlightenment and short-lived triumph. Cordelia's piece is what I truly applaud, for its versatility and simplicity. The immaculate white of the torso-fit dress which becomes matched with a lot of pieces like a white fan and gold tiara, a right-arm armor and a helmet with a large white feather, and even a wrap of clear plastic upon her death.


The furniture is mostly of Asian accents, mostly Filipino and Japanese. From the recyclables from native and natural elements to the everyday yet torn and time-punished pieces. The set also has a thing with small lights, present at the collar pieces of the evil sister's clothing and the crown in the throne. It is a nice touch to have the crown and scepter, symbols of kingly power hanging above the head of the seater. It is interesting to a point where the these items closely related to power is left on a throne, which would likely be related to the complete relinquishing of his land, and thus his power, to his two older daughters.


One of the best things about this take on Madness would be the switch of tongues, with a greater preference to the native one, without sacrificing the beauty of figures of speech in the original text. The sparing use of English in sometimes mocking, show-off, and/or emphasis-needed lines made it more attractive and appealing to the audience.


Time-lapses could be really confusing, given the common use of swords and horses which then shifts to a gun and very large electric fans, to shower-induced rains, and rain-coats. But the interest lies with this play of from-the-future parts in an old story retold.


Lastly, I would comment on the actors - yes, gender sensitively - actors, which are all male by birth. Having everyone except Lear to be bald is another form of playing with contrasts giving the viewer more focus on the King, which might have been played by many an understudy or double, given the length of some lines. The British Council is good at its art, which packages the whole shebang. The set, the lights, and most especially its actors who could carry a tune, and methodically be in character. The way they portray encompasses the humanness of humans, giving their disillusionment, swaying views and stands, and even their clam-ups to save themselves from the hurt that society or, even worse, the real world is throwing at them. Well, this is what I see. Some points to note are the scene of the eye-gouging, which is taken in a very admiring manner of complexity, more and less gore, and an ending to an act which would even make you gouge your own eyes; the fight scenes (a not so hunky, but still hunky guy to spot!) which would have needed much help, though knowingly, we must understand that violence is hard to fake; and lastly, the most amazing part of all, the ending with a thousand (an over exaggeration) quotes and excerpts, starting from T.S. Eliot, from cast standing between randomly placed lit candles in wire candle sticks.


I never knew a Post-Apocalyptic Cake could be heavenly.