Direction
Alexander Cortez
Translation
Guelan Varela Luarca
Dramatrugy
Judy Ick
Cast
Reviews
Comedy Tonight: Ang Katatawanan…
Vincen Gregory Yu | Inquirer.net
In his program notes for Dulaang Unibersidad ng Pilipinas’ (DUP) “Ang Katatawanan ng Kalituhan,” translator Guelan Luarca makes a distinction between two forms of comedy: one in which the viewer only ends up thinking a piece is funny, and one that leaves the audience in stitches, an experience best captured by the Filipino word “halakhak.”
It is “halakhak,” Luarca asserts, that is the intended effect of Shakespeare’s “The Comedy of Errors,” an absurd yarn about two sets of twins separated during infancy who, thirty-something years later, unwittingly find themselves in the same city and wearing the same clothes.
Such moments of rambunctious laughter exist in DUP’s current staging of this comedy, directed by Alexander Cortez. An extended sequence that involves fruits, vegetables and dining implements—all deliberately large and fake—being hurled back and forth from a terrace to the floor below feels like the perfect snapshot of the slapstick spirit of the play.
More often than not, however, “Katatawanan” settles between amusing and agreeable, that state where laughter, as Luarca writes, rings in the mind but never makes it past the mouth. It is a pleasurable enough production to keep viewers glued to their seats with a half-smile on their faces.
Certainly it is not in the technical aspects where “Katatawanan” falls short. Ohm David’s set and Gino Gonzales’ costumes are a visually sumptuous combination, transporting Shakespeare to an Arabian-tavern setting with a gingerbread-house twist.
And PJ Rebullida’s choreography, in the instances when it does not feel expendable, evokes the bustling market life a Mediterranean seaport such as Ephesus, where the play is set, must have had.
Madcap mix-ups in Filipino ‘Comedy of Errors’
Fred Hawson | ABS-CBN
As with most Shakespeare plays, the first few minutes can be confusing as the complicated situation was getting set up. The kilometric Shakespearean lines seemed more complex when delivered in poetic Filipino (which the cast impressively delivered with no obvious line fumbles). However, once you get your bearings straight about who is who, as well as get used to the style of the language used by Luarca in his animated and sparkling translation, then you will definitely enjoy the rest of the riotous ride. The hilarious over-the-top situations of the second half (especially that nutty vegetable throwing scene and that psychotic witch doctor scene) really had me laughing out loud along with everyone else.
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Director Alexander Cortez created a very lively and energetic, occasionally naughty, occasionally absurd, overall very entertaining show. Gino Gonzales’ costume design with those geometric designs and bright colors really livened up the stage, along with Ohm David’s complementary set design that seemed to be a colorful cartoon town come to life, so vibrant. Citations go to Meliton Roxas Jr. for his complex technical direction and lighting design and PJ Rebullida for his wacky choreography.
Mistaken identities? It’s Shakespeare, not the headlines
Totel V. de Jesus | Inquirer.net
While “Ang Katatawanan” is a faithful translation of Shakespeare’s text, Cortez says Luarca was able to make it very contemporary.
“That’s the beauty of Shakespeare. You can have a translation based on the original work and still adapt it to present-day situations; it’s in the manner of presenting it.”
Review: Ang Katatawanan ng Kalituhan
John Reiner
They didn’t really get actual twins to the play the roles but the flow of the story and the notable acting of the main characters would at some point confuse you. Confuse you in such a way that when you think you are in control and you can identify who is who you’d realize it’s like the guessing game where the ball is hidden under three jumbled cups. You follow with your eyes, point to a cup with high confidence, to end up being wrong.
For a show to outsmart you in a game you think you know, is just great and intelligent.
“Ang Katatawanan at Kalituhan”: Tawanan, Hagikhikan sa Labo-labong Tanghalan
Rachel T. Siringan at Fiel Delos Reyes
Simula pa lamang, damang-dama na ang pagkakabuhol-buhol ng kuwento at ng ugnayan sa pagitan ng mga tauhan. Pinatingkad pang lalo ng mahusay na pagganap ng mga aktor sa kani-kanilang karakter ang nakaaaliw na banghay ng dula. Kinilala sina Gabo Tolentino at Khen del Prado para sa kanilang katangi-tanging pagganap sa kambal na Dromeo. Napukaw rin ang atensyon ng mga manoonod dahil sa mga matatalinghaga ngunit nakakatawang linya ng mga tauhan. Marahil ito ay dahil sa mahusay pagkakasalin sa Filipino ng istorya sapagkat napanatili nito ang estilo sa pagsulat ni Shakespeare.
Mag-iiwan ng ngiti sa inyong mga mukha ang nakalilitong banghay , mga rebelasyon nito at maging ang paraan ng paglutas sa mga suliranin sa dula. At Kung inaakala mong alam mo na ang buong kuwento, mabibigo ka ng iyong maling akala. Lilituhin at patatawanin kang lalo ng pagtatanghal hanggang sa dulo. Sa paglabas mo ng dulaan, siguradong magbabaon ka ng isang malaking ngiti, sabayan mo pa ng masakit na panga sa iyong kakahalakhak.
Elsewhere
https://www.instagram.com/p/BJ2vKIoDjv8/?tagged=angkatatawananngkalituhan&hl=en
https://www.instagram.com/p/BKNjKMzD7AV/?tagged=angkatatawananngkalituhan&hl=en
https://www.instagram.com/p/BI_a2dtBEHc/?tagged=dulaangup&hl=en
Sources
Photos by Vlad Gonzales
Photos by Adrian Begonia
Photos and information from Dulaang UP’s Facebook page
Shakespeare in the Philippines 