KISAPMATA on Stage: A Dark, Haunting Rebirth of a Filipino Classic [spoilers] [review]
Tanghalang Pilipino recently offered the public a preview of one of Manila’s most anticipated shows — a stage adaptation of KISAPMATA, inspired by National Artist Nick Joaquin’s The House on Zapote Street and Mike de Leon’s 1981 film KISAPMATA. I was fortunate to be among the lucky few who experienced it firsthand.
I grew up captivated by Nick Joaquin’s reportage series; his stories inspired, guided, and sometimes even frightened me. The House on Zapote Street remains one of those narratives that still unsettles me, having been the very first story featured in Quijano de Manila’s Reportage on Crime — a pen name (meaning Manila Old-Timer) he used when he began as a contributing writer. Though the story was less than twenty pages long, it transformed my 11-year-old mind and turned me into a lifelong fan.
My dad once had a pirated copy of Mike de Leon’s KISAPMATA, which we picked up at Makati Cinema Square — a basement once teeming with pirated CDs and DVDs that has since transformed into a bustling food court with a variety of stalls and overpriced ukay-ukay. I was around 12 or 13 then, and I only knew it was based on one of my favorite chapters from a beloved book. Scared to my wits’ end, I still loved it.
Fast forward to the preview night of Tanghalang Pilipino’s KISAPMATA — I was mentally prepared for what I was about to witness at Tanghalang Ignacio B. Gimenez (TIG). I wasn’t just expecting to be blown away; I was left utterly speechless.
This stage adaptation features four principal cast members: Jonathan Tadioan as Dadong, the patriarch; Lhorvie Nuevo-Tadioan as Dely, his wife and the narrator; Toni Go-Yadao as Mila, their daughter; and Marco Viaña as Noel, Mila’s husband. The stage was elaborately set, with precise blocking, exquisite lighting, and a performance that was nothing short of perfection.
During the Q&A, I noticed that about 20% of the audience hadn’t fully grasped the depth of what unfolded — they found Dadong hilarious and lovable, fixated on his manipulative quirks. Yet when Jonathan took the stage, I got chills. I even squeezed the arm of my friend beside me out of sheer nervousness.
The audience laughed at Dadong’s quips but fell dead silent as he slowly reprimanded Noel for impregnating his daughter — even though Noel had intentions to marry Mila. Jonathan’s portrayal was superb; his hoarse voice, far from detracting, added a subtle, chilling layer to the performance — a true chef’s kiss.
Before I continue, let me turn your attention to Lhorvie Nuevo-Tadioan as Dely. As the narrator, she commands your full attention from the opening lines until the final curtain. With a runtime of 1 hour and 40 minutes and no intermission — a decision I wholeheartedly agree with — the tension remains unbroken. You hardly notice the time passing as you remain completely engrossed, eager to see how the story unfolds.
Marco and Toni, portraying the young couple Noel and Mila, were a fantastic pairing. Their palpable chemistry makes you root for them, even as you wonder if they can escape the confines of the household — and, more importantly, Dadong’s manipulative grasp.
In this complex family drama, KISAPMATA mirrors the dysfunctional relationship Filipinos often have with their country while exposing the vicious cycle of abusive relationships prevalent in Filipino families. Dadong, as an authoritarian figure, manipulates each character to serve his warped notions of “love,” “caring,” and protection — a theme powerfully underscored by the staging’s declaration, “Ang batas ay pagmamahal.”
Marco Viaña was precise in his role as the conflicted doctor and husband of Mila — captivating and evoking sympathy as he becomes entangled in Dadong’s web, with his character development mirroring the patriarch’s obsessive love for his daughter. His emotional depth brought an authenticity that made his transformation into the character seamless.
Toni Go-Yadao, as Mila — who cannot escape her complex feelings of fear (or perhaps love?) for her abusive father — delivers a beautifully raw performance. She transitions Mila’s innocence into a stark portrayal of horror at her family’s legacy, leaving you to question whether she can ever break free from her childlike submission or if she was doomed to remain trapped.
Lhorvie, as Dely, carried the narrative on her shoulders. Every line and movement from her felt intentional, sending chills down my spine. And Jonathan Tadioan, as Dadong, commanded the stage from the moment he stepped in. He made Dadong both eerily charming and frightening, eliciting laughter from some audience members while I trembled with fear.
This staging of KISAPMATA is a masterclass in Filipino theatre excellence — from its actors and writing to its staging, lighting, and delivery. Whether you’re familiar with the film or the original story, you simply cannot miss this experience. Trust me.
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