ANNOTATION ON THE PLAY

Set in late 19th century in colonial Philippines, Ibarra of the Noli Me Tangere resurrects as Simoun in El Filibusterismo after a time gap of some 13 years. Now an “angel in reverse” -- daring, dangerous, and highly connected, Simoun summons everything within his command and influence to manipulate people and events to avenge the wrongs of the past.

The novel, as well as the play, is replete with the terms of the times, mostly Spanish. A sampling:

Indios – Indian; backward natives; uncivilized in the ways of the colonial master
Indios Bravos – brave indios; name appropriated by the group of Filipino propagandists in Europe in late 19th century
Cuidao – "Take care" or "Watch out" (from the Spanish “Cuidado”)
Alta sociedad – high society
Hermana – sister; female sponsor; lay leader of the church (shortened to “Manang”)
Punebre – dirge; funeral hymn
Filibustero – filibuster; rebel; nonconformist; one who aspires to break away from colonial rule (Blumentritt)
Espinghe – sphinx
Sacerdote – priest (Italian)
Ave Maria, Gratia plena, Dominus tecum – Hail Mary, full of grace, the Lord is with thee (Latin)
Gremio – self-help organization of workers, akin to cooperative or guild
Donselya - virgin

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Because the play shuffles through the novel and fuses chapters, the following is intended for the contemporary audience to locate the convergence between the drama and the narrative.
Song 4, “Cuidao Kayo Dyan!” in Act 1, Scene 3, is drawn from Chapters 1 (On the Upper Deck) and 14 (In the Students’ Boarding House) of the Fili. In these two, Rizal portrays society and its various classes of people using the metaphor of the boat Tabo as well as the dormitory of the students.

Song 5, “Alpha at Omega” in Act 1, Scene 4, is derived from Chapter 7 (Simoun). Basilio, now a graduating medical student, discovers who the real Simoun is and how he is connection to the tragedy of her mother, Sisa. The scene, in a sense, is a portrayal of the whole thesis of Rizal’s novels: good versus evil and everything that these two represent in colonial Philippines; the arrogance of power and the plight of the powerless; and, ultimately, the rebellion that the system provokes in society.

Song 6, “Daing ni Tales” in Act 1, Scene 5, is a composite of Chapters 4 (Kabesang Tales), 8 (Merry Christmas) and 9 (The Pilates). In this part, the tragic characters Kabesang Tales and Huli relive the pain of their lives. Huli secures the ransom money for the freedom of her abducted father, which Hermana Penchang provides – in exchange for her own servitude.

Song 7, “Pagsubok at Pagpili” in Act 1, Scene 6, is taken from Chapter 10 (Wealth and Misery). Simoun entices Tales with his chest of wealth, knowing that the latter was in dire straits and would succumb to his ploy. The righteous Tales ignores the jewelry and instead steals the revolver of Simoun, leaving in exchange a locket that once belonged to Maria Clara. This scene offers an insight into the mind of Simoun as well as of Tales, who by now has decided to cast his lot with the armed rebels.

Song 8, “Magpapakahayop Ako” in Act 1, Scene 7, drawn from Chapter 36 (Misfortune), dramatizes the evolution of the long-suffering Kabesang Tales to the avenging Matanglawin.

Song 9, “May Bagong Katatakutan,” tells of Tales joining the rebels in the boondocks and leaving behind a message written in blood in each site of his murderous vengeance.

Song 10, “May Lakas na Hatid ang Pagmamahal Ko” in Act 1, Scene 8, reworked from Chapter 30 (Huli), portrays Huli in her ill-fated love affair with Basilio. In Song 11, “May Tiwala Ako,” Huli seeks help for jailed Basilio from Padre Camorra, as goaded by Hermana Bali.

Song 12, “Malapit Na!” in Act 1, Scene 9, summarizes the dreams of the characters in the play – Tales saving Huli, Simoun realizing his vengeful plot, Basilio loving Huli, Camorra desiring Huli, the rebels imagining freedom, Huli searching for her father, and Pepe finally finishing his novel for his mother.

Act 2, Scene 1 takes us back to Chapter 15 (Mr. Pasta) to present the character of the impoverished but intelligent Isagani whose ideal is the Academy of the Spanish Language as well as the rich Paulita Gomez. Song 1, “Ano Itong mga Panaginip?” provides a glimpse of Simoun’s secret plot.

Song 2, “Imuthis ang Ngalan Ko” in Act 2, Scenes 2 and 3, is drawn from Chapter 18 (The Deception) and takes us to the festive but enigmatic Quiapo carnival where Simoun, disguised as Mr. Leeds, has set up a trap for Padre Salvi by employing the magic of the sphinx Imuthis.

Act 2, Scene 4 is derived from Chapters 23 (The Corpse) and 26 (The Posters). Song 3, “Cuidao Kayo Dyan!” tells of the inflammatory posters found in the university. The town is abuzz with talk about students getting arrested on suspicion of rebellion and disturbing the peace. The scene also relates how Simoun succeeds in recruiting Basilio into his scheme even as word spreads fast about an impending mayhem.

Song 4, “Ano ang Kapalit?” of Act 2, Scene 5, a dramatization of Chapter 30 (Huli), exposes Padre Camorra as he covets the young, hapless woman.

Act 2, Scenes 6, 7 and 8 take us back to Chapters 23 (The Corpse) and 30 (Huli). Song 5, “Malapit Na”/ “Cuidao Kayo Dyan!” dramatizes Basilio’s rescue of Huli and Simoun’s rescue of Maria Clara. Song 6, “Sa Alalala na Lang Nagkikita,” is a retelling of the pain suffered by the two women in the hands of Padre Camorra and Padre Salvi. Song 7, “Ave!” leads Huli to commit suicide rather than fall prey to Padre Camorra. In the play’s rendition, Maria Clara is murdered by Padre Salvi. Song 8, “Patay na ang Puso Ko”/ “Sa Alaala na Lang,” shows both Basilio and Simoun disoriented. Simoun’s plan is now jeopardized, and he is losing control of the situation.

Act 2, Scene 10 is a merger of Chapters 32 (The Consequence of the Posters), 33 (The Ultimate Reason), and 35 (The Feast). As Basilio languishes in jail and the students panic, the wedding of Juanito and Paulita is set. Song 10, “Magandang Balita”/ “Lampara,” is derived from the scenes in the novel where Isagani loses Paulita and Simoun renews an opportunity to pick up the pieces of his wretched plot to still achieve his goal. But it does not happen, as Basilio turns his back against the mass murder and drives the love-struck Isagani to a feat that finally wrecks Simoun’s last desperate scheme, that is, to blow up the house where all the high and the mighty are converged in celebration of the wedding.

Reference: El Filibusterismo translation of Leon Ma. Guerrero