By YANNI ROXAS

MANILA — Bonifacio Ilagan, playwright/director, opened the month of February with a play that talks of revolution as rooted in love. It brought forth historical and contemporary nuances of free choice, of expressing unconditional love for a person despite obstacles, a love that blossomed even more in the struggle for national freedom. Even death could not blow out the fire of Katipunan that runs in the blood of every freedom-loving Filipino.

Damn the red baiters!

In this season of red-baiting, O, Pag-ibig na Makapangyarihan was bold and courageous. If left to state authorities, the word revolution would have been stricken out of our memory, of our vocabulary. But Ilagan was defiant. He assembled his cast and crew to pay tribute to the Katipunan, to speak of revolution not as a monster but a cry for love.

The play kicked off as a love story between Andres Bonifacio and Gregoria de Jesus (‘Oryang”). Some interesting facts surprised us — Oryang was still a minor when courted by the widower Andres, a reason that no parent even to this day would happily agree to. Also Andres was already organizing the underground Katipunan. This was Spanish era, and suspicious of his character, Oryang’s parents forcibly kept her away from Andres and was held hostage by her kin. But love won out in the end, with help from another sympathizing female, and sisterhood reigned supreme.

The second act showcased love of country, and Oryang was drawn into the revolution with marriage to Andres. While the first act was kind of chill and slow-paced, the second act fast tracked scene after scene of revolution exploding on stage. Andres and Oryang were deep into the armed movement, in the company of Katipuneros, men and women, whose heroism was expressed in sharp and swift choreography accompanied by heavy beats and rhythms that mesmerized the audience. Despite their resistance misfortunes such as treachery, torture and the enemy’s superior strength overpowered Andres and Oryang and the Katipunan as well. Yet patriotism kept rising to a crescendo as Chikoy Pura’s warm and powerful vocals sang Andres Bonifacio’ s iconic poem, Pag-ibig sa Tinubuang Lupa, with such enduring lines as:

“Aling pag-ibig pa ang hihigit kaya
Sa pagkadalisay at pagkadakila
Gaya ng pag-ibig sa tinubuang lupa?
Aling pag-ibig pa? Wala na nga, wala.”

Hence, it wasn’t just a dramatic love story but one that truly evokes patriotism especially from a younger audience. History can be boring with just a narration of names, dates and linear events that students endure only for added credits. But Ilagan went for history that is catchy and entertaining while insightful as well. And indeed a sizable Gen Z crowd flocked to the theatre as slangs and expressions and deprecating humor sounded so familiar to these digital natives, meme-driven and social media habitues. And especially as there were allusions too to the country’s state of affairs. One can talk of revolution and yet have fun.

Even the Katipuneros were shown in their prime. Almost always the revolution starts with the young, whether working or middle class, who become listless and rebellious in the rotten system they were born in. Outstanding too was putting in a bubbly, cute and smart muchacha, as the play’s Marites whose narration seamlessly switched from one scene to another, one role to another, one period to another.

The play was not without imperfections. Oryang’s character development was kind of staccato, from a demure, girly and playfull Miss to someone becoming immediately philosophical and thoughtful while under house arrest by her kin. Added time could have also been devoted to seeing Oryang coming on her own as a revolutionary and not just a shadow or influenced by Andres.

No matter, the play sent a powerful message. Woe to those who attempt to extinguish a revolution that springs from love — of country and people. Demonizing the revolution and the revolutionaries goes a long way back yet the cry for revolution never stopped. Blood maybe spilled but the spirit of the Katipunan shall live.

Shoutout to artists who remained true to their calling — “artista ng bayan, ngayon ay lumalaban!’ – despite threats, hardships and difficulties. Ilagan’s play deserves to be seen and heard.

Catch O, Pag-ibig na Makapangyarihan until February 23 at Ignacio Gimenez Theatre, UP Diliman, and March 8-9 at Erehwon Center for the Arts.