Jethro S.

Alacon October 19, 2002

XII-Rutherford

An Analysis of “Ang Huling El Bimbo: The Musical” directed by Dexter Santos & written

by Dingdong Novenario

“Theater is a mirror, a sharp reflection of society.”

— Yasmina Reza

SYNOPSIS:

Ang Huling El Bimbo: The musical based on a song composed by Ely Buendia of the

Philippine pop/rock band Eraserheads for their 1995 studio album Cutterpillow. The play takes us

on a journey through the lives of three University of the Philippines college dormmates/best friends

and a young lady in different socioeconomic standings in life.

The musical begins with a scene of a police officer staring down at a lifeless body of a

woman. It was the beginning of all the confusion that would disturb these three men in living their

problem-riddled but successful lives: Hector Zabala, a Mass Communication major who later

becomes an established director; Emmanuel "Emman" Azarcon, a patriotic country boy that

eventually becomes a government worker; Anthony "AJ" Cruz Jr., a closeted homosexual, who is

the son of a strict military man and a Business Management Major he later becomes a wealthy

businessman himself, when a phone call brings them all together to a police headquarters. The

reason behind is because a woman named Joy Manawari, a late friend of these men, was found

dead and on her phone were missed calls trying to contact these three men. Bringing the police to

question these people and asking why a person on their drug watchlist be in touch with three very

successful and powerful men. The main reason of it, for months, Joy had been reaching out to her
closest friends: Hector, Emman, and Anthony in a desperate attempt at reconnecting. After what

happened one unfortunate evening twenty years ago.

FORMALIST CRITICISM:

Symbolism

The entire musical depicts some acts and illustrations with carefully hidden meanings and

symbols. This fully immerses the audience throughout the play. In doing so the audience will find

the true meaning and message they want to convey behind those beautiful symphonies and

ostentatious actions.

Joy’s Freedom

The play begins with a scene of a young woman dancing, which later on identified as Joy.

The same dance was shown again towards the end of the musical, both after her death. Her dance

was distinctly different from the other dances that were performed throughout the play. Its steps

were gracefully and strangely executed, which makes it stand out. It starts with her hands and wrist

touching as if they were tied together. As she slowly raises her arms, her hands gradually move

apart, and in the end, you can see her hands up high and move freely, signifying freedom and

implying that Joy is a prisoner that is trying to be free. Her death is what freed her from the shackles

of this ominous world. The world that corrupted her with its darkness no thanks to the people that

abused and broke her.

Anthony’s Hopes and Dreams

Anthony Cruz Jr. was known as the closeted homosexual in the group. His father, a military

man who urged him to be manly and not to act softly. Throughout the entire play, he showed signs
of how hard it is for him to try to restrain and conceal his true self from others. He purposely tones

down his voice to appear "manly" because society dictates that a high-pitched voice does not relate

to a man and stops his impulses to be attracted towards the same gender.

In the dorm, Anthony had a conversation with Emman and Hector. They all agreed that

college is the best time of their lives. Anthony state it as "the first time they are finally and truly

free..." Then Hector asks them to visualize reaching out for their dreams. Anthony dreamed of in

his own words, "para sa love at saka freedom, and more love and more freedom." He did not dream

of material things, he only wanted love and freedom. Implying Anthony wants to break out of his

shell, he no longer wants to hide his true self from the judging eyes of society and that he wants to

feel loved and give love to others as his true self especially to his father. Anthony is the true

representation of a lot of LGBTQ++ members, they once hid their true selves in the dark, but

unlike Anthony, they are now free and gradually being accepted by society.

Joyride

When Hector, Emman, Anthony, and Joy went on a road trip to Antipolo City. On their

way, a musical number was performed on the song Alapaap by Eraserheads, and one of the

noticeable parts of the number is when they climb on top of the car then all except for Joy raised

their hands and reach up above. The connection is already given to us earlier in the play, that by

raising hands, we are reaching out for our hopes and dreams. It signifies that Joy does not dream

high or perhaps she is not dreaming at all. Joy is fully aware that she cannot dream big because

she does not have what it takes to turn it into reality. Joy even once said to Hector, "kaya niyong

abutin ang lahat, eh ako..." ever since she had always doubted herself. She limits herself on

dreaming and already accepted the fact that her life is way too different from her friends.
With a Smile

Finally, the three college men graduate and Joy approaches them all with a smile on her

face, and having said that "With a Smile" by Eraserheads is the song played in the background.

This is the day when every one of their promises got broken, the day when they abandoned Joy,

and the last time they saw each other before they went on their separate ways. With a Smile has

always been heard in a positive and uplifting manner, but used in this scene. It seems like a smile

is used to negate guilt and cover up your imperfections. Especially when the boys sang it as their

graduation song, you can see the smiles on their faces but the sadness and guilt in their eyes. They

know they could have done something, but they chose not to for the sake of their dreams and for

themselves. It really shows that a smile does not always mean happiness sometimes it could be

just a facade for grief and sorrow.

Ligaya

"Basta good si ligaya, good si mama" those were the word of Joy to Ligaya. Ligaya is the

daughter of Joy and the offspring of her terrible history. Even though Ligaya is one of the

consequences of her past, she never hated her or blamed her for it. Joy loves Ligaya

unconditionally. Ironically, every wrong thing Joy is doing is to correct Ligaya's future. Her

attempts at reconnecting with her friends is for her to be able to introduce Ligaya and how she

works herself to death as a drug dealer to earn enough cash to support Ligaya's needs. Joy's death

became the way to make her dreams for Ligaya come true. Ligaya met her mother's former friends

and they promised to take care of Ligaya to try and correct their mistakes.

On Joy's burial day, Ligaya read the letter written by her mother, and there she said, "Baby

girl ko, andami kong kamalian sa buhay na ayokong maulit mo." Ligaya is Joy's redemption, Joy
knew that she had already missed her chance to correct her doings that is why she focused on

Ligaya. She wanted Ligaya to have the life she never had and to not commit the same mistakes

she did.

In the final act of the play, the car scene was repeated but Ligaya was included in the scene.

She danced identically to Joy’s dance and raised both of her arms together with Hector, Emman,

and Anthony as the play reach its end. This was the scene where Joy's redemption was in full view.

Ligaya raised both of her arms implying she will not only reach and fulfill her dreams but for Joy's

dream as well. In addition to that Ligaya did Joy's dance signifying that she is free, free from the

darkness of this world even before she was exposed to it, all thanks to her mother, Joy. Ligaya is

the hope in the midst of an immoral and corrupt society.

MARXIST CRITICISM:

Ideology and Hegemony

Being poor comes with struggles and limitations, it is just a matter of time until someone

understands and accepts that in order to accomplish your hopes and dreams, you must have money,

power, and connections. Joy is no exception. Although she is carefree and joyful, she is unsatisfied

with her life from her words, "ayoko ng ganito lang habang buhay." She wanted to go to college

like her friends, but she knows that she does not have what it takes to do so. Knowing that she

tends to limit her dreams because she knows that she will never achieve it and she will only

disappoint herself.

Joy accepted the ideology that to be successful in life, you must have money and power.

This is shown several times in the play. First, when Hector comforted Joy after her break up, she

said, "Kaya niyong abutin ang lahat, ako habang buhay nalang ako aasa." Second, this was
symbolized, by the car scene where everyone raised their hands except for Joy. And lastly, when

Joy pointed out everyone's dream. They all dream high i.e. director, businessman, and a senator

while Joy dreamed to be the next owner of their eatery. Compared to her friend's giant dreams, her

dreams are mere pebbles.

Social Divide and Class Conflict

Nowadays, everything has a value in thus money dictates the world we live in, and those

who have money control the world. Dating back to the 1800s, lower and upper classes existed.

The lower classes would have been composed of the poor and hard laborers. While the upper

classes would have consisted of large business owners. Although we have moved on since those

times, this social divide has not changed much. It still remains today a noticeable divide among

the lower and upper-class men differ in their power and treatment.

Throughout the musical, there is no doubt that numerous scenes showed discrimination

towards the lower-class or proletariats and how these discriminations were used by the upper-class

or bourgeoisie as their advantage. Surely, the amount earned from a small eatery is not enough to

put someone through college only the upper-class like Hector, Emman, and Anthony can afford a

university while the lower class like Joy just looks upon them and can only imagine. Rather than

helping, the people with money and power exploits the poor into their favor, people like Banlaoi

who used Joy's situation as a way to manipulate her and her family.

FEMINIST CRITICISM:

“Maria Clara” Complex

Maria Clara is commonly used to symbolize the purity, modesty, and innocence of a

woman during the Spanish colonization. She does not value material objects that were generously
offered by suitors. She fully values her parents’ honor and the promise she had given to her

sweetheart, Crisostomo Ibarra. The term "Maria Clara" is also used to describe a Filipina woman.

From the start of the play, Joy always had been a modernized woman. She was never the

typical "Dalagang Filipina" or "Maria Clara" that used to be the standards for Filipina women. She

is loud and wears modern clothes like tank tops, shorts, and braids. She also pursues her lover far

different from the usual "Ligaw". Normalized nowadays, Joy is still criticized by people around

her because they are from a different generation. Banlaoi used the term "malandi" several times to

describe Joy. While her Aunt Dely used the song "Shirley" by Eraserheads to describe and criticize

modern women as easy to get, a tease, and belligerent, this shows how women are being

stereotyped based on their clothes, looks, and judgments. All because they are not abiding by the

"standards".

Objectifying Women

When Toyang's eatery owned by Joy and her Aunt Dely fell in a ditch and is no longer

making enough money to maintain their business. Banlaoi purchased it and sold it to a

businessman. The businessman turned it into a "KTV" Bar. In order to draw customers, they hired

more women to serve as table girls. The bar became a favorite for men to get drinks and women.

It did not take long until Joy was influenced as well. This situation is a representation of how

women are being objectified by men. They are treated as if they were for the entertainment of men.

They became the image of lust and thought of nothing more than a thing only to be used when

wanted.

Women’s Strength
 Male dominance is one of the earliest distinguished and most comprehensive forms of

inequality in history. Male dominance seems to be an omnipresent, if not inevitable, connection

that has been with us since the beginning of our race. Men has always been viewed as strong and

dominant, while women are stereotyped as weak and submissive.

After that tragic day, Hector, Emman, and Anthony argued about guilt and if they should

do the right thing. All of them became cowards and chose not to because Hector said, "Strong si

Joy, kaya niya to." This statement, although not intended to was similar to how men sarcastically

overestimate women's strength. In order to prove a point or to lay themselves off liability like the

trio of friends. " I thought she could do it by herself", " I thought she was strong", and "I thought

she was independent" those were only some of the alibis of men.