Republic of the Philippines

Department of Education
MIMAROPA Region
Schools Division of Calapan City
Oriental Mindoro National High School
J.P Rizal St., San Vicente East, Calapan City

SPA LAC NARRATIVE REPORT

The AHEB Live Experience: Creative Outsourcing of Localized
and Contextualized Materials for the SPA Curriculum

Anchored on a key strategic priority set by the Department of Education, to provide

an inclusive, effective, culturally responsive, gender-sensitive and safe learning space
to response to the situations of disadvantage, the focal person of the SPA learning
action cell shared his first-hand experience in attending a Filipino-produced musical play to
his colleagues in the afternoon of May 31, 2023 at the SPA faculty office.

The musical play attended by the focal person is the “Ang Huling El Bimbo Musical
(AHEB) which is produced and performed by an all Filipino production company. Using this
as the subject in the LAC, the focal person highlighted inclusivity, gender equality, social
issues and culture awareness, and localization and contextualization sensitivity.
Furthermore, the focal person also touched the topic on effective assessment tools for the
SPA curriculum.

This particular LAC aimed on presenting to colleagues with firsthand accounts and
immersion of the subject, sharing gathered best practices in performing and production arts
and highlighting localized and contextualized elements in the said musical.
INSIGHTS PER ELEMENT SHARED TO COLLEAGUES DANCE
MUSIC Myke Salomon (musical director)  LIMITED NUMBER OF ENSEMBLE MEMBERS BUT VERY
 Music – rearranged and sometimes unexpected versions of ENERGETIC AND CAN ACT AND SING WELL TOO
eheads songs (Shirley and Tikman and Langit)  CHOREOGRAPHIES WERE REMINISCENT OF THE 90S DANCE
 3 versions of Huwag ka nang matakot sung by 3 characters HITS
 With A Smile but in its darkest and gut-wrenching  JAZZ, ACROBATICS, CONTEMPORARY
interpretation  DIVERSE NUMBER OF DANCERS PER PERFORMANCE, FROM
 Counterpointing songs, lyrics and short lines as bridge to SMALL NUMBERS TO LARGE PROD NUMBERS
another song or scene STORY
 More than 30 Eheads Songs  PARALLEL TIMELINE
 1ST ACT IS HAPPY-HAPPY, 2ND ACT IS SERIOUS AND TRAGIC
SOUND  WITH SOME PLOT TWISTS AND SURPRISES
 Very synched and well-rehearsed (payphone operator)  20% SPOKEN DIALOGUES, 80% MUSIC AND SONGS
 Sounds cue to memory or scene (radyo sa kulungan at
radyo sa rape scene) PRODUCTION AND STAGING
 Also coming from live mini orchestra (MPO)  well-prepared because of the large number of people
 Lahat may mic even dancers (ensemble), singing and doing involved
ambient dialogues or reactions  overly promoted online and even in the malls
 Condenser sa floor, sa audience area, sa ceiling  blank stage before performance with public
announcements
SET DESIGN Gino Gonzales  1hr openhouse pre show, photo ops within 1 hr after the
 Rotating center stage, detachable walls show
 Slanted back platform and wing platforms  professional performers (running on stage, carrying own
 Versatile backdrops (can be converted and can match any props and even set pieces), 2 shows a day, fri-sun
scene)
 Set pieces are life size (carinderia, car, sari-sari store, prison LOCALIZED ELEMENTS IN THE MUSICAL
cell)  batangeño accent ni emman
 Costumes are well thought of, with so many quick changes  toyang’s carinderia, karaoke bar
 Clear and symbolic projections (not literal) complementing  antipolo
any scene  U.P.
 Lighting is impeccable
CONTEXTUALIZED ELEMENTS IN THE MUSICAL
 drug problem/trafficking
 campus activisim
 mayaman vs mahirap

Prepared by:

BENSTER G. COMIA
Master Teacher I

RHODORA BELEN-BAROJABO
Master Teacher II, SPA School Coordinator