REVIEW: ‘Si Zenjie’ Portrays a Diamond in the Rough on Stage

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 “SINAG-TALA’s first-ever theatre musical play has started with grand performances from each department and former members, pushing the conflict of the story out of limelight.”

Intriguing the audience with the mystery of the plot, the play directed by John Josel Parole, Si Zenjie, tells the story of an unsung student with a speech impediment who aspires to showcase his talent beyond the classroom while using his family as a source of inspiration. Staged in CvSU Imus Campus gymnasium, SINAG-TALA transformed the court into a composite stage featuring different settings and characters surrounding Zenjie all at once. The result shows how the spotlight was shared with the family members and different stories of the characters, which contributes to unveiling the real theme of the story — grief and acceptance.

While it is the first time the group has produced a grand theatre play, SINAG-TALA showcases not just talents but a collective effort in addressing issues in society. The performance provides a glimpse into issues reflected in selected scenes, such as the struggles of workers in blue-collar jobs, underpaid teachers, and, more importantly, individual struggles with mental health. Moreover, the play depicts different perspectives of the members of the family, showing the impact of collective struggles on each individual’s emotions, which eventually leads to overshadowing the main character’s conflict.

FROM EMOTIONAL DEPTH TO COMIC RELIEF

The cast has shown a spectacular performance, blending drama and comedy to stir the emotions of the viewers. Among these outstanding cast members were: Ferdie Petrasanta (as Zenjie), who, with a known background in entertainment, demonstrated strong characterization and emotional depth in portraying grief; John Josel Parale (as Marko), whose performance carried an inspiring stage presence that resonated beyond the protagonist and reached the audience, and; Christine Joy Malabanan (as Stephanie), whose clear diction and delivery effectively heightened the emotional weight of her scenes.

 On the other hand, minor characters — specifically Ding (played by Jermel Pagdanganan), Dong (played by Jolo Peñarubia), and Dante (played by Vernaluz Paluca) — provided consistent comic relief throughout the play, carrying the viewers through the slow-burning pace. However, as the characters often break the fourth wall for engagement, the frequency of comedic interjections affects the pacing and softens the build-up of dramatic tension within key scenes.

WHO REALLY IS ZENJIE?

The plot also raises various conflicts that add questions as to who Zenjie is and what role he plays in resolving the family’s conflict. Marko (who appears to be a manifestation of Zenjie’s grief) eventually plays a crucial role in answering these questions. The falling action of the play shifts its focus to flashbacks that explain the origin of the protagonist’s confidant. This shift results in diverting the conflict of the story toward the family problem rather than the personal development of the protagonist. At times, it feels that the play wants to tell the story of the whole family rather than focusing on the namesake of the play.

While Zenjie remains the emotional anchor of the plot, the shifting of the narrative’s focus towards family dynamics and flashbacks slightly masked his personal growth as a singer. The audience were introduced to witness how a person struggling in speaking expresses himself through music, yet the resolution of the story shifts to a heartfelt family scene. This structural choice suggests that personal development is entwined with communal healing. 

SONGS AND STRUGGLES

In every musical play, songs are used as the character’s rhetoric and to express soliloquy. In Si Zenjie, the production featured original songs composed by the students, capturing the emotional journeys of the characters and allowing the audience to connect with the stage play. However, technical difficulties are almost inevitable. While subtle background music has functionally provided a comedic mood throughout the performance (scored by Joshua Miranda), it is crucial that music during the numbers does not overpower the characters’ dialogue.

The group may have succeeded in performing the play in a gymnasium, but the struggle to maintain sound audibility remains. This issue suggests that the school should provide facilities that better support students’ performances and university development.

EVERY ZENJIE DESERVES A STAGE

Despite the challenges and narrative shifts, Si Zenjie proves that student-led productions are feasible, demonstrating that the absence of an amphitheater is not an excuse to empower students and promote local theatre this World Theatre Day. The dedication of the students to perform with creativity, collaboration, and resourcefulness proves that even a simple space can be a platform for meaningful storytelling. At the same time, the encountered challenges with technical resources and narrative composition are a call for stakeholders to invest in improved facilities and writing workshops. These improvements will further elevate performance quality and narrative clarity.

Even so, Si Zenjie is a promising start in revitalizing the culture of theatre at the university. Through the outstanding performances of SINAG-TALA, this writer hopes that the love for theatre will flourish among the students even more. As the curtains fall on SINAG-TALA’s first theatre musical, it opens the possibility for more student-driven narratives on stage. Perhaps, among us, there is a Zenjie waiting to be recognized — one whose voice, though often unheard, is ready to find its place on stage. [F]

Via Jayson Pascua, Editor-in-Chief