It started with a cassette tape being played, which may state that the plot is a creative take solely on the song title. Most Filipinos grew up listening to Eraserheads, both young and old. We have our own stories to be reminded of whenever we hear any of their tracks. I think this notion played a major part to lure the people to see the play. It simply screams nostalgia, with a promise of another tale to take away.

Three friends from college presently pursuing successful but separate lives were brought together to be questioned by the police due to the death of a girl who’re once very close to them. The unfortunate event forces them to deal with their haunting past that they have been putting on hold for years and trying to escape from. The characters and scenes will be represented along with the songs from Eraserheads.

Emman: “Both of you tama na! Wala na kong pakialam kung ano man ‘yang bagahe niyo [o] ano man ‘yang gimik niyo. Ang klaro sakin, kailangan na natin ‘tong gawin: tayong tatlo, sama-sama, for once and for all. Isipin niyo na lang, panahon na. ‘Di ba? Kailangan na.“

Whether things in our life have closure or not, every one of it, every person we know, will affect us one way or another. From here, it was clearly presented that they were running from something, but the details of it was yet to unfold. Slowly, we were brought back to university life of these men. We are treated with short scenes that may or may not have happened to us from that era of our lives, when everything sounds hopeful. All opportunities seemed close and within reach, hence the symbolism of them raising up their hands toward heavens, toward their dreams.

Hector: “Alam mo, tsong, ngayong nandito ka na, lahat magbabago: pananaw mo, kilos mo, pati punto mo.”

Anthony: “Oo nga! Kasi alam mo, Emman, for the first time, we are finally and totally free. Ayan na oh.”

Emman: “Kahit saan ka pumunta, may koneksyon ka pa rin. Sa pamilya mo. Sa bayan mo.”

I particularly love the scene where Anthony (played by Phi Palmos) in the midst of his peers’ blossoming lovelives, remained positive and said, “Eh yung crush ko, malapit na kong...pansinin.” After that, his friends joined him in his enthusiasm.

Pare Ko depicts a man in love, in shambles, and in need of advice. It was shown as a group of (mainly) men doing military drills, an emphasis on masculinity of the song. Nothing else speaks men better than being a soldier. When Anthony sang the bridge, for a moment, we are taken to the vulnerable side of being infatuated, something we rarely see with men. We remember that being in love is a beautiful place, no matter how crazy it gets. From their civil military training, through Officer Banlaoi, the three men got to meet and befriend Joy.

One major flaw of hers was she considered every man her savior. This could be the reason why she didn’t take Banlaoi’s forwardness and acts of service as a red flag, and continued to rely on him even at her expense. “Hanap ko lang naman, ‘Tiyang, katapat at katuwang,” she told ‘Tiyang Dely. “’Yon lang naman pangarap ko sa buhay e: ang makahanap ng magiging mabait sakin,” she told Hector, “Di mo maiintindihan ‘yon kasi ang dami niyong pangarap. Ang dami niyong kayang gawin. Nakakapag-aral kayo. May kinabukasan kayo. Kaya niyong abutin ang lahat. E ako?” As we go along, she will attempt to further her dreams, but her low self-esteem stayed with her. Her friendship with the trio may have ushered her to believe more, but that’s the farthest she got. For her, she’ll never be capable of anything. She ended this dialogue with “Ayoko nang umuwi ng probinsya...habang buhay na lang ako aasa,” a foreshadow of her decision to leave ‘Tiyang Dely alone to go back home in the province.

Andre: “Joy, walang ganoon. Walang tinutulungan lang ng ganoon-ganoon. Palaging may kapalit ‘yon.”

Life is never always fancy. When they sang Wag Kang Matakot to each other, it gave us an assurance that even when matters go downhill, there’s no need to afraid. When the going gets tough, we go through it together.

Finally, we get to the graduation. Their getting in and getting out of the university is freedom. Once again, they raise up their hands, reminding themselves of the goals they are now nearer to than they were before. They invite Joy to Antipolo and see the overlooking view, to bid their farewells to her. This should’ve been a good memory. Graduation should’ve been the symbol of their independence. The horrendous events that transpired after incarcerated them forever, still able to achieve but merely surviving, never at peace.

There was a warning at the beginning of the stream but I guess I didn’t pay attention to it, or maybe it didn’t provided the right amount of caution to its viewers. The rape scene got me immobilized to my seat. It was hard for me to re-watch the whole musical to compose a more elaborate review, especially this scene. I’m actually stalling now, repeatedly bringing to mind that they are professional actors and this is fiction. It’s tempting to mute, but it’s going to be unfair to not see the entirety of it. To play Ang Huling El Bimbo here, while being the better verdict is nonetheless unsettling.

Just as perplexing is the graduation ceremony. Everyone is wearing purple instead of the usual black. The color reminded me of death. Joy bringing garlands to them further echoes this, seeing that this similarly depicts a wake. Another beautifully haunting is them singing With A Smile in various rhythms. 'TIyang Dely was sent back home to province due to bankrupt. She thought she’ll be with Joy, but got fooled by her. Joy held on more to Banlaoi as his sole rescuer after being abandoned by her friends.

‘Tiyang Dely: “Kaya nga kung kaya. Anong kapalit?”

How can they leave their friend just like that? They are traumatized, too, but they’re not the ones who got raped. They kept refusing to talk to her even after years have passed and it’s Joy who kept reaching them out. I understand if they’re blaming themselves for what happened. They wanted to ease their guilt, but to be selfish in this situation is unacceptable. It angered me when the adult Anthony said, “There are just some things you don’t want to go back to, and people you don’t need to remember,” as if that was like any other heartbreak to move on about.

Anthony: “Puta, habang buhay nating dadalhin ‘to e.”

Hector: “Kaya ni Joy ‘yan.”

Emman: “Gago, so balewala na lang?”

Hector: “Ako nang bahala. Kakausapin ko si Joy.”

Emman: “Anong magagawa ‘non?”

Hector: “Sasabihin ko sa kanya na kaya niya ‘to.”

Emman: “E gago ka pala talaga e.”

When Banlaoi pointed a gun at her, she gasped with fear, hands shaking. He then told her, “Ingat ka.” This is the only time that he poised to end her life. She was able to tolerate all the abuses and be under this appalling man as long as he keeps her and her family alive. She thought that she’s still in control, but his gesture said otherwise. This puts her into panic and called Emman, Hector, and Anthony one last time. Got caught in the midst of their personal predicaments, they all cut the phone call, saying they have problems of their own too and don’t need more from other people. While the men were struggling to maintain their posh lives, Joy was fighting for her life.

Hector: “Pag tumatawag siya, di ko alam anong isusumbat niya. I mean, you can’t forget these things.”

Contrary to their belief, the reason why she kept bugging them is because she’s trying to tell them that she’s alright. and they need to worry no more. She doesn’t want them to be victims of the past anymore.

‘Tiyang Dely: “Ni minsan, hindi niya kayo sinisi sa nangyari sa kanya.”

After the news of Joy’s death, they all gathered at the morgue. Banlaoi tried to be of help by giving them money, but ‘Tiyang Dely strongly refused, getting Ligaya at her back and out of his sight. What followed was Hector telling her, “Kami na po bahala sa lahat ng gastos,” stupidly missing the hint earlier. This made ‘Tiyang Dely cry (I mean, come on, dude still hasn’t learned his lesson) saying, “Ganoon na lang ano?”

Ligaya, after mourning for her mother’s death, stopped her tears flowing before facing Anthony, Emman, and Hector. She conversed as if she knows them too well, while they don’t know her at all. The three men promised to take care of her. They lay Joy to her final rest along with their grievances of the past. If only they faced the monster under their beds a little bit earlier, they could’ve gotten it out completely. The guilt may now be bearable, but the fact that they could’ve saved not just Ligaya but also Joy is the hard truth they will be carrying for the rest of the lives.

Awful things aside, Ligaya wearing white signifies hope. She is her mother without the burdens of her past. The ending brings back Hector’s car with their young selves reaching out to heavens, reaching out to their dreams. They are joined atop the car with Joy, who’s noticeably not raising her hands. Ligaya is now with them, dancing like her mother once was.

Other things worth mentioning:

Tindahan ni Aling Nena performance, specifically Anthony’s line “shampoo, toothpaste, toothbrush, noodles...yun lang.”

The not-so-subtle rally for free education in the Pare Ko performance.

Yes. Phi Palmos as Anthony. That’s it. Period.

Gab Pangilinan’s portrayal of Joy is superb! Her vocals is breathtaking. From the time she sang Ligaya, I looked forward to her every appearance. Her transformation from being bubbly to troubled soul after one scene is impressive.

Vic Robinson’s (Andrei) and Joy’s mash-up of Ligaya and Tama Na, then ‘Tiyang Dely enters, singing “Ganiyan ma-inlab”.

Wishing Wells as Emman’s love letter to his girlfriend

Menchu Yulo, who played the adult Joy, didn’t exude distress as Gab Pangilinan had done, and made Joy’s struggles less believable.

Some people have expressed disappointment due to its lack of solution on the pressing social issues. In my opinion, I think it wasn't meant to give an answer. Like any work of art, it made a statement. It just happened that what it said was disturbing. However, it is up to us, who lives in the reality of these characters, to do better accordingly.