But it stops short of romanticizing the past. There is breathtaking beauty in the music, which was done by Valera and Matthew Chang, and orchestrated by Dana Marquez. “You use music as a device to heighten (feelings), especially for people who were not born during that time, to be able to feel and to get into that place.” Valera says.ĭekada ‘70 also uses music to make the events of the martial law era relatable to a young audience. There is catharsis in Dekada ‘70, but not escapism. Valera’s solution was to use the music as a means to elevate the emotions, not soothe or diminish them. Valera muses on this hurdle: “When I asked my best friend, who’s always been my consultant, can we make a musical out of Dekada ’70? ang sabi niya sa akin, ‘It’s hard to sing about this struggle. The events that inspired the production are more recent, the wounds it examines rawer.Īnd given the recent developments in our political landscape, the topics of the musical are still, sadly, one of the biggest problems facing society.ĭuring the pre-production of Dekada ‘70, director Pat Valera and his creative team were faced with a different kind of challenge: how do you set the events of the martial law era to music? How do you make the horrific musical? But Black Box Production’s musical adaptation of Lualhati Bautista’s novel is a different beast. Politics, injustice, and history are common topics in theater.
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