ITI ING ing minunang linub isip cu aniang muna queng ikit ing amamung IMA nang Andy Alviz.
Iya pang kalukluk mu at pangayarap entabladu, anti na kang midala animu king aliuang bie na emu na maliaring dasan. Bala mu ita uling king aduang oras a milabas, enaka mitikdo man uling eka bisang mako king aluban mung panaun ning milabas.
...king metung a Indu na meiagkat tumagun, ding mapilan, misasamut ing tulu ning lua king tula at kislut ning pamiganaka king Imang ala na keti sulip at midinan bie karing mialiuang gagalo Ima king babo entabladu.
...king metung a Anac na mekad emu misan kesnukan na ing pamakialam at kaindredus nang Ima na, timan timan at mapalyaring awari na, king kasakit na daralan ning metung a Indu king aldoldo, lakuan dasan me king bale, itamung ditak a dibersyun enaman makamate para mung tau, e me pa naman wari apanusigan.
...king metung a Indu na masanting kabilian at mekasilip king bie aliua ding kebabainan e mibagua king marangiang bie da king pamakiasaua, mapaliaring ngana, Map namu pala, ing yaku, kasanting kuna kerasan king kakung kabilian...
The number of attendees in the audience that night we watched Ima could be the same number of realizations that came with the evening in the midst of spontaneous laughter elicited by the different scenes essayed by the Imaarti cast.
The night Ima The Musical was launched Andy Alviz paraded the timeless faces and characters of mothers. Interweaving the ordinary woes and travails of Ima---coping on a market day, choosing what clothes to wear, deciding what food to prepare, doing the laundry, cleaning the house---all became extraordinary scenes, unfolded in pomp galore of one musical extravaganza. Daily scenes taken for granted by the majority became the very source of riotous laughter.
Not even our being dressed to the hilt, looking prim and proper in Filipiniana, could stop us from letting out a hearty belly laugh. Restraint wasn't just possible, especially so while watching the scene at the dress shop. The sketch of waistlines and hiplines that expanded from years of childbirth, from squatting doing the laundry for years, or maybe from just sitting around as only the rich can endure while playing mahjong endlessly, and for other reasons we cannot enumerate with our fingers, sent the audience to roars of laughter that ultimately burst the theater when one Ima ripped off her clothes, insisting that she be sewn a dress several sizes under hers.
Ha, Ha, Ha, Ha had us in the audience taking a breather, but enjoying it still, because this time around there was coaxing by a conductor, Andy Alviz, who made our laughter come out in measured unison with that of those on stage.
Agnes Romero's singing prowess was such a revelation . Her numbers with other Imas brought back memories of scenes in many a broadway play. Acting, singing with the same gusto, reflecting in their performance how much they enjoyed the experience of liberation on stage were Carmen Tayag-Mactavish and Marsha Santos-Nepomuceno.
Making us proud, too, from our own batch '74 in HFA (Holy Family Academy) is Dita Dayrit-Patawaran, given more speaking lines she will make a very effective character actress. Eya mu pu dirinan taram itang palang pota ibalawus neng panabak karen akakataltalan na emu king palengke.
Captured in such naughty wit, (ing Kapampangang kakambal sisti, from a brilliant script by Randy del Rosario ) which kept our jaws aching from minute after minute of controlled giggling at what just seemed to be the spontaneous repartee of the cast was the Kebaitan ng Ima scene, where everybody came in their best outfit.
From the first Ima to the last Ima who was onstage that night, I wish I could talk about you in a single column. I could go on and on, hailing each scene which kept me glued to my seat from beginning to end. The enduring scene where the audience was brought to a hush and the only sound were those of two Imas onstage: matriarch and daughter singing to the haunting, lilting melody of Recy Pineda's "Ima Kaluguran Daka."
Agyang nanu pa man ing meging bie delanan mu king pamagparagul naning Indu king kayang anac. Eme atarul ing sakripisyu, ing lugud nang alang kapupusan. Nu ka man katua na dasan a edad, metung ia ing amanung gang emu isipan iang lumual king asbuk ustung ati ka king ruruk ning tula, "O IMA KO!"
Potang misagad naka king kasakitan at kapibabatan at emu na maibug a pusan at buring dinan kapupusan, "IMA oba't makanian?"
At ustung bisa kang midinan katimauan at mibalik king pali ning salu, metung ia ing paintunan, lumukub ba kang mipaldan, "IMA kaulan mu ku."
Karing gamat a mangaina na king obrang alang kapupusan para karing anak, ring brasung memalgang at lape lape mengalumpis ing balat karing peparagul nang butakal a anak.
Alang tumbas a pera, alang pante niaman ing kabang mabie ia y Ima, Indu, Inang, ibalut me, ya namang lukuban king pali ning kekang salu, kaul a matalik at sabian mung alang alinlangan ing, "O IMA IKA ING SALA, IKA ING BIE, IKA ING SIKANAN!"
MALUID IA ING IMA, Ing Indung Kapampangan, ding anggang ginusal para king Teatro Maarti!
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