The Play
American troops enter the village of Gumbaran beside the lake as the community of DATU MATU celebrates son Khalid’s passage towards manhood. Amid the kanduri (thanksgiving) are dances of the warriors (with their kris) and the dama (in their malong).
Friends and foe are invited. Arch enemy DATU AWALO unites with Matu through the betrothal of Matu’s daughter TARINGTANG to Awalo’s eldest son MADUK to end the long rido (feud) between their clans. ABU, Matu’s trusted deputy, is however wary of the “unholy” alliance.
Matu’s warriors are led by the young HASSAN, Abu’s son, who is secretly in love with Tarintang. Abu knows that Matu has united the bangsa to form a stronger force against the Americans. Abu has no option but to obey Matu’s directives. Abu warns Hassan to stop his intentions for Tarintang so as not to hamper the unification of the families and thwart Matu’s plans.
Meanwhile, the Americans decree the building of roads, the education of the youth, and the service of labor of the men. As Datu Matu reluctantly complies under the pressure of law and firepower, Awalo willingly provides labor to the Americans.
Hassan who leads a group of laborers on a road project kills an American soldier after an altercation. He escapes. (The Americans are led by a COLONEL and the ruthless racist CAPTAIN who is in charge of implementing by the letter all the decrees. )
The Americans order the capture of Hassan, now branded a bandit. Unable to do this, they capture Datu Matu instead, interrogate him as a “collaborating criminal,” and in shame tie him to a pole. Abu laments the events, and secretly helps Hassan build a small force against the Americans.
Awalo is aware of Hassah’s plans and informs the Americans about these. Consequently, Hassan is ambushed by American soldiers.
Matu, now released, fumes at Awalo’s treachery. Matu’s warriors decide to become “fighters in the way of God”(f’l sabil-ullah) as the women wail.
Jihad ensues. But superior firepower defeats the warriors.
Matu kills Awalo and now prepares for war against the Americans. His community evacuates to a forested jungle where they hole up and build their last defense.
The Americans surround the kuta (fort); the children, women, and elders are holed up with the warriors. Negotiations fail.
The Americans attack. All men, women, children, and elders, despite their staunch defense, are killed or wounded. Khalid, bringing his father’s heirloom, the kris and the banner, escapes.
Staff
Mise-en-Scene, Libretto, and Music.STEVEN P.C. FERNANDEZ Choreography & Dance Training.MELVIN PASCUBILLO, LEILANI MONTEROLA, and the IPAG CREATIVE COLLECTIVE Stage Management.LILYBETH MARAON Asst. Direction.JOHN MICHAEL LAGURA Designs.ARCHIBALD JOEL PACANA Execution. HERMI DICO and TRES CARTERA Lighting Design.VICMAR PALOMA Production Management and Marketing. ARLEM ABANES Digital Media & Special Effects. CHRISTIAN JAY LEAGAPI and MARK CABATUAN Technical Director.ANDREW SALAZAR Marketing.ARLEM ABANES
Script.SATURNINA ‘BEBOT’ RODIL
(additional scenes: STEVEN P.C. FERNANDEZ)
photos: Jezreel Orbe 
Reviews
“… the show in itself is worth the trip from Europe. “ – Honorary Professor from Germany, Prof. Ludwig Streit
“The integrity of the play is evident from the start… [presented] with consummate ease… [showing] IPAG’s perfection of the use of the pangalay movements stylized for effect in synchronized choreography.” PHILIPPINE DAILY INQUIRER
“Katakam-takam at naka-aakit… binigyang buhay ng nangungunang repertoryong kumpanya sa Mindanao… Nakapagbigay ng tamis ang iskrip sa pilantik ng dila. Ang mga salitang ginamit sa awitan at diskurso ay pawang may nakatagong talinhaga… Magaling ang direksyon… mahusay ang koreograpiya at daloy ng dula… nagsilbing mga tumapak na sangkap upang mabigyan ito ng sapat na init. Dagdag pa ang mga pampalasang hinog sa arte, mala-anghel na boses, nakatutuwang pag-lalaro ng ilaw at matitingkad at makukulay na damit.” PHILIPPINE COLLEGIAN