Music and Theatre: A Musical Analysis of PETA’s "Game of Trolls"
Imagine having background music play during certain moments in your life. Would it affect how you experience the world? Wouldn’t suspenseful music playing as you run late to class or the swell of a string quartet when you meet eyes with your crush make life less mundane? Background music is incredibly essential in theatre. Without this element, scenes meant to evoke drama would end up dull and unconvincing. Musical plays, for example, add impact to simple scenes through utilizing music that catches the attention of the audience.
Game of Trolls, a musical organized by the Philippine Educational Theatrical Association (PETA), revisits the era of martial law in the Philippines re-contextualized under a modern setting. The main character, Heck, is an internet troll who chooses to remain indifferent towards the various issues faced by society. He works for a troll center that runs an online campaign in support of martial law. Heck’s indifference enables him to spout offensive comments online regarding the time of martial law, but the ghosts of the victims from that period haunt him to ensure that their stories are not forgotten. The events that transpire cause Heck to reconsider his political beliefs and reflect on his relationship with his mother, a former martial law era activist. The musical (directed by Maribel Legarda, written by Liza Magtoto, and orchestrated by Vincent de Jesus) continues PETA’s tradition of developing and staging innovative political plays.
De Jesus integrates music into the play by having characters tell their stories through song. The repertoire, brought to life by a talented cast (including Myke Salomon and TJ Valderama), encompasses several different genres of music. Nanay Tere, Heck’s mother, uses powerful ballads to narrate her experience living under martial law. Heck does the same when he talks of his line of work. The rap battle of the last scene specially caters to the millennial audience.
The artistic excellence exhibited by De Jesus in his musical scoring, albeit commendable, is probably unsurprising to avid theater-goers, given his track record of musical nominations and awards. His work for the 2002 play Dra-kula was nominated for the award of “Best Horror Soundtrack.” He has also won numerous awards for his musical involvements in plays such as Zsazsa Zaturnnah and Pisay. His music in Game of Trolls is just as deserving of such renown; the play would not be the same without his creative orchestration. De Jesus’ contributions to the musical makes up a majority of the impact on the audience, especially on the younger crowd.
The utilization of music in the performing arts can create a world of difference. Moods and themes can be enhanced using different harmonies and melodies. Music can even be used to transform the ambience of a scene, like how playing a horror music during a seemingly jolly scene can turn it into an ominous one. Music and theatre go hand in hand in evoking emotion in the audience, aiding in their immersion in the narrative and message of the story.
Bibliography:
https://www.spot.ph/arts-culture/performing-arts-2/71306/a-game-of-trolls-theater-review-a1 800-20170901
https://www.rappler.com/life-and-style/arts-and-culture/180138-game-of-trolls-martial-law-pl ay-peta
http://filmacademyphil.org/?page_id=869
Photos by Izza Zamoranos of The GUIDON