We All Have Our Horses: A Review of The Horse And His Boy
Article and Photos By Patricia Simone Dauz
Each of us has been given personal horses to guide us. It is just up to us whether we listen to them or not. It is not only epic, it is as phenomenal as the world of Narnia.
We may have dog whisperers, horse whisperers, and even shark whisperers, but, save for talking birds, there is no known animal discovered yet on this planet which can converse in the human language. In the world of Narnia, that is different. If Aslan the Lion of Narnia represents God, then the agents of Aslan, like Bree and Hwin, are the equivalent of guardian angels.
Trumpets presents The Horse and His Boy, the fifth published book out of the seven novels which comprise the The Chronicles of Narnia. It is the sole book which is set in Narnia alone. The stage adaptation from page to stage was penned by Luna Grino-Inocian and the direction was done by Jaime Del Mundo.
The narrative started with a short prologue which involved a narrator (Mayen Bustamante-Cadd) who gave a short background regarding the upbringing of the protagonist, Shasta (Reb Atadero). He eventually met the talking battle horse Bree (Joel Trinidad) and together they escaped the live of servitude in Calormene and decided to ride north to Narnia. Along the way, they met Aravis (Cara Barredo), a runaway princess, and another talking horse Hwin (Jill Peña). As soon as they passed by Tashbaan, more challenges came along their way to prepare them for their true destiny.
The most difficult part to pull off in the musical was definitely mobilizing the animal suits. Each of the animals was manned by a pair of actors. Del Mundo admitted that the half of the rehearsal time, which was about three to four weeks, was dedicated to make sure these pair were in sync, particularly those who were in the horses since Bree and Hwin were in the majority of the scenes. Another brilliant element is the ‘organized chaos’ which can be used to describe the battle between the Calormenes led by Prince Rabadash (Mako Alonso) and the warriors of Archenland. Del Mundo was able to balance comedy, drama, and action sequences while keeping the blockings dynamic.
“Freedom is not the opportunity to do what one pleases, but the opportunity to do what is right,” said Aslan to Aravis after having admitted to the corporal punishment he inflicted upon her about halfway into the play as one of the ‘shadow lions’. Aslan’s appearances onstage may have been short and sweet, but it is enough to impart the message that God is watching us.
The last weekend of the musical will be this coming November 21 and 22 at the Meralco Theater Pasig City. For ticket inquires, you may contact 9014364 or Ticketworld (8918999). You may also check out ticketworld.com.ph or the official Facebook page (HHBbyTrumpets) for additional inquiries.