True to its title, Floy Quintos’ play highlights and revolves around the art of the traditional Filipino music, kundiman. From its beginning, the play reminds the audience that kundiman is not just a simple form of entertainment, bur rather an art form that revels in the emotions and passion of the singer. As the play continues, the story translates kundiman not only as a form of art, but also as a sign of protest and revolution.

Maestra Adela (Shamaine Centenera-Buencamino), along with her “Tita” friends Mitch (Missy Maramara), Helen (Stella Canete-Mendoza), and Mayen (Frances Makil-Ignacio) form a close bond with the Maestra’s student, Antoinette (Miah Canton) and her suitor and activist, Bobby (Boo Gabunada). Together, the group device a plan to fight against the current administration, all the while rekindling the Maestra’s passion for the country, and facing the consequences of their actions.

With characters who bring life to familiar personalities, such as that of a “woke” group of titas played by Missy Maramara, the former celebrity with a purpose, the aspiring songstress, and the rebellious youth, the story embraces its relevance both in a societal and personal perspective and presents its audience with stories close to home. Not to mention, all these roles were portrayed by talented actors who never missed a beat and captured the essence of their character, from an angered and naive millennial to an experienced and cynical adult, all with just the right hint of that theatrical element of drama and long, riveting monologues.

Most of all, The Kundiman Party’s most outstanding attribute is its social relevance. What truly resonates with the audience is the reality of its setting, nothing outlandish that it’s possible it could be a story of your neighbor. However, this ordinary setting of today paves way for a heartfelt rendition of revolution and activism in the eyes of those born with privilege. Although set in a time of social struggle and a looming dictatorship, this story steers away from the perspective of poverty, and rather sheds light on the role of the privileged–making it all the more relevant to the audience.

The play does not shy away from the reality of the Philippine government, but it also does not convolute itself with a technical, political stance. What The Kundiman Party does is strengthen the emotion and passion behind politics, tackling questions of morality and strategy: Where does revolution begin and end? How many casualties will be needed until one can either give up or rally even more? Is anger the right fuel for social change? What are the implications of social media in a bloodless revolution? All these possible discussions are implied within the script of the story, and manages to combine comedy and drama seamlessly.

During times when protest is relative to society, art, may it be through the form of theater, music, or literature, it is the most effective and influential means of sparking a conversation and resonating a message among the people. The Kundiman Party successfully brings these art forms and messages to life through a story that mirrors the reality of the people who are striving for change, and inspires people of all ages to continue the fight.

“The Kundiman Party” runs until June 2 at the PETA Theater in Quezon City, with 8PM shows every Thursday and Friday, then 3PM and 8PM shows on Saturday and Sunday.