Editors’ Note:

“JOROAN, A BIKOL MUSICAL” is an original theater production presented on May 10, 2024, at the Ibalong Centrum for Recreation in Legazpi City, May 17 at Bicol University Tabaco City campus, and May 24 at the Ligao City Auditorium. It is based on the libretto titled “Walong Milagro ni Nuestra Señora de Salvacion,” written by Abdon M. Balde Jr.; adapted as a musical with permission and re-named “Joroan, A Bikol Musical,” music composition by Victor Buenconsejo and additional songs by Jan Aldrin Belisario and Sari Saysay; script and direction by Sari Saysay; and musical direction by Jan Aldrin Belisario. The musical is a production of the Diocese of Legazpi and Our Lady of Salvation Parish and Diocesan Shrine (Joroan, Tiwi, Albay) in collaboration with Sining Banwa, The Dawani Project, and the Provincial Government of Albay.

We publish herein the stories by key people involved in the production of “Joroan, a Bikol Musical” as posted on their FB pages. We kept the content largely intact with only minor edits. These are their personal take-aways.

DESTINY — “Para saimo talaga iyan,” the mysterious messenger said to Jun Balde, writer of the libretto, ten years ago when he handed the manuscript written by Fr. Fulay, first parish of Joroan.

SERENDIPITY — Victor Buenconsejo was asked to compose the music for the musical by the Joroan parish priest right after his CCP seminar on Making Music Move.

PURE ENERGY AND EMOTION — Andrea Karlsan “Anka” Zapanta, Creative Director, Dawani Project, is overwhelmed with feelings of pride, exhaustion, relief, anxiety, and gratefulness.

A MUST-WATCH — For Jobert Grey, dramaturg (literary expert and advisor), the musical’s universal themes tackle deeper discourse on faith and courage.

TRANSFORMATIVE POWER OF MIRACLES — Therese Lumbao, theater volunteer and critic, describes Joroan as a portrayal of faith, miracles, and the power of divine intervention.

OUR DEVOTION TO MOTHER MARY — John Roger Romualdez Avila, OFS, Diocese of Legazpi, says we are a community devoted to the Blessed Virgin Mary.

Here is what Fr. Joseph Salando, Parish Priest, Our Lady of Salvation Parish and Diocesan Shrine, says about the musical play, “It seeks to honor the profound devotion to Our Lady of Salvation and provide a space for spiritual growth and cultural enrichment for all who experience it. It is our hope that this project will pave the way for the realization of the Joroan National Shrine, a beacon of faith and devotion for generations to come.”

Abdon M. Balde Jr.: Writer of the original libretto

FB post, May 13, 2024

Things To Know About “Joroan, A Bikol Musical,”

The source material was personally handed to me over ten years ago by a mysterious old and dark-skinned man who seemed to have been waiting for me in front of Joroan Church, in Tiwi, Albay. I tried to pay for it, but he would not accept it, saying “Para saimo talaga iyan…” (It’s really for you…). The old man disappeared and my efforts to locate him was fruitless. To date, I have not met him again.

The material was written by Fr. Lamberto S. Fulay, who was the very first parish priest of Joroan and who served from 1919 to 1935. It was a booklet titled, “An Kasaysayan Kan Ladawan Ni Birhen de Salvacion sa Horoan, Tiwi, Albay,” which told of the story of the image of Our Lady of Salvation and the eight miracles attributed to the image since its installation in Joroan in 1776.

I started to translate the materials into a verse narrative with strict rhyme and measure, but it was overtaken by my first libretto for a musical, “Sayaw Kan Tulong Bulod” (Dance of the Three Mountains) which was presented in the Albay Astrodome from 2013 to 2016.

Again, the project was interrupted by my writing the dramaturgy for the ballet, “Alamat ng Mayon, Istorya ni Magayon” which was presented in Cultural Center of the Philippines in 2013.

In 2023 the late Ampy Binamira invited me to a meeting in the Legazpi Diocesan Office of Bishop Joel Baylon. She and Ms. Brenda Locsin sort of commissioned me to write a graphic novel about the Nuestra Señora de Salvacion.

I was not so attracted to writing what I considered “comics.” So last year I decided to write a libretto titled “Walong Milagro ni Nuestra Señora de Salvacion.” I gave a copy of the finished material to Joroan Parish Priest Fr. Joseph Salando.

Less than a month after giving him the libretto, Fr. Salando came to my residence with Victor Buenconsejo and presented to me and my wife the early musical compositions using my libretto. I and my wife liked Victor’s composition.

A month later, Fr. Salando arranged a meeting in Joroan with Victor Buenconsejo, Sari Saysay of Sining Banwa, Noel Andres Madrigal Perdigon, Dee Jai, and PeeWee Matza and discussed the stage presentation of “Walong Milagro ni Nuestra Senora de Salvacion.” Sari Saysay read the libretto, and asked permission to make changes in the libretto which in his opinion would make the musical more understandable and meaningful when presented on the stage. I gave him the authority to make what he deemed to be the necessary changes for a new script adaptation.

In the following meetings with the working group, it was agreed that the title be simplified to “Joroan, A Bikol Musical.” All the preparations, the auditions, the rehearsals were done by Sari Saysay and his Sining Banwa troupe.

I was unable to attend all the preparations, which for me was good because I would not be able to interfere with the changes that Sari Saysay and his crew envisioned. I soon learned that additional songs and materials were added. On request, I was given a copy of the adopted script of the musical. I was happy with the newly adapted script. I especially liked the epiphany moments in the closing scenes. 

A stage presentation of a musical is collaborative work. Not one person could claim credit for the resulting opus. Thus it should be noted that while the musical is often ascribed to have been based on my script titled “Walong Milagro ni Nuestra Senora de Salvacion”, the resulting “Joroan, A Bikol Musical” should also be credited to Sari Saysay and his Sining Banwa, The Dawani Project, Inc.., Victor Buenconsejo for the music, Al Jang Belisario for the added songs, Fr Joseph Salando, and those who actively supported the project whom I could not all name here.

On the whole, we are all very happy and proud of the initial presentation of Joroan, A Bikol Musical, last May 10 at the Ibalong Centrum for Recreation. We promise two more, just as good if not better presentations on May 17 at BUTC Tabaco City and May 24 at the Ligao Auditorium.

Victor Buenconsejo: Musical composer

FB post, May 17, 2024

On May 10, 2024, I watched the premiere of “Joroan, A Bikol Musical” alone in Legazpi. Tonight, I watched our musical again — this time with the people closest to my heart: my family and friends in my ministry, and some co-teachers. Among them are people from the Joroan Shrine with whom I have close ties as well. From my bond with them, I got the great inspiration for the music I composed for the musical. Ika nga sa Filipino, sobra akong napamahal sa mga taga-Joroan.

May I also share to you some points of my perspective on the provenance of this musical:

During my college days, I wanted to have that copy of the Novena to Our Lady of Salvation with the complete narration of her history on it. While I was roaming around a mall in Legazpi, I saw a stall of religious items and there I saw the only copy of the said novena. The vendor told me then: “Buy it. It’s really meant for you.” So, I immediately bought it.

As my pastime, I wrote my version of that history as a libretto. I eventually forgot where I put it. It also has music. Hahahaha!

When I saw Sir JR Abdon Balde’s post about the libretto about the History of Our Lady of Salvation, I honestly dreamt of being part of it. If not, that’s OK. I will just wish my greatest luck if ever to those involved. Upon reading that post, I had composed music on it.

Without me knowing, I was sent by my school together with Arts and Design teachers to the Cultural Center of the Philippines Arts Academy for the second time in July 2023. I attended the workshop then: Making Music Move – Music in the Theater under Sir TJ Ramos and Sir JV Ibesate. Upon my return to Albay after the said workshop, Fr. Joseph Salando contacted me to ask if I could compose the music to Sir Abdon’s libretto. I excitedly accepted it and I just said: God prepared me for this.

Fr. Joseph accompanied and introduced me to Sir Abdon and let me present the initial music I composed. To their delight, I pushed through with the music.

Meetings came with the other minds of the musical. Sir Sari Saysay brilliantly rewrote Sir Abdon’s libretto into a full-length musical. As we went through the music, I had to overhaul the music to fit in the new material which honestly, I am more excited about because those are what my ears are seeking.

I am so happy to have worked with the masters in this musical. Paulit-ulit ko ining sasabihon. Especially in the music team. My fellow songwriter, Sir Al Jang. I knew your caliber. I was trying to find you kanina. And to the two masters, JP Lanuza and Billy Joey Villamor. Anyare sa plano tang magkarape? Hahaha

And finally, thank you for the overwhelming support. I really felt it. I cannot thank you enough. Promise. From Mayors Jaime and Krisel, to my friends and family, even to the audience. Salamaton po sa suporta nindo sa pirang bulan ming pinagalan.

Andrea Karlsan Zapanta: Creative Director for Dawani Project

FB post, May 12, 2024

So ayun na nga, first show done para sa “Joroan, A Bikol Musical.” Ano ang milagro para sayo? (mahaba pero para sakin ito in the future, so bahala na kayo magbasa.)

I’ve been contemplating the overwhelming feeling of pride, exhaustion, relief, anxiety, gratefulness and so much more in between after our very first run.

Storytime: Towards the end of our rehearsals right before d-day, I was haunted with thoughts that had bothered me internally forever — welcome to the mind of a living “jack of all trades, master of none.” Questioning myself with:

Can you sing? — I can hold a tune, sort of. Can you dance? — I can learn the choreo, somehow. Can you act? — Is my kaartehan valid? Obviously, I’m not a strong-anything in these areas.

All I know is that when I was little, my mom made sure I was exposed to singing, dancing and performing, even competing up until I was in high school. Come college, I didn’t dwell on these experiences anymore thinking my wits should be enough. I placed myself in unnecessary expectations where art was not a priority… but either way, I ended up rebelling and pursuing behind-the-scenes productions which served as food for my soul. So, when this opportunity knocked, the last straw of insecurity was the question of: “at this age? Kaya ko pa ba? Pwede pa ba?”

Out of panic, I messaged the people I know that are the best at their craft. My brother Jasper Narvaez an my little sister, Samantha Narvaez. I held on to what they told me.

J: “Sounds like you don’t have time to be insecure anymore. all you can do is fake it till it isn’t.” and then sent me an active recovery workout I could follow through to ease my body sore.

S: “That’s nerves. Everyone gets it and it never goes away. you can do this!”

Then came the outpour of support from the people behind this production and our friends from all walks of life.

I am beyond grateful for Al Jang, for keeping up with our cries, and making necessary adjustments to at least make singing comfortable for us at many points. And for writing and including us in the creation of the songs that have been our anthem to push on during our doubtful moments. Kay Raul De Mesa din of course, our vocal captain, for being open to all these and helping us maintain a positive attitude to learning these songs.

To Sining Banwa PH ‘s core people, from prod managers, Rollymie, Frida who is also our acting coach. Outside workshops and rehearsals, our Spice Up and prod work conversations helped a lot in molding the basic foundation of how I’d been able to approach this. Andami kong natututunan sainyo, kasama na ang dedication at commitment sa ganitong klase ng buhay.

Kay Mama Melvin, who pushed and still is encouraging my body, muscles, and my joints!!! to handle the choreographies. Learning the dances is a reality check as to how old and rusty I truly am. Hahaha! Kay Maynard din for being really patient at keeping the rest of the choreos simple.

Kay Minho Park for allowing and inviting me to your creative world para sa costumes, props, etc. pati na din kay Eugem ! Apir bish, sabay nating pinasok ang pagsubok na ‘to. Proud of us!

Sa mga pirata, slash stage setup crew, slash tungtungan ko, slash katambay at kasabayan din sa pagod: JA BO, Darwin Montales, Toti Logronio, Clarence Dela Rosa. Higit sa Pag-ibig, The Musical babies slash ka-Joroan community slash mga pasimuno ng bias bias na yan! Thank you so much for the nudges, kay Rodante, Mark, Allysah, Michaela, also sa iba pang cast Alyssa, Art Elise,  John Aaron C. Azurin, mga bagong anak ko, Neil Magtoto, kena, Art Bedis, Dawnfer Ian Atondo, Roi Yee, Russel John Rangel, Lourraine Luzuriaga, Araño Dianne Lyne, Czar Ricafort, kay ate Michelle Lico Aguilar !! sa dalawang baby namin na kalaro ko Xander Ezekiel Aguilar and Aj, Joe Malana na kapalitan ko ng lapel, kay Al Plopino, at kay sir Rico, sa ating chismosang Melai, Camile Berces .. tunay na basta tiripon, may milagro.

Saaming SM na tutok na tutok, at asikasong asikaso kami from reminders down to tips, overall-in-charge ng mga galaw namin, thank you so much Dories Barcia!!

Kay Joyce V. Cuadra na working sa upstairs at pupunta ng blkbx bringing gifts aka mga innovative props dahil sa kung ano anong request natin.. salamatsu!

Jusko… pinaka malalang pasasalamat, o ganun nga ba dahil ayaw lang natin maghiwahiwalay??? Thank you so much po direk Sari Saysay… sa pag ampon samin sa mundong ‘to. a challenge… at sa mga matututunan pa namin onward, forward! hahahaha..

Salamat din sa iba pang creative team, marketing and promotions, at sa nagbigay sa amin ng opportunity na ‘to. Thank you so much, Dee Jai, sir Vic, kay sir JR Abdon Balde, of course po, kay Fr Joseph Salando sa pagbubukas ng kwentong ‘to para lubusan naming maramdaman ang mga “kangangalasan” amidstthe huring-huding.

Sa lahat ng bumubuo nito sa loob at labas ng pagtatanghal. Sa pamilya ko, sa mga anak ko..

Jobert Grey Landeza: Literary expert and advisor

FB post, May 10, 2024

Reasons to Watch Joroan: A Bikol Musical

Universal Themes — It is not just a tale of the Eight Miracles of Our Lady of Salvation nor the history of Joroan, but it tackles deeper discourse on Faith and Courage. Our bare existence is a miracle, and most of the time, we are also an instrument of miracles for our brothers and sisters.

Simple Yet Genius Costume, Props, And Set Design — Made from very simple materials such as sinamay, recycled jeans, and jute sacks, these visual elements is a breath of fresh air from the (mostly) realist take of Sining Banwa. Plus a very good choice in colors and play of lights that gives the backdrop an illusion of a stained glass mostly found in churches.

Powerful Vocals and Ensemble — The actors are not just great in movements but outstanding in their singing parts. They are mostly composed of triple threat performers.

It’s For All Ages — The cast is composed of Adults, Teens, and two charming kids who are tearjerkers and punchliners. One also sings with innocence that will surely melt your heart.

Beautiful Arrangements and Composition of Music — The music of the play itself can make you dance, laugh, cry, fight, and most of all, believe in miracles. That’s the product when you combine Al Jang of Higit Sa Pag-ibig The Musical with Sir Vic Buenconsejo. It’s lively, catchy, and will stay in your head for hours after the play.

Brilliant Direction and Choreography — From its minimal space, the production had successfully moved us from mountains, to seas, to forest, and even to Mindanao.

It’s Written by Two Award-Winning Bikolano Writers — Sari Saysay has beautifully weaved and physicalized Abdon Balde’s “Walong Milagro ni Nuestra Señora De Salvacion” on stage with his iconic takes on “pag-uwi and pag-alis”. To more collaborations of Bikolnon writers please.

It’s a Communal Prayer — a play that reminds the community to pray and believe in the power of Faith— in God, in our neighbors, and in ourselves.

THIS IS A MUST-WATCH FOR BIKOLANOS.

Therese Lumbao: Theater volunteer

FB post, May 11, 2024

“Joroan, A Bikol Musical” is an exquisite portrayal of faith, miracles, and the power of divine intervention. Set against the backdrop of the miraculous occurrences surrounding Nuestra Senora de Salvacion, this stage play transcends mere entertainment, delving deep into the realms of spirituality and human connection.

There is one song that personally resonates with me, and it is titled “Mag-tubod ka,” which means “have faith” or simply “believe.”  It is deeply moving, compelling, and there is a gentle nudging to have faith as the melody and lyrics of the song become the guiding light through every note of doubt and darkness.

As an avid volunteer in the last-minute preparations for the venue, I could not help but be swept away by the fervor and dedication of everyone involved. From the meticulous set design to the soul-stirring musical compositions, every aspect of the production is a testament to the unwavering devotion to bringing this powerful story to life.

The narrative unfolds with grace and reverence, weaving together the threads of tradition, folklore, and faith. Through captivating performances and stirring musical numbers, the audience is transported to the heart of Joroan, where miracles are not just legend but a tangible reality.

What sets this play apart is its ability to resonate on a deeply personal level. It is not merely a retelling of historical events but a poignant exploration of human experience and our innate longing for something greater than ourselves. Whether you’re a believer or a skeptic, there’s something undeniably compelling about witnessing the miraculous unfold before your eyes.

In my small role within the last-minute preparations, I found myself drawn into the spiritual tapestry of the play, each task imbued with a sense of purpose and reverence. Every detail, from the arrangement of props to the lighting cues, serves to enhance the overarching theme of divine intervention through our Mahal na Ina Nuestra Senora de Salvacion and the profound impact it has on those who believe.

As the stage comes to life, “Joroan, A Bikol Musical” invites us to embark on a journey of faith, hope, and redemption. It is a testament to the enduring power of miracles and the transformative effect they have on the human soul. Truly, this is a production that leaves an indelible mark on the heart and spirit, reminding us of the miraculous potential that lies within us all.

John Roger Romualdez Avila, OFS: Diocese of Legazpi

FB post, May 17, 2024

8 takeaways from JOROAN, A BIKOL MUSICAL that will make us appreciate our local ecclesiology in Joroan and in the Diocese of Legazpi more:

“Mga taga barrio nin Joroan” — The devotion to Mary in Joroan did not originate from Rome, but rather from the grassroots of the local community which we call in the diocese as SAKOP. This aligns with the Church’s recognition that popular piety is often “the true expression of the soul of a people” and can arise from the “happy meeting between the work of evangelization and that of local culture.”

“Hermana” — We will appreciate in the play the role of the “Hermanas.” In our diocese, Hermanas are the caretakers of our chapels and churches. This reflects the Church’s encouragement of the faithful, including the laity, to develop personal and community devotion to the Blessed Virgin Mary through approved pious exercises. We thank them in our barrios for their help in nourishing our faith.

“Daraha na ki Cura” — We see here how people view our priests as guides in our community. A community that respects and loves our priests. This affirms the Church’s teaching that popular piety, when properly guided and sustained by pastors, can be a way for the “favorites of the Lord” to live and express the mystery of their faith.

“Debosyon” — We will see here the popular piety of the Joroan people that leads us to Mariology and Christology. The local devotion in Joroan and the Diocese of Legazpi helps the faithful appreciate our own “local ecclesiology.”

“Agyat sa Pagtubod” — The play portrays our ordinary life, a life where our faith is challenged yet continues to believe.

“Kandila” — In the play, we can see how the candle becomes an instrument in building our faith. It is part of our devotion to light candles, especially on our devotional days.

“Karagatan” — We are a church that faces the sea, prone to attack yet very resilient through the intercession of Mama Mary.

“Nuestra Señora de Salvacion” — Indeed, we are a pueblo in love with Mama Mary. In the play, we can see how the people believe in and fall in love with Mary. Indeed, Nuestra Señora de Salvacion is miraculous, “Milagrosa.”

List of Songs – Joroan, A Bikol Musical

• Ining Baryo Joroan (lyrics: Abdon Balde Jr. – music: Victor Buenconsejo)
• Asinan (lyrics and music, Jan Aldrin Belisario)
• Eskultor (lyrics and music, Jan Aldrin Belisario)
• Sakyada – Sulo (lyrics: Abdon Balde Jr. – music: Victor Buenconsejo)
• Pag-omaw asin pagdakop (lyrics: Abdon Balde Jr. – music: Victor Buenconsejo)
• Sa Sugot, Sa Maraot (lyrics and music, Jan Aldrin Belisario)
• Kandila (lyrics: Abdon Balde Jr. – music: Victor Buenconsejo)
• Huringhuding (lyrics and music, Jan Aldrin Belisario)
• Pag-uli ni Tiray (lyrics: Abdon Balde Jr. – music: Victor Buenconsejo)
• Magtubod ka (lyrics and music, Jan Aldrin Belisario)
• Parayo an Sakit, Parani an Bagsik (lyrics and music, Jan Aldrin Belisario)
• Hahanapon Ko (lyrics: Sari Saysay – music: Victor Buenconsejo)
• Siring sa Usa (lyrics and music, Jan Aldrin Belisario)
• Pag-omaw, Joroan Reprise (lyrics: Abdon Balde Jr. – music: Victor Buenconsejo)

Meet the cast of Joroan, A Bikol Musical

Production and creative staff of Joroan, A Bikol Musical

• Playwright & Director: SARI SAYSAY
• Musical Director: JAN ALDRIN BELISARIO
• Writer, Original Verse Narrative: ABDON BALDE JR.
• Composers: VICTOR BUENCONSEJO, JAN ALDRIN BELISARIO
• Librettists: ABDON BALDE JR., JAN ALDRIN BELISARIO, SARI SAYSAY
• Vocal Coach: RAUL DE MESA JR.
• Musical Arrangers: JP LANUZA, BILLY JOEY VILLAMOR, JAN ALDRIN BELISARIO
• Dramaturg: JOBERT GREY LANDEZA
• Acting Coach: JULIE DM BEGA
• Choreographers: MELVIN PALMERO, MAYNARD TAROG
• Production Designers & Fabricators: JOYCE CUADRA, JA BO, DARWIN MONTALES, ANDRE KARLZAN ZAPANTA, MINHO PARK
• Make up: EUGEM SAYCO
• Lights Designer: CLARENCE DELA ROSA
• Lights Boardman: JAMES CHAN
• Sound Boardman MA ISABELLA AÑONUEVO
• Stage Manager: DORIES BARCIA
• Creatives: PEE WEE MATZA, IAN RON BELLO, JOY KRISTI MAE BALDE
• Executive Committee: FR. JOSEPH SALANDO, EVANGELYN IMPERIAL, DJAI TANJI, NOEL PEDRIGON
• Production Support: INANG MAGAYON SECRETARIAT & TECHNICAL WORKING GROUP