Gio Potes on Edgar Allan Hemingway - VLF Set B
In its mixed bag of subjects on memories, fake news and discourses on truths
turning out with some mixed results, VLF 2018 SET B is aptly summed up by the
Sisyphian EDGAR ALLAN HEMINGWAY, written by Carlo Vergara and directed by
George de Jesus III, with a powerhouse cast led by Guelan Luarca and especially
Ricci Chan (who arguably steals the bookends of the play).
It's a fitting metacritic to the writers showcase itself, with a fictional attempt to shade and read the hacks posing as writers and the writers forced to be hacks. Vergara and de Jesus define two characteristics not only of writers but perhaps of all professionals young and old who find their work either a struggle or an easy route to bigger achievements. While the Levi Llorca is an empty vessel on paper and on stage - a mere key to success, without the hard and boring part - Vergara draws the viewers' attention to the struggling individuals George and Barnes as they battle out their differences to unravel the two polar opposite fates of any professional trying to make it big. Vergara suggests that only a broken, corruptible system grants success to the streetsmart and "madiskarte" while ignoring the pure, hard and dirty work... making each profession a race for the working class, in the end churning out the few winners and the sea of trying hard losers - the by-products of a society that favors individual success through that ridiculous Filipino campaign of "magsumikap ka".
Such a premise requires the confines of the one-act's straightforward narrative with its hilarious references to literary figures local and international and an impressive plot twist that sums up its vicious cycle of cheat. EDGAR ALLAN HEMINGWAY easily titillates the mind of a writer but also shows the universality of the working class scenario and their day-to-day struggle of desperate attempts to escape desperation itself. - Gio Potes
It's a fitting metacritic to the writers showcase itself, with a fictional attempt to shade and read the hacks posing as writers and the writers forced to be hacks. Vergara and de Jesus define two characteristics not only of writers but perhaps of all professionals young and old who find their work either a struggle or an easy route to bigger achievements. While the Levi Llorca is an empty vessel on paper and on stage - a mere key to success, without the hard and boring part - Vergara draws the viewers' attention to the struggling individuals George and Barnes as they battle out their differences to unravel the two polar opposite fates of any professional trying to make it big. Vergara suggests that only a broken, corruptible system grants success to the streetsmart and "madiskarte" while ignoring the pure, hard and dirty work... making each profession a race for the working class, in the end churning out the few winners and the sea of trying hard losers - the by-products of a society that favors individual success through that ridiculous Filipino campaign of "magsumikap ka".
Such a premise requires the confines of the one-act's straightforward narrative with its hilarious references to literary figures local and international and an impressive plot twist that sums up its vicious cycle of cheat. EDGAR ALLAN HEMINGWAY easily titillates the mind of a writer but also shows the universality of the working class scenario and their day-to-day struggle of desperate attempts to escape desperation itself. - Gio Potes

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