Remembering the past carried towards the present in Dulaang Filipino’s Batang Rizal 

 Angeline Ashlee Marquez

Who’s to say we should never meet our heroes? Why avoid meeting those who have inspired us, motivated us, and changed us for the better? 

Oftentimes, many people would warn others about meeting our heroes, but Dulaang Filipino’s original screenplay offers a different perspective. The musical encourages the audience to be curious, to be brave, and to embrace their mistakes as part of growth. In Batang Rizal, the screenplay masterfully awakens the curiosity of those who wish to meet one of our national heroes. The production bridges the gap between historical reverence and personal connection, inviting viewers to see José Rizal not just as a distant figure in textbooks, but as a relatable young person with dreams and struggles. 

Through its innovative approach, the musical demonstrates that meeting our heroes—even through theatrical interpretation—can deepen our appreciation for their humanity and strengthen our connection to their legacy. Rather than diminishing their heroism, the encounter reminds us that greatness often begins with ordinary courage and curiosity, qualities we all humanly possess. 

Stories with a similar approach 

In terms of telling a certain story, many screenplay writers have often found themselves caught in a creative dilemma: how can they provide meaningful historical context while simultaneously making it entertaining enough to captivate modern audiences? 

This challenge becomes even more complex when dealing with national heroes and historical figures, whose stories carry both educational weight and cultural significance. Striking the right balance between historical accuracy and theatrical appeal requires careful consideration of pacing, tone, and narrative structure. Writers must decide how much artistic license to take without distorting the essential truths of history.

This approach can be seen in plays such as Tanghalang Pilipino’s Pingkian: Isang Musikal, a production that explores the life and writings of National Hero Emilio Jacinto through a contemporary lens. The musical adopts a style remarkably similar to Lin-Manuel Miranda’s groundbreaking Hamilton, which revolutionized historical theater by infusing it with modern musical genres and diverse casting. Like Hamilton, Pingkian breathes new life into historical narratives by making them accessible and relevant to younger generations. Both productions demonstrate that history need not be presented in a dry, textbook manner; instead, it can be dynamic, emotional, and deeply engaging.

Similarly, this technique has been skillfully employed in Batang Rizal, where the play seamlessly blends historical education with engaging theatrical storytelling. The main characters of the story serve as both participants and narrators, creating a unique dual perspective that draws audiences deeper into Rizal’s world. Throughout the performance, they recite and dramatically interpret several of Rizal’s most celebrated poems, bringing his literary genius to life through expressive delivery and emotional resonance. These poetic interludes are not merely recitations but are woven organically into the narrative, allowing the audience to experience the power and relevance of Rizal’s words in context.

Beyond the poetry, the play also narrates key moments from Rizal’s life, guiding viewers through his childhood experiences, formative years, and the development of his nationalist consciousness. As the story unfolds, the audience witnesses Rizal’s life play out before them through a combination of direct dramatization and imaginative storytelling. This layered narrative technique allows the characters to bridge the gap between past and present–making the historical figure of Jose Rizal feel immediate, and deeply human rather than a distant, untouchable icon.

With Batang Rizal, the play engages the audience through humorous speeches and movements, using witty jokes and exaggerated mannerisms to create a lighthearted atmosphere. This comedic approach is evident from the opening scenes, which immediately establish the play’s playful tone. 

A boy and a broken statue

The story centers around Pepito (Jun Bebanio), a young avid fan of the national hero Jose Rizal, who suddenly finds himself caught in an unexpected predicament. The conflict arises during his school’s celebration of Buwan ng Wika, a month-long observance of Filipino language and culture after their class performance. For the special occasion, Mayor Rapcu (Reuss Lunar), the pompous and English-speaking official of their local town, had commissioned an expensive statue, in honor of Jose Rizal to be unveiled at the school.

However, when the day arrives, the statue is mysteriously missing, throwing the entire event into chaos. Mayor Rapcu, outraged and demanding answers, insists that the school be held accountable for the missing monument. Fortunately, Pepito’s quick-thinking teacher, Binibining Tangolang (Nashi David), manages to defuse the tense situation by cleverly stalling the mayor. She assures him that the statue will be revealed soon, buying precious time for the students to resolve the crisis.

Binibining Tangolang then confronts Pepito privately and urgently asks him about the statue’s whereabouts and, more importantly, what exactly happened to it. With visible guilt and hesitation, Pepito confesses the unfortunate truth: the statue was accidentally broken by his rowdy classmates during their boisterous play. He explains that the statue had been carelessly placed behind the classroom, in an area where students frequently passed through and gathered—a poor choice of location that ultimately led to the statue’s inevitable destruction. 

Upon hearing this confession, Binibining Tangolang’s expression shifts from concern to stern urgency. She firmly instructs Pepe to fix the issue at hand as soon as possible, warning him that Mayor Rapcu will be returning soon, eagerly awaiting the grand unveiling of the statue. The weight of responsibility now rests entirely on Pepe’s young shoulders, and time is running out.

An accident burdened by one

After that tense scene, Pepito is met by his close friends in a quieter place around school grounds. His friends, Kaye (Aleczandra Ong), Lotlot (Gab Acilio) and Buding (Chan Gamboa) anxiously ask him about the whereabouts of the statue, having heard whispers and rumors circulated throughout the campus. Trying to maintain composure despite his inner panic, Pepito assures them that the broken statue is hidden somewhere safe, in a location where no one will accidentally discover it. He promises that he’ll figure something out to fix the dire situation, though his uncertain tone reveals his lack of a concrete plan.

However, before he can discuss any potential solutions with his friends, Pepe is suddenly confronted by the very group responsible for the accident: his rowdy classmates Jenjen (Alysa Flores), Egay (Carrine Malelang), Raffy (Christian Gonzalo), and their group’s self-appointed leader, Manuel (Jaylon Lopez). Their unexpected arrival adds another layer of complication to Pepito’s already overwhelming predicament, as he must now navigate not only the practical problem of replacing the statue but also the social dynamics and potential conflicts within his peers.  

To the past

Once they left, Pepito carefully retrieved the statue from its hiding spot, cradling the broken pieces with a mixture of anxiety and determination. He sat alone, contemplating what exactly he could do to fix the damaged monument before Mayor Rapcu’s return. In a moment of desperation, he opens his treasured book about Rizal, hoping to find some inspiration or guidance from the pages chronicling his hero’s life. As he reads intently, absorbed in the words and illustrations, something extraordinary happens. Suddenly, in a swirl of light and sound, Pepito is transported through time itself, finding himself standing in Rizal’s own era.

Disoriented but amazed, he is immediately approached by three young women: Pepe’s sisters, Neneng (Marysel Acilo), Sisa (Heart De Leon), and Maria (Jean Natanawan). The sisters mistake him for their young brother, Pepe, due to their striking resemblance. Pepito frantically tries to explain that he is not Pepe but rather Pepito, a boy from the future, but the sisters simply laugh off his protests as one of their brother’s imaginative games. Playing along to avoid further confusion, Pepito humors the sisters by reading aloud their individual profiles based on what the national hero had written about them in his memoirs—details he knows from his book. The sisters are both delighted and slightly unnerved by his accurate knowledge of their personalities and quirks.

After this charming encounter, they proceed to enter the Mercado House (Bahay ni Rizal), a warm and modest home filled with the sounds of family life. Inside, the audience is introduced to the young Pepe, or Jose Rizal (Stephen Emperado), and his devoted mother, Donya Lolay (Anya Perez), who is teaching her son his lessons for the day. The sisters excitedly tell their mother that Pepe was outside with them the entire time, still confusing Pepito for their young brother. They also playfully tease him by calling him “Pepito,” a nickname that causes an unexpected reaction. 

The real Pepe becomes visibly confused and annoyed, insisting that he has been with his mother the whole time his sisters were outside. He objects to being referred to as “Pepito,” firmly stating that he prefers to be called simply “Pepe.” With their banters becoming sudden tension among her children, Donya Lolay calmly intervenes and instructs them all to prepare for the evening. While the sisters obediently leave to attend to their tasks, Pepe remains with his mother for his reading lesson, a cherished daily ritual.

Donya Lolay settles beside her son and begins to tell him a parable: a story about a young butterfly who was dearly loved by his mother. In the tale, the butterfly became fatally attracted to the dancing flames of a candle, mesmerized by their beauty and warmth. Despite his mother’s urgent warnings and pleas, the young butterfly ignored her wisdom and flew closer and closer to the fire. Tragically, he was burned and irreparably damaged by the very flames that had captivated him. The story serves as a clear allegory, similar to the Greek tale of Icarus, who flew too close to the sun with his wax wings and fell to his death. 

Donya Lolay’s voice carries both love and concern as she warns Pepe not to become like the young butterfly in the story, urging him to stay cautious and heed the wisdom of those who care for him. However, young Pepe, with the fearless honesty of youth, admits that he too is intrigued by the sparks of fire, by the dangerous ideas and passionate causes that could one day consume him. Throughout this intimate and foreshadowing exchange, Pepito watches from a safe distance, hidden but deeply moved by the profound interaction between mother and son. He begins to understand that the hero he admires was once just a curious, determined boy, shaped by a mother’s love and warnings.

Two boys meet

Once Donya Lolay exits the room, leaving her son to reflect on the lesson, Pepito seizes the opportunity and emerges from his hiding place. The two boys—one from the past and one from the future—stand face to face for the first time. Pepe and Pepito formally introduce themselves to each other, both equally curious about this strange encounter. Pepito, overwhelmed with awe at meeting his idol in real time and in the flesh, can barely contain his excitement.

He bombards young Pepe with countless questions about his life, his dreams, and his thoughts. In his enthusiasm, Pepito reveals the astonishing truth: he is from the future, from a time after the Philippines has finally gained its freedom from Spanish colonization. This revelation hangs in the air between them, a moment heavy with both hope and the unspoken sacrifices that will make that future possible. Young Pepe’s eyes widened with wonder and determination, beginning to understand the weight of the role he will one day play in his nation’s history.

Eager to share his reality with his visitor from tomorrow, Pepe then takes Pepito through scenes of daily life in the Spanish colonial Philippines. He shows Pepito how many Filipinos gather faithfully to pray and attend church services, their devotion providing solace in oppressive times. Pepe proudly demonstrates how his people love to sing and dance amongst the streets, their music and movement serving as expressions of cultural identity and quiet resistance. These moments of joy and community reveal the resilient spirit of the Filipino people, refusing to be entirely crushed by colonial rule.

However, the atmosphere shifts dramatically when terror suddenly strikes without warning. Spanish guards, wielding their authority with brutal efficiency, storm into the peaceful scene and forcibly arrest Donya Lolay. They accuse her of committing heinous crimes against the Spanish colonial government; charges that seem politically motivated rather than based on genuine wrongdoing. 

Despite the desperate protests of her children, she is dragged away and imprisoned, leaving the family traumatized and afraid. Both Pepe and Pepito watch helplessly as this injustice unfolds, the younger boy from the future finally witnessing firsthand the oppression his history books could only describe in abstract terms. After a few agonizing months pass in the timeline of the past, young Pepe finally receives permission to visit his imprisoned mother. The reunion is bittersweet—filled with longing, worry, and deep love. 

In this tender moment, Pepe recites a poem he composed specifically for her, his first major literary work: “Mi Primera Inspiracion” (My First Inspiration). Through heartfelt verses, he expresses his gratitude for her guidance, her sacrifices, and the values she instilled in him. The poem becomes not just a gift to his mother, but a testament to how her love and wisdom will continue to inspire him throughout his life. Pepito observes this intimate exchange with tears in his eyes, understanding now that behind every hero stands a family who loved, supported, and sacrificed for them.

The narrative then shifts after Donya Lolay was released, as the play then introduces the audience to Pepe’s older brother, Paciano Rizal. He emerges as a significant figure in young Pepe’s life as a mentor, protector, and fellow patriot. Paciano is notably the only sibling amongst Pepe’s brothers and sisters to use a different surname, a detail that carries profound historical and political significance. His choice to retain “Mercado” while others in the family would eventually adopt “Rizal” was not merely a matter of personal preference but a calculated decision born from dangerous circumstances.

This significance becomes tragically clear when Pepe, Pepito, and Paciano witness one of the most pivotal and horrifying events in Philippine history: the public execution of the GOMBURZA: three Filipino priests, Fathers Mariano Gomez, Jose Burgos, and Jacinto Zamora. The three were accused of sedition and involvement in the Cavite Mutiny of 1872, charges many believe to be false and politically motivated. Standing among the shocked and grieving crowd, the boys watch as the priests are executed by a garrote. This brutal spectacle leaves an indelible mark on young Pepe’s consciousness, planting seeds of resistance and nationalist awakening that will bloom in his later writings and activism.

In the somber aftermath of this execution, Paciano pulls his younger brother aside for a serious conversation. With the weight of recent events heavy on his mind, Paciano tells Pepe to use his surname, “Rizal,” instead of their father’s surname, “Mercado,” when he goes to study. This name change, Paciano explains, would allow Pepe to pursue his education in relative peace and safety, without being immediately identified and targeted by suspicious Spanish authorities who might associate him with his brother’s reformist sympathies and connections to the executed priests. Paciano’s protective instinct reveals both his love for his younger brother and his understanding of the dangerous political landscape they navigate. 

Past sees the present

After those events occurred, something remarkable happens: Pepito is suddenly transported back to the present day, but this time he is not alone. Young Pepe accompanies him through the book Pepito carries, crossing centuries in an instant to arrive in modern-day Philippines. The two boys find themselves standing together in Pepito’s school, disoriented but amazed by the stark differences between their respective eras.

They are soon found by Binibining Tangolang, who appears surprised but not entirely alarmed by the presence of an unfamiliar student. She naturally assumes that young Pepe is simply a student from a different section who has wandered into their classroom, perhaps lost or looking for his classroom. Before she could question him further, Pepe began to recite one of his early works with pride and eloquence: “Sa Aking Mga Kabata” (To My Fellow Youth). 

The poem focuses on the crucial importance of loving one’s native language as a symbol of freedom and national identity. Through passionate verses, he declares that people who do not cherish their own language are worse than putrid fish, emphasizing that linguistic pride is intrinsically tied to genuine liberty. His recitation captivates everyone present, the timeless words resonating just as powerfully in the modern classroom as they did in the 19th century. Binibining Tangolang listens with growing wonder and admiration, impressed by this mysterious student’s eloquence and depth of feeling.

Once Binibining Tangolang excuses herself to prepare for the upcoming Buwan ng Wika event, the two young boys are approached by Pepito’s close friends: Kaye, Lotlot, and Buding. Initially cautious and curious about this newcomer who bears an uncanny resemblance to their friend, they quickly warm up to him. The friends are thoroughly entertained and charmed by Pepe’s old-fashioned mannerisms, his formal way of speaking, and his genuine curiosity about everything in the modern world. He marvels at his surroundings and is utterly fascinated by things they take for granted. His innocent wonder and courteous behavior win them over completely. 

However, this pleasant interaction is abruptly interrupted when they encounter the rowdy troublemakers with their usual swagger, immediately beginning to taunt and provoke the newcomer. Manuel, feeling threatened by the attention Pepe is receiving, becomes particularly aggressive and confrontational. What begins as verbal sparring quickly escalates into a physical altercation. Despite their small statures, young Pepe and Pepito refuse to back down when defending their dignities and selves from the bullies. 

Revelations escalated 

After the fight, the two boys found themselves a moment alone in a secluded corner of the school, where they engaged in a deep and honest conversation about what Pepito had learned from his journey through time. In this vulnerable exchange, Pepito, by accident, had blurtted out that Pepe—the great Jose Rizal—will one day be executed by a firing squad at Bagumbayan (now known as Luneta Park). The words escape his lips before he can stop them, hanging in the air like a death sentence.

He explains that this sacrifice, though tragic and painful beyond measure, becomes a pivotal moment in Philippine history as the spark that ignites the revolution and ultimately leads to the nation’s freedom from Spanish colonial rule. Pepito describes with trembling voice how Rizal’s martyrdom transforms him from merely a writer and reformist into the immortal symbol of Filipino resistance, his death galvanizing an entire people to rise up and fight for their independence. He tries to make Pepe understand that his sacrifice, that would cost him his life, would give birth to a free nation.

Hearing this devastating revelation, Pepe’s face drains of color and his entire body begins to tremble uncontrollably. The weight of his predetermined fate crashes down upon him like a physical force, stealing the breath from his lungs. Overcome with fear and the natural human instinct for self-preservation, young Pepe makes a desperate decision: he refuses to return to his original timeline. He runs, fleeing from Pepito and from the terrible destiny that awaits him in the past, his footsteps echoing with panic as he disappears into the unfamiliar streets of modern Philippines.

Pepito stands frozen for a moment, then the full horror of what has happened hits him. He becomes desperate and worried, his heart pounding with the realization that history itself is now in grave danger. If Pepe does not return to his own time, the entire course of Philippine history could be altered or even erased. His problems, which began with a simple broken statue, have now escalated into something catastrophically bigger and infinitely harder to solve. The fate of an entire nation now rests on his young shoulders.

In his desperation, Pepito seeks help from his loyal friend, Kaye as he explains the gravity of the situation. He asks her to help him search for Pepe before it’s too late–before the fabric of history unravels completely. As they begin their frantic search, Pepito overhears a heated conversation between Binibining Tangolang and Mayor Rapcu in the school corridor. The mayor’s voice rises with anger and impatience as he threatens her with dire consequences: he declares that he would no longer provide financial support to the school if the statue is not presented at tomorrow’s closing ceremony for Buwan ng Wika. 

The school’s very survival now hangs in the balance, adding yet another layer of urgency to Pepito’s mounting crisis.But the situation deteriorates even further. The troublemakers have discovered the broken statue in its hiding place. Worse still, they have stolen Pepito’s precious book about Rizal, the very object that enabled the time travel. They send Pepito a threatening message: meet them at their designated location, or they will smash the statue into irreparable pieces. With both history and his school’s future at stake, Pepito has no choice but to comply.

Kaye insists on accompanying Pepito, refusing to let him face the bullies alone. Together, they follow the directions in the threatening letter to an abandoned building on the outskirts of town—a crumbling structure with broken windows and an ominous atmosphere. As soon as they enter, they realize too late that it’s a trap. The bullies emerge from the shadows, blocking all exits and surrounding them with menacing grins. They have Kaye and Pepito cornered with no apparent means of escape.

Manuel, fueled by jealousy over Pepito being close to his crush, raises a heavy sledgehammer above the broken statue. His eyes gleam with cruel satisfaction as he prepares to destroy it completely, relishing the power he holds over his classmates. Just as he begins to swing the hammer downward, a figure appears. To everyone’s astonishment, their rescuer is none other than Pepe himself! Pepe reveals to the stunned bullies that he is indeed Jose Rizal, not just someone named after the hero, but the actual national hero who has traveled through time. The bullies burst into mocking laughter, their disbelief evident. They refuse to accept such an impossible claim, dismissing it as a desperate lie or an elaborate joke.

Determined to prove his identity, the bullies decide to quiz him, firing question after question about Rizal’s life, his family, his travels, and his writings. To their growing amazement, Pepe answers everything with perfect accuracy, citing details and personal anecdotes that could only be known by someone who actually lived them; information far beyond what could be memorized from Pepito’s book. He recounts memories of his childhood, describes his mother’s imprisonment in vivid detail, and explains the personal motivations behind his most famous works. Gradually, the skepticism in the bullies’ faces transforms into wonder, then belief, and finally, shock.

The atmosphere shifts dramatically. The fighting stops, and an unexpected alliance forms. Even Manuel’s jealousy fades in the face of this extraordinary truth. Pepito explains urgently that they must work together as a team. He reveals that Mayor Rapcu has issued an ultimatum: he plans to withdraw all funding and support from the school, effectively abolishing it, if the statue is nowhere in sight for tomorrow’s closing ceremony. Now united by a common purpose, they gather in a circle to figure out a solution to their multifaceted crisis.

More valuable than a statue

The next day arrived with a mixture of anticipation and nervous energy as the students performed traditional dances, recited poetry, and showcased various aspects of Filipino culture on the decorated stage. Mayor Rapcur, dressed in his finest clothes and beaming with self-importance, took center stage for the grand finale, to unveil the expensive statue of young Jose Rizal. With theatrical flair and barely contained excitement, the mayor grasps the cloth covering the statue and dramatically pulls it away to reveal what lies beneath.

But to his shock—and Binibining Tangolang’s equal surprise—it is not the statue of Jose Rizal that stands before them. Instead, it is the students themselves: Pepito, Kaye, Lotlot, Buding, Manuel, Jenjen, Egay, and Raffy, all standing together in a human tableau, striking a pose that honors Rizal’s memory. They are the living statue, united despite their previous conflicts. The crowd falls silent, uncertain how to react to this unexpected sight.

Out of rage and profound annoyance, Mayor Rapcu’s face flushes red. His voice rises as he demands to know where on earth the expensive statue he commissioned has gone. He sputters about the cost, the embarrassment, and the disrespect shown to him in front of the entire community. The students stepped forward together, their unity giving them courage and in a carefully rehearsed statement, they addressed the mayor directly and honestly. They confess that their class accidentally broke the statue due to carelessness and poor judgment, and they humbly ask for the mayor’s forgiveness for what happened. Their voices are sincere, their remorse genuine. But they do not stop at mere apology.

In a bold and thoughtful proposal, the students present an alternative that caught the mayor off guard. They respectfully suggested that he provide the school with new classrooms, updated books to enhance learning and provide modern equipment for research that would benefit not just the current students and faculty, but generations to come. After a long, tense pause, the mayor’s expression slowly softens. With a somewhat reluctant but ultimately genuine smile, he agrees to their proposal.  He announces that he will redirect the funds originally intended for the statue toward meaningful improvements to the school where the students cheer. 

As the celebration continues, young Pepe and his newfound friends from the present gather in a circle, away from the festivities, knowing that their time together is coming to an end. The mood is bittersweet; joyful for what they’ve accomplished together, yet sorrowful for the parting that must come. Pepe looks at each of them with deep affection and gratitude. His voice is steady but filled with emotion as he tells Pepito that he now understands the truth he initially tried to run from. 

He must return to his own time, not because fate demands it, but because it is his duty as a Filipino citizen. He explains that to die for his beloved country, to sacrifice his own future so that the Filipino people can be free, is not a curse but an honor; a responsibility he now accepts with open eyes and a willing heart. He has seen the future, the free Philippines that his sacrifice will help create, and he knows now that some things are worth dying for.

With final hugs, Pepe bids everyone farewell. The students watch as their friend, their hero, their inspiration, slowly fades from view as he returns to his own time to fulfill the destiny that will echo through centuries. They stand together, forever changed by the brief but profound time they spent with the boy who would become their nation’s greatest hero. And in their hearts, they carry a deeper understanding of what it truly means to love one’s country: not through monuments of stone, but through education, sacrifice, and the courage to do what is right, even when it costs everything.

As the final notes of Batang Rizal fade and the stage lights dim, one truth resonates clearly: “Ang kabataan ang pag-asa ng bayan”—the youth remains the hope of our nation, not as a hollow platitude, but as a profound responsibility. 

And in an age where political landscapes shift like sand and governance faces unprecedented challenges, the play’s message becomes even more urgent. Knowing our history is not about dwelling in the past; it is about equipping ourselves with the wisdom to navigate an uncertain future. Every political decision, every social movement, every moment of national crisis echoes with lessons from those who came before us. 

When we understand the sacrifices that purchased our freedom, we become more vigilant guardians of that liberty. Batang Rizal teaches us that heroism is not a relic of the past but a torch passed to each new generation and in today’s complex political climate, this choice matters more than ever. The youth who knows history is the youth who can shape it, transforming not just monuments, but the very future of the nation. And perhaps that is the greatest tribute we can offer to those who gave everything: to live as they dreamed we would: free, educated, and unafraid to build something better.