‘Buruguduystunstugudunstuy’ Takes Audiences To A Puzzling Parokya-verse — Review

The Parokya Ni Edgar musical Buruguduystunstugudunstuy is disappointingly convoluted. Playwright Rody Vera opted to create a fantaserye-like production in hopes of capturing what he interprets as the band’s bizarre universe or “Parokya-verse.” The result is The Wizard of Oz meets noontime Pinoy variety show comedy skits.

In his message published in the playbill, Vera described his idea for the jukebox musical comedy: “I am thinking this could be one long ‘acid trip’?” and to “create a world where nothing seems to make sense….”  

Vera then admitted in his statement that before he got the gig to write the story, he was “ignorant of the songs and the significance of Parokya Ni Edgar.” So he had to listen to all of the band’s seven studio albums, among many other material, then “got much of the humor from the band’s nonsensical babble.” 

But PNE’s songs are not exactly “nonsensical babble.” The rock band skyrocketed to fame in the ‘90s for their simple, resonant anthems about heartbreak, yearning, frustrations, and mental health (like “Buloy”). These angsts are wrapped in genius songwriting, which is evident in the band’s wordplay, poetry, irreverent humor, and hilarious candidness. 

This is what makes them celebrated. They are known for novelty songs that contain lyrics that may seem disconnected yet make sense. The listener understands the context, the subtext, the metaphors, and the psychology and emotions behind them.  

That’s what makes the songs enjoyable. PNE does not spoon-feed, but effortlessly uses fun language to weave lyrics that are layered, rich — and still very much cohesive, sound, and accurately nails various human experiences. 

This could be the reason why the musical feels uninspired: Vera was not really a fan prior to the creation of this musical. While he succeeded in his plan to imitate the sensation of being on an “acid trip,” the narrative he created was too complex that it is hard to be engaged in any of his characters’ journeys. 

It feels like Vera plucked out random words from the lyrics of PNE’s greatest hits, fused them them with today’s woke sensibilities, and crafted an intricate story about facing your fears and discovering your true self. 

His lead characters are four suffering females — either from prejudice, harassment, bullying, abandonment, or heartbreak. 

One night, these four female strangers magically find themselves together in one strange, out-of-this-world journey, and they go through painful transformation toward healing. 

The musical opens with these female protagonists distressed and unable to cope, with one character seemingly unhinged.  

Then came a group of messianic men, collectively known as the Bigotilyos, to “save” these women by mansplaining things to them. These men teach the four women about life, hope, resilience, wisdom, and gender identity. This sends the message across — regardless of the intention — that males are superior to females in that they are wiser and more emotionally mature. 

One of the female leads, a security guard, is made fun of for being in her 30s and still unmarried. One of the Bigotilyos then suggests she examine her sexual orientation. This — again, regardless of intention — fuels the stigma on mature single women that they are most likely gay if they’re not with a man. 

Directed by Dexter Santos, the musical is a menagerie of pomp, pageantry, and combined with lesbian empowerment. It utilizes surreal visuals, including a half-fish schoolgirl in a wheelchair, portalets that serve as portals, a comet, and a female “Tin Man.” 

It is visually colorful, with a big-budgeted set design and costumes that appear inspired by the Mardi Gras, barangay parades, a sari-sari store façade, and It’s Showtime.

There are many forms of entertainment that apply surreal and weird elements as if from the perspective of someone stoned (The brilliant The Mighty Boosh comes to mind) but do not deviate from relatable human experiences. Buruguduystunstugudunstuy, however, seems burdened by the universe it created. The spoken lines and humor land weakly, weighed down by effort. 

But despite the underwhelming experience of the storyline, the musical proves dedication and technical expertise in several areas. The impressive acting and singing talent of the ensemble cast shine, particularly Kyle Napuli’s powerful performance. There’s also the scene-stealing Pepe Herrera, who funnily oozes sex appeal and bravado as Mr. Suave. 

Buruguduystunstugudunstuy, without truly echoing the simplicity of PNE’s playful songs, struggles under the weight of its palpable effort and self-consciousness. 

The complicated, ambitious, fantastical, and surreal approach to the storytelling sadly drowns the substance and genius of Parokya Ni Edgar’s big hits. 

Buruguduystunstugudunstuy: Ang Parokya Ni Edgar Musical runs until May 19, 2024 at the Newport Performing Arts Theater.