Through realistic direction, accurate set design and costuming, and effective lighting and sound design, the musical Scharon Mani was able to faithfully portray daily life in Dumaguete City. The direction and dialogue captured the reality of Dumaguete, while the set design featured iconic local imagery like houses and street signs. Costumes resembled everyday clothes worn by Dumaguete residents. Lighting used different colored spots and backdrops to set the time of day and mood. Sounds like street noise and acoustic Bisaya songs further evoked the city's atmosphere. All elements worked together to characterize and tell stories that represent the colors and lifestyle of modern Dumaguete.
Through realistic direction, accurate set design and costuming, and effective lighting and sound design, the musical Scharon Mani was able to faithfully portray daily life in Dumaguete City. The direction and dialogue captured the reality of Dumaguete, while the set design featured iconic local imagery like houses and street signs. Costumes resembled everyday clothes worn by Dumaguete residents. Lighting used different colored spots and backdrops to set the time of day and mood. Sounds like street noise and acoustic Bisaya songs further evoked the city's atmosphere. All elements worked together to characterize and tell stories that represent the colors and lifestyle of modern Dumaguete.
Through realistic direction, accurate set design and costuming, and effective lighting and sound design, the musical Scharon Mani was able to faithfully portray daily life in Dumaguete City. The direction and dialogue captured the reality of Dumaguete, while the set design featured iconic local imagery like houses and street signs. Costumes resembled everyday clothes worn by Dumaguete residents. Lighting used different colored spots and backdrops to set the time of day and mood. Sounds like street noise and acoustic Bisaya songs further evoked the city's atmosphere. All elements worked together to characterize and tell stories that represent the colors and lifestyle of modern Dumaguete.
Through realistic direction, accurate set design and costuming, and effective lighting and sound design, the musical Scharon Mani was able to faithfully portray daily life in Dumaguete City. The direction and dialogue captured the reality of Dumaguete, while the set design featured iconic local imagery like houses and street signs. Costumes resembled everyday clothes worn by Dumaguete residents. Lighting used different colored spots and backdrops to set the time of day and mood. Sounds like street noise and acoustic Bisaya songs further evoked the city's atmosphere. All elements worked together to characterize and tell stories that represent the colors and lifestyle of modern Dumaguete.
Watch the video above and write an essay pointing out how the production was able to portray Dumaguete City on a stage. Analyze the musical by using the different aspects of a stage production (Direction, Set Design, Costuming, Make-up, Lighting Design, and Sound Design). What elements did they use to portray the city? What are the indicators that they showed in the play that tells you where the setting is?
Scharon Mani, a Visayan musical about Dumaguete youth, did a brilliant job at bringing the daily life, characters, and color of Dumaguete to the stage. Through the realistic and grounded direction, the accurate set design and costuming, and the simple yet effective lighting and sound design, Scharon Mani was a faithful, picture perfect display of Dumaguete life.
Every element of the play was a piece to the puzzle that is Dumaguete. The direction taken was one grounded in the reality of Dumaguete life, from the Bisaya dialogue, the simple yet accurate designs of everything, to the energy poured into the characters by the actors.
The set design and costuming holds some of the close-to-heart iconic Dumaguete imagery, as if all the people, props, and homes were taken right off the local streets. Everyone wore casual, everyday clothes, nothing really trendy, creating a timeless look. Some even wore student uniforms, like those of Negros Oriental High School. In the beginning especially, there were some practicing arnis, some doing zumba, and more, like it was a scene at boulevard. Taking note of the make-up and hair, everyone had quite natural hair colors, styles, and make-up—nothing too dramatic. On the stage itself, everything was simple yet recognizable to the Dumaguete scape. This includes the acacia tree in the center of the stage, like the ones in the Silliman University campus and boulevard, the houses that you see on the sides of the roads, and the “signs” for Cang’s, Qualfon, Hayahay, and more.
For the lighting design and sound design, the most notable elements were the background lighting and songs. White, yellow, and colored spotlights were also used to place emphasis on certain people or parts of the stage. Throughout the play, the plain backdrop had different color lights casted on it, depending on the time of day or mood. For example, it was casted blue during the night scenes, at other times yellow, orange-purple, orange-red-indigo, etc. During one scene, there was also the use of flashing colored spotlights. On the sound design side of things, there was use of busy street noises, and most notably music. The main character also would sing part of a song spontaneously. All the music reminded me of acoustic Bisaya songs, in mood and character.
All in all, Scharon Mani made use of several elements and indicators to tell the stories in the heart of Dumaguete. From the taken-off-the-street costumes, the spirit of the music and colors, to the iconic set design and street characters, everything was characteristic of the colors and lifestyle of modern Dumaguete City.
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