Rising above the flood: A Sociological Examination of “Rak of Aegis” the musical
deskvalor
Mar 26
4 min read
By: Daniela Castrodes
Introduction
Liza Magtoto’s Rak of Aegis (2014) is an original Filipino comedy jukebox musical featuring songs by the popular 90s band Aegis. Directed by Maribel Legarda, the hit musical circles the communal stories of a fictional flooded Filipino community, Barangay Venezia. At the center of their struggles and triumphs is Aileen, a promo model who is dead set on finding true love and seeking viral fame to support her small family amidst the unceasing flood water (Cartalaba, 2019).
The musical presents a powerful message on the socio-economic disparities faced by marginalized Filipinos, particularly those living in impoverished communities. Using a sociological approach, the musical's vibrant storytelling can be analyzed to explore systemic inequalities and highlight the challenges of survival amidst adversity.
Body
In Rak of Aegis, we witness the story of Aileen, originally played by Aicelle Santos, a young woman with a big voice who dreams of becoming the next YouTube sensation and a guest on Ellen. Set in Barangay Venezia, a low-income neighborhood still swamped with water two months after a typhoon, the flood has drastically impacted the lives of residents. As Aileen pursues her dream by recording herself performing amidst the flood, she finds herself helping her barangay battle health hazards and livelihood challenges. With some getting sick and everyone struggling to navigate their daily lives, they blame the fraudulent construction of a nearby subdivision for the flood and mourn the loss of their shoe-and-sandal industry.
Through the musical’s vibrant storytelling, humor, and resilient characters, it highlights how poverty shapes human behavior, the need for collective action, and the survival mechanisms people create in the face of social and economic injustice. The story also introduces characters like Tolits, played by Pepe Herrera (originally Jerald Napoles), a lovestruck boatman who charms his way into Aileen’s heart and supports her journey to fame. As well as ex-lovers Mary Jane (Isay Alvarez), the enterprising kapitana of Barangay Venezia, and Kiel (Robert Seña), a down-on-his-luck shoemaker and Aileen’s father (Valle, 2019).
Critical Analysis
From a sociological perspective, Rak of Aegis explores the socio-economic inequalities in the Philippines, particularly through the lens of the community's response to persistent flooding. The musical highlights the ways marginalized communities remain on the sidelines about what the authorities need because it deepens the undeniable struggle that piles onto the inevitable need to survive. When Mary Jane (Barangay Kapitana) goes to confront Fernan, the developer of the subdivision causing all the flooding in Barangay Venezia, she gets bombarded with bribes and offers that avoid fixing the problem completely (Lifestyle.INQ, 2019). This is a much larger socio-political picture the bulk of Filipinos are part of because a broken government and corruption are elements that directly affect poverty and the kind of struggle that is most difficult to break away from.
One key plot point highlights the tension between progress and survival when the government promises to fix the drainage to finally end the flood. During the scene singing “Gumising na Tayo,” the community is divided because they had already planned a concert on the same day, hoping it would bring much-needed money, support, and fame. This dilemma symbolizes the harsh reality of how individuals and communities must sometimes prioritize short-term survival over long-term solutions. The decision to resist the government’s plans for a better future highlights the desperation caused by systemic poverty, where even a hopeful, community-driven event becomes threatened by the very change that could improve their conditions. The musical’s portrayal of this conflict critiques the unequal distribution of resources, where people, despite facing hardship, have to navigate difficult choices in order to survive. The tension between fixing the flood issue and holding the concert reflects broader issues of socio-economic inequality, showing how communities can be caught in a cycle
of survival that is difficult to break.
However, the musical does have certain limitations. While it offers an interesting climax where the conflict is not clearly defined between “good” (the community of Villa Venezia) and “evil” (Fernan and his subdivision), the true tension in the “Gumising Na Tayo” number arises from the internal conflict within the barangay itself. This adds complexity to the story, yet the resolution feels rushed and somewhat contrived in comparison to the buildup. The quick conclusion and the “punishment” of Fernan do not offer the depth one might expect, leaving the audience unsatisfied with how the situation resolves. This mirrors real-world frustrations where perpetrators of corruption often face minimal consequences, reinforcing the harsh reality of systemic issues.
Writer Gelo Lasin noted that the production “captures this kind of hope [that despite limitations we can aspire to something more], along with the accompanying regrets, fears, and frustrations that we may have,” and praised the outstanding cast and unique stage design (Lyons, 2021). Having the stage genuinely submerged in water brought authenticity to the performance and helped portray the struggles and heartbreaks faced during disasters such as this. The musical also draws attention to the role of music as a form of resistance and empowerment. In Rak of Aegis, the characters turn to music as a way of expressing their struggles, hopes,
and frustrations.
Conclusion
Liza Magtoto’s Rak of Aegis provides a powerful exploration of socio-economic inequality in the Philippines through its depiction of the intersection between corruption and enduring disaster. The musical critiques systemic issues by highlighting the internal struggles of marginalized communities trapped in cycles of survival.
While the production offers strong social commentary, the resolution feels somewhat rushed, especially in handling Fernan’s fate, which lacks the depth expected from such a complex story. Despite this, the use of music as a form of resistance and empowerment stands out, illustrating the role of creativity in times of crisis. Ultimately, Rak of Aegis serves as a call to action, urging audiences to confront poverty and systemic inequality that hinder progress in the Philippines. It highlights the necessity of solidarity and collective action in addressing these pressing social challenges.
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