This paper examines a 1993 adaptation of William Shakespeare’s Romeo and Juliet from Camarines Sur in the Philippines’ Bikol region. Written in Bikol colloquial language and set amid 1990s Bikol culture, the play offers a culturally specific rendering of Shakespeare that foregrounds male violence and diminishes female agency. In “Ang Kaherak-herak na Pagkaminootan na Romeo & Juliet” (The Tragic Love of Romeo and Juliet), attributed mainly to Rodolfo Alano, Shakespeare’s tragedy is rewritten and adapted through the lens of orag (a complex cultural term connoting male excellence, prowess, bravado, and dominance) and pagkamoot (love). Shifting the tragic focus from forbidden or doomed love that is romanticised in many Philippine adaptations, Alano’s play critiques the violent consequence of this patriarchal order, transposing the tragedy from the realm of pure and transcendent love to that of masculine pride. Drawing on Bikol cultural studies of orag as male-oriented Bikol aesthetic as well as gender and translation frameworks, this paper argues that Alano’s cultural translation serves as a gendered critique of local power structures, demonstrating how Shakespeare can be “claimed” not simply as a source but also as a site for rethinking Bikol regional identity and masculinity.

Keywords: Philippine Shakespeare; Romeo and Juliet; Bikol adaptation and translation; gender and literary criticism; Bikol orag

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