Although such a dichotomy in the first place does not lay claim to anything political, Nadres thinks otherwise, and renders it as a political division precisely when it is the question of Coming Out which overarches everything. The unwillingness of Fidel, the covert gay, to admit his homosexuality to Efren, the boy he has been supporting and secretly in love with, is about his fear of becoming branded as a homosexual, well as his fear of being dismissed asbaklaby the polite society to which all his life he had been trained to pander, and which in this play Efren represents.
Pangunahin dito ang pagkilala ng simuno/sakop sa kalagayang kolonyal bilang isang mistikal na karanasan, tulad ng pagsilang ng “tala” sa laganap na “dilim” sa buong bayan, kaya’t walang kakayahan ni dahilan para mag-usisa sa motibong pampulitika at saligang kolonyalista ng kapangyarihang Espanyol. Nakapaloob ang lahat sa bias ng pagsampalataya — ang pagtanggap sa Awtoridad (“Diyos”) bilang simula at wakas — na malimit humangga sa pagpipikit ng mata sa kahit malalaking katiwaliang nangyayari sa ngalan at bunga ng pagsampalataya.