August 25, 2024

In 1911, Marie Curie won her second Nobel Prize, this time in Chemistry, for the discovery of radium and polonium. However, she was not in the mood for any celebration. At that time, the widow Curie was being bashed in public for having a clandestine love affair with another scientist named Paul, who was very much married.  The Nobel organization even asked her not to attend her awarding ceremony because of the controversy she will attract. 

At this lowest point of her life, Curie was visited by her very good friend, electromechanical engineer Hertha Ayrton. Ayrton invited Curie and her two daughters Irene and Evie to come visit her in her seaside rest home back in Great Britain. Away from the distressing public scrutiny in France, Curie and Ayrton bonded over stories about their late husbands, about Curie's illicit affair, about Ayrton's criminal record, among other things.

Lauren Gunderson is a prolific American playwright who usually wrote about female scientists. Of her 25 plays written since 2001, I have only seen one of them so far -- "Silent Sky" (2011) about astronomer Henrietta Leavitt -- staged by Repertory Philippines in 2018. "The Half-life of Marie Curie" (2019) was about the most famous female scientist -- Curie, but sharing the stage was a fellow scientist, lesser-known, but also deserving of notice -- Ayrton.

The first time I had seen Missy Maramara in action onstage was in 2018, in Dulaang Up's "Ang Dalagita'y Isang Bagay na Di-buo," and I had admired her since then. Maramara was very intense in portraying Curie's frustration and depression as her respected career crumbled down over the weight of a scandal.  Those who know Maramara more as a improv comedian of SPIT would also relish her sharp comic timing in the moments of levity here.

Caisa Borromeo was such a ball of energy throughout this play as Hertha Ayrton, from her introductory spiel about her invention. to her story about how she got her unique name, to her ribbing Marie to share juicy details. She was the best friend we all wish we had -- always looking on the bright side, always excited over our achievement, always honest in her criticism. The chemistry of Maramara and Borromeo was impeccable and a joy to watch. 

The fact that most of us now knew nothing about this "big scandal" which caused Marie Curie sleepless nights from 1911-12 proved that, more likely than not, history will eventually just remember us for our important achievements than our moments of human weakness.  Meanwhile, while we are still saddled with these mental health issues, we are lucky if we have loving family and loyal friends to rely on for support during these tough times.

Gunderson brings up now and again the constant challenge women go through to find equal footing in a world dominated by men. Women had always been judged with a different standard, be it about scientific achievements, political decisions or moral issues. Curie and Ayrton both loved their late husbands very much, but they also wanted to be known as brilliant scientists on their own merits. This play brings us into the intensity of their struggle. 

********** 

"The Half-life of Marie Curie" is a two-hander play that runs for about 90 minutes without an intermission. This MusicArtes production is directed by Kiara Pipino, and staged at the Doreen Black Box Theater at the Arete in the Ateneo. Play runs 7pm on August 23-25, 27-30 with 3pm matinees on August 24-25, 30-31. It is rated PG-13 as there are scenes that tackle sex, gender discrimination, self-harm, and violence. 

September 14, 2024

In the town plaza of Rosales, Pangasinan stood one old magnificent balete tree. The biggest rice farm there was owned by a corrupt politician Don Vicente. It was run by by a stern caretaker Espiridion, who was the father of the narrator / protagonist, Francisco or "Kiko." As a child,  Kiko got along well with their farm servants. However, he also witnessed how his father had been a very harsh employer, often resorting to violence. 

"Balete" is a reworking of Rody Vera's stage play written in 2002 originally for PETA. It was adapted from "Tree," a 1978 novel by National Artist for Literature F. Sionil Jose. It was the second book of his epic 5-volume Rosales Saga, written from 1962 to 1984 (not in chronological order). Director Chris Millado also shared in his notes that they also incorporated parts from Jose's 2021 autobiography, "Promdi." 

The story was being narrated by the adult Francisco in English, which then segued to dramatizations in Filipino detailing these stories. Narrator, child Kiko and father Espiridion were all played by one awesome actor -- Nonie Buencamino. Passion was always burning in those piercing eyes of his, it was mesmerizing to watch him perform. His portrayals were so distinct for all three roles, I'd say that the award for Best Actor in a Play 2024 is already wrapped up as early as now.

The four senior members of the Actors Company were at the top of their game as usual. Marco Viana played Kiko's long-lived grandfather, and his artist-philosopher Tio Marcelo. Jonathan Tadioan played the motherly cook, the affable horse groom David and the reviled landowner Don Vicente. Lhorvie Nuevo played Ludovico's father, housemaid Marita and farmhand Anghel. Toni Go played Hilda from the carnival, a Chinese businessman and the mysterious woman Kiko's father visited. 

The three younger members of the Actors Company also get to play some memorable characters. Earvin Estioko played Tio Baldo, Kiko's relative who later actively fought for farmer rights. Gelo Molina made a strong impression as the young servant Ludovico. He was Kiko's favorite playmate, something which got him into trouble with the boss. Ynna Rafa played Ludovico's mother, as well as Clarissa, Kiko's cousin from Cebu. 

Wika Nadera's stage was one huge circle with a trapdoor in the middle. A wooden lounge chair descended on the stage when needed. The actors sat around the circle, with all their props and costumes all on the floor beside them, as they changed as the scene required.  It was only the second show of the run that I watched, but everything went like clockwork, from actor blockings to Roman Cruz's lights. This show could only get more polished from here. Bravo!!

********

"Balete" runs from September 13 - October 6, 2024 at the Tanghalang Ignacio Gimenez, Cultural Center of the Philippines. Play runs for about 2 hours and a half, with a 15-minute intermission. 

Get your tickets at: Google Form (LINK), Ticket2Me (LINK), Ticketworld (LINK), or Klook (LINK). Ticket prices: VIP Php 2,000, VIP (20% Discount for Season Pass Holder, Senior Citizen, PWD) - Php1,600, VIP  (10% Discount for Students) - Php1,800, Regular Php1,500, Regular (20% Discount for Season Pass Holder, Senior Citizen, PWD) - Php1,200, Regular (10% Discount for Students) - Php1,350

September 19, 2024

I first knew of Damodar das Castillas from the effusive posts of veteran writer Pablo Tariman about this cello child prodigy. As my favorite musical instrument was the cello, I had been wishing that I could watch him perform live in a concert, and my chance to do so came to pass today. It was a bonus that the venue for this benefit concert was also new to me -- the MiraNila Heritage House and Library, located along Mariposa St. in Quezon City. 

Because it was not located in a gated community, I did not expect the elegant beauty of the main mansion and expansive grounds that I saw when I drove through their gate. MiraNila was built in 1929 by Conrado and Francisca Benitez, parents of the late Dr. Helena Benitez of the Philippine Women's University. The pre-war grand style house and its collection of art and books are now open to the public for guided tours and catered events.

When he first stepped out onto the stage, I was surprised how he did not look like the boy in the poster above for this event. He was much taller now, and wore a thick mop of hair on his head. According to the emcee's introduction, das Castillo was a well-rounded guy. His hobbies include playing basketball and football. He could also play death metal on his electric cello, (too bad he did not include one such song in his repertoire tonight).  

The program proper started a little after 6 pm. The performers were introduced by the emcees, who were a couple of 4th generation Benitez scions. Das Castillo was to be accompanied on piano by UST and St. Scholastica Conservatory of Music professor Mariel Ilusorio. The piano Ms. Ilusorio is playing was a 1904 Steinway grand piano, refurbished by the technician who serviced Cecille Licad's pianos. This concert celebrates this piano's successful rehabilitation. 

Das Castillo opened the concert with a solo number -- "Cello Suite no 3. Prelude" by Johann Sebastian Bach. Ilusorio joined him to play Frederic Chopin's 30 minute-long piece with four distinct movements of various moods and tempos -- "Sonata in G minor for Cello and Piano." During the 10-minute intermission, I really felt the society page experience that this concert as the guests, politicians and ambassadors among them, hobnobbed with each other. 

The second act opened with another cello solo -- "Transcendence" by Faye Miravite (a Filipina composer from Italy), notable for the inclusion cellist's singing vocals (!) into the piece. It was followed by a composition by National Artist for Music Nicanor Abelardo -- "Cavatina". The next two songs were lighter popular fare from movies -- Henry Mancini's "Moon River" (from "Breakfast at Tiffany's") and Richard Rodgers'"Edelweiss" (from "The Sound of Music").  

The final number was described by Ilusorio as "meaty" and indeed it was -- the 11 minute-long "First Movement for Cello Concerto in B-minor" by Antonín Dvořák. For his encore, he first played the 8-minute long "Pezzo Capriccioso, Op. 62" by Tchaikovsky, with the piano taking over the orchestra parts. Finally, the concert ended with the beautiful "Gabriel's Oboe" by Ennio Morricone, the theme music from Roland Joffe's "The Mission" (1986).  

This evening of beautiful classical music played in a nostalgic historical setting was such an enriching experience. I have a personal bias for the full-bodied string music emanating from a cello, so this concert of cello music from a rare Filipino prodigy of this majestic instrument like Damodar das Castillo was certainly extraordinary. Mariel Ilusorio's piano complemented his cello in a precise and passionate partnership. Glorious.

September 28, 2024

Three siblings come together when their father passed away from esophageal cancer. Eldest son Jers (Jojit Lorenzo) was a philosophy professor who quoted Plato and Nietzche in his daily conversations. Second son Jack (JC Santos) was a visual artist whose dream was to interpret Rolando Tinio's poetry into paintings. Youngest was Jai (Martha Comia), a journalist who migrated to the US while advocating for indigenous peoples.

This new play written and directed by Guelan Luarca runs for 1 hour and 40 minutes without an intermission. However, during that single act, the story was not told in a linear manner, as the scenes jumped forwards and backwards in time. At one point, it went so far back that land bridges and even the big bang enter the conversation. A guest narrator would indicate the passage of time, but sometimes it was just a whooshing sound effect that did so.   

As if to embody the title, the set only consisted of three simple chairs, one for each of the three characters. They not only sat on their chairs, they also carried them around, or even stood on them. Further elaborating on the theme of chairs, there was an interesting and enlightening discussion about Joseph Kosuth's 1965 installation called "One and Three Chairs." A popular Burt Bacharach song about a chair was sung in a karaoke segment.   

The siblings contemplated on broad topics about life and death, parts where Luarca displayed the breadth of his knowledge on philosophy, religion and literature. However, the tearjerking moments were those parts when the siblings reminisced about personal stories -- about their parents and about each other. Luarca sure knew how to write beautiful lines (in Tagalog or English) which can hit a raw nerve, giving each actor a highlight moment of raw emotion.

JC Santos's best moment as Jack was that scene when he was listening in on a bonding moment between Jai and her young daughter Jackie. Jojit Lorenzo's best moment as Jers was when he shed tears as he talked about being ashamed that his children saw him crying.  Martha Comia's best moment as Jai was that scene when she read a text another death in the family. It was her Jai who ended up the central focus of the play, and Comia owned it.

October 8, 2024

Venetian army ensign Iago (Reb Atadero) was furious that his Moorish superior officer Othello (Tarek El Tayech) had promoted an aristocrat Cassio (Davy Narciso) to the position he aspired for instead of him. Recruiting unwitting accomplices in his wife Emilia (Maronne Cruz) and his lovesick friend Roderigo (Rafael Jimenez), Iago executed a devious plot to plant a seed of doubt between newlyweds Othello and his virtuous bride Desdemona (Gab Pangilinan).

"Othello" was one of William Shakespeare's more popular plays that I have not read nor seen performed on stage. When I learned that CAST was going to stage this classic, I immediately bought a ticket once they were released for sale. I had known about CAST's previous staged readings and productions, but unfortunately, I never got a chance to see any of them yet. I made sure I was not going to miss this one anymore. 

Before watching any play by Shakespeare, I was afraid that I may not be able to comprehend the Old English verse since I did not have any idea about the story. These apprehensions doubled when it was announced that the play would run for a formidable 2 hours and 45 minutes, with 20 minute intermission. However, once the play started, my worries were unfounded, the language was clear and the pace was engaging.

Tarek El Tayech was effortlessly intimidating as Othello, towering over everyone with his hefty frame. When his rage reached its peak, his big eyes were aflame, and we would cower in fear.  Paired with the waifish Gab Pangilinan as his Desdemona, she was like rag doll in his massive arms. The skilled wrestling choreography made the rough violence that transpired between them feel so shocking and real, as we helplessly watched on the sidelines. 

At the center of everything was Reb Atadero, who played the sly, cunning Iago with sinister relish. We needed to understand Iago to be able to understand the whole play, and Atadero's clear delivery of his lines gripped us and drew us into the complex web he spun without much difficulty. He was able to balance the duplicitous nature of his character, appearing like loyal and honest friend on one side, while being relentlessly ruthless traitor on the other. 

Emilia was Iago's wife and Desdemona's maid, a role which may feel small with a lesser actress, but Maronne Cruz definitely made sure she would make her mark on that stage. She and Pangilinan shone in that scene where the worldly Emilia advised naive Desdemona not about their husbands, but also their self-worth. Emilia memorably called men "stomachs", while women were the "food" which their men eat, and belch out when they're full. 

 

Veteran actor Jaime Del Mundo was featured as Desdemona's father Brabantio. The rest of the cast also donned military fatigue uniforms like Othello, Cassio, Iago and Emilia, including Dippy Arceo as Cassio's lover Bianca, MC Dela Cruz as Desdemona's cousin Lodovico, and director Gomez as Venetian official Montano.  Jimenez wore humor t-shirts as the play's dark comic relief. Panganiban radiated innocence, virtue and purity with her flowy dresses.  

Director Nelsito Gomez was very bold to stage a big play like this in the limited space of the Mirror Theater Studio. The stage was just a flat square floor, with the audience seated on all four sides around it. This close proximity of actors and audience in this tiny black box venue added to the suffocating atmosphere of percolating toxic jealousies. These emotions just erupted in full hurricane-force into our faces at the climax. I was left gasping for breath. Whew!

**********

CAST's "Othello" runs only for two weekends, from October 4 to 13, 2024 at the Mirror Theater Studio, on the 5th floor of the SJG Building, 8463 Kalayaan Avenue, Makati City. Tickets were sold at P1000 each. The whole run is already sold out.

Today, in response to the overwhelming demand, another performance date has been added on October 19 at 8 pm! Go and watch this!

October 14, 2024

Jepoy and his washer-woman mother Aling Barang may be very poor, but they managed to lived happily together with their pet dog Galis in their cottage at the edge of a big forest. One day, Galis ran off with a dress Aling Barang was washing, so Jepoy ran after his pet. To his amazement, his dog jumped into a mysterious circular portal floating in mid-air. Jepoy jumped right in with him and they ended up in another dimension called the Underworld.

"Jepoy and the Magic Circle" is the first of two original Filipino musicals Repertory Philippines is staging during this, their current 87th season.  The second one is "Going Home to Christmas," featuring the songs of Jose Mari Chan, timed for the holiday season. This continues Rep's initiative to stage original Filipino shows which started with "Miong" and "The Quest for the Adarna" in 2019, only to be interrupted by the pandemic. This new musical is directed by Ms. Joy Virata, the creative director of Repertory Theater for Young Audiences.

Rody Vera adapted the script from the children's book "The Magic Circle" by Gilda Cordero-Fernando.  The original music and lyrics were written by Ejay Yatco. They are on an amazing creative roll this year. They also collaborated in Full House's Parokya ni Edgar musical "Buruguduystunstugudun-stuy." Yatco was the musical director of "Pingkian," one of Tanghalang Pilipino's top-tier 2024 productions. 

The play opened with a short introduction to endangered indigenous fauna, like mouse deer, warty pig, Philippine eagle, tarsier and pawikan. The first half of the play was expository, building up the real world where Jepoy and mother lived and teasing a brief taste of the Under-world on the other side of the portal. However, it was during the second half when the wondrous world of Filipino folklore bloomed in full color right in front of our eyes, featuring the fantastical costume designs of Raven Ong, and puppets of Kayla Teodoro. 

As we joined Jepoy as guest of a Tikbalang wedding officiated by the elegant Dona Geronima, we get to meet the Tres Marias -- Maria Makiling, Maria Sinukuan and Maria Cacao, the duwendes in blue and the tiyanak in pink, the two manananggals in flight, the sirena who guides the sailors, and finally, the Kapre. There was also a guy carrying a blind guy, a mute guy and a lame guy on his shoulders (not sure who he was). Like Galis, there were other talking animals in attendance, like Cat, Frog, Monkey and Cockroach.  

In the show I watched, Jepoy was played by Elian Dominguez in his first lead role in a major musical production. His Jepoy was full of energy, with a slight rascally vibe, which was a nice comic touch. His singing voice had a wide range, so he should have a promising career in musical theater ahead of him. As he is an environmental scientist by profession, he got his wish to merge his two interests with this play. (Alternating as Jepoy are theater veteran at age 20 Noel Comia, Jr. and former "Batang Rizal" Yhuan Gatbunton.)

Aling Barang was played by Mikkie Bradshaw-Volante, as bubbly as ever. (Ring Antonio alternates as Aling Barang.) Host Paqui was played by Luis Marcelo, who should be more careful with his intro spiels for the kids. He mis-defined the word "nocturnal" in the show I watched. (Joshua Cabiladas, Franco Ramos and Stephen Vinas alternate as Paqui.) Dona Etang and Dona Geronima were played by Pinky Marquez, her soprano as solid as ever. (Abi Sulit alternates as the Donas.) Real-world Galis was played by Francis Gatmaytan (Czar Decena as alternate), while Under-world Galis was played by Cara Barredo. 

The featured character that deserves special mention is that the Kapre, portrayed by Hans Ekstein in the matinee show I watched. You do not see the actor's face at all, as it was hidden in dark green make-up. He was in a full-body costume of green leaves, and he had to carry the mythic creature's head (with a moving mouth!) and arms above him, while wearing elevated clogs on his feet. The actor had to rely on his deep resounding voice to act and convey the Kapre's sad plight, and Eckstein gave an excellent performance.

Parental guidance is needed so the kids can get the messages of this show straight.  Traditional Filipino dark monsters were portrayed here as colorful friends. Unlike the endangered animals, their continued "existence" remains valuable for our cultural identity as Filipinos, not as facts. Discrimination against those regarded by society as different is correct. However, calling everyone "all a little weird" (and having Jepoy proudly declare himself a "weirdo" as the final line) can be confusing for kids and should be explained properly. 

*********

"Jepoy and the Magic Circle" is Rep's first play staged in their new home in the fourth floor of the Eastwood City Walk. For ticket reservations, send a message at: 09626918540 & 09669054013. 

October 15, 2024

When the first announcements about this play starring Lea Salonga and Dolly de Leon came out four months ago, everyone was abuzz was excitement. We would soon learn that they won't be sharing the stage at all. This was actually a one-woman play without any spoken lines. This meant that the actress would only have to use her facial and body language to tell the central character's story. Watching this play promised to be a very different experience. 

When you go into the theater early, you would be seated in a waiting area first, where you saw huge metal shipping containers stacked up. About 30 minutes before showtime, the viewers were led into the main staging area inside the containers. They arranged the seats theater-in-the-round, surrounding a fully-furnished studio unit with no walls, which we will later see had water faucets and electric outlets that worked. At almost exactly 7 pm, she would enter, and the play began.

It would be best to watch the play with a clean slate, without knowing anything about what was going to happen. The next paragraphs would have spoilers so you may want to stop here and continue reading after you watch the play. 

Upon entering her house and taking off her coat, the first thing she did was to go to her kitchen and prepare her dinner. This was not pretend cooking -- she prepared all the ingredients and turned on the appliances, which all worked. After a few minutes, we see the steam coming out of the rice cooker and the saucepan on the stove. She would later eat the very rice and viands which she cooked in front of us. This all happened in real time. 

Since she did not say a single word, we can only deduce things about our central character's life by context clues. We knew she was in a foreign country, because she wore a thick coat in February. She wore a scrub suit, so she is in the health care industry, likely a nurse. She is a Filipina who missed her home country, because she listened to a radio program that featured Filipino pop songs, and her favorite song was "Hallelujah" by Bamboo. 

We surmise that she was an obsessive neat freak, because we saw her wash the dishes, cookware and even the toilet right after using them. She also sharpened her colored pencils right after using each one. So basically for the first 1 hour and 10 minutes, we see her puttering around her studio unit mundanely -- cooking and eating dinner, bathroom rituals, her artwork hobby, prayers to her Sto. Nino, bedtime and lights out.

However, something unexpected happens in the last five minutes that put everything that transpired in the last 70 minutes in a different light. If at first you thought that watching our character do her nightly routines had no point, or a case of much ado about nothing or "The Emperor's New Clothes," the last five minutes will give you pause and make you reflect on everything you've just witnessed and how they actually made sense.  

The show I watched featured Ms. Dolly de Leon. Based on the plays and films I have seen her do before, there was no doubt in my mind that she could pull this challenging project off. As expected, she was riveting, not a dull moment, even if it felt like I was just peeping into the private life of a next door neighbor. With her sad eyes and hunched stance, De Leon made us feel the loneliness of the character, but not without hints of her sense of humor. 

Lea Salonga may have the more stellar name on the marquee, but we know her more as a powerful singer and articulate speaker. Acting alone in a wordless hour-plus-long one-act play is way out of her usual comfort zone. Her fans would be very curious to see her in another form of theater other than a musical. I may not be able to see a Lea Salonga show any more, but knowing her work ethic, she will surely give her performances her 100%.

Director Bobby Garcia and co-producer, set and costume designer Clint Ramos devised Franz Xaver Kroetz’s 1973 play "Request Concert" in the point of view of a Filipina nurse overseas, living alone and exhausted from work. This made the character's sadness feel more organic for local audiences, so that the ending did not feel random as it reportedly did during its original German run. It would also have been interesting if an alternate actor was male.  

**********

"Request sa Radyo" runs for 20 shows only from October 10 to 20, 2024, at the Samsung Performing Arts Theater in Circuit Makati. Tickets cost P9000 and P8000, available on Ticketworld via this LINK. Those seated in the F section seemed to have the best view.

The ticket prices are formidable, but this 7 pm show I watched on a Tuesday night was almost full house. Latecomers will not be admitted anymore once the show has begun. It has themes, issues, and references that may be triggering to some audience members, so rated R-15.

October 26, 2024

On New Year's Eve of 1941, the Santamaria family was gathered together in their opulent ancestral house fronting the church in Dumaguete. The patriarch was Don Carlos Santamaria (Gie Onida), and his wife was Dona Amanda (Katski Flores). Their eldest son was lawyer Miguel (Gino Ramirez), whose wife was Isabel (Bea Jose), Their second son was politician Franco (Johnrick Noynay), whose wife was Cristy (Chase Salazar). 

When the United States declared war on Japan after the latter attacked Pearl Harbor, the Philippines was very much part of the arena of that war in the Pacific. It was only on that New Year's Eve that the Santamaria family began to realize the impact that this war was going to have on their family. The youngest son, medical student Carlito, had just been drafted into the army in Luzon, while Miguel and Franco were about to join the troops in Cebu. 

This play was originally written in English by Elsa Coscolluela. She graduated with a degree in Creative Writing in Silliman University, which had been mentioned many times during this play. It was first staged by the UP Playwright's Guild in 1988, to critical acclaim. Coscolluela had written the play based on real stories of the war as told by her own father and father-in-law, which is why it resonated strongly with those who had lived through the war. 

Even if the title referred to the father (based on bible verse John 14:2), but Don Carlos was absent in several scenes, purportedly out playing chess with the parish priest. Gie Onida's highlight was when he angrily confronted Franco about his unpopular decision. Johnrick Noynay was able to give heart to Franco's antagonistic stand. You'd think Jeremy Mayores's houseboy Emilio was just comic relief in Act 1, but he would ace his very serious scene in Act 2.    

The heaviest dramatic scenes of the play belonged to the women characters. Chase Salazar's highlight was that confrontation scene between Cristy and Franco about their marriage. Bea Jose's highlight was Isabel's mental torture after three days of walking to find food for her children.  Louis Paguia's Marissa only had a few scenes, but we are deeply moved by her trauma witnessing her teachers' deaths and her shame as sex slave to a Japanese officer. 

Over and above everyone was Katski Flores' emotionally-devastating turn as the family's matriarch Amanda. Flores was so totally possessed by her character, such that her every facial expression and her body language all spoke volumes about Amanda's pain. When she protested about her sons joining the war, we felt it. When she stopped her son's friend from telling his news, we felt it. When she issued a silent scream at the end, we all heard it. 

Jerry Respeto translated Coscolluela's play into eloquent Filipino.  I have not read or seen a staging of the original play in English, but I expect that this shift of language from English into the local tongue should make the drama even more heartfelt and the anguish even more palpable. It made the bitter sentiments against the enemy drip with more contempt. It made the declarations of heroism and patriotism ring even more sincere. 

As director, Respeto prefaced each chapter of the Santamaria family story with actual WWII newsreels to put the events in proper historical context. Essentially this play is a 2-1/2 hour summary of the Japanese occupation in the Philippines. Aside from expected tragic stories of victims of various atrocities, it also told about those who became guerillas and those who chose to serve as government officials, and the price their families had to pay. 

**********

"Sa Tahanan ng Aking Ama" runs from October 9 to 27, 2024 at the Doreen Black Box Theater, 3/F Soledad V Pangilinan Arts Wing. Areté, Ateneo de Manila University, with 7 pm shows on October 9-13, 15-20, 23-27, and 2 pm matinees on October 12-13, 19, 20, 26-27. Regular adult tickets are priced at P850, with applicable discounts. 

November 11, 2024

Medea (Miren Alvarez-Fabregas) was deep in despair and rage. Her ambitious husband Yason (Yan Yuzon) had left her and their two sons to get married to the princess of Corinth, daughter of King Kreon (Chot Kabigting). Fearing for the safety of his daughter, Kreon ordered Medea to be exiled out of Corinth. Medea pleaded for one more day, which the King granted begrudgingly. Medea knew that was enough time for her to set her plans into action.

"Medea" is a classic tragedy play written by ancient Greek playwright Euripides which was first performed in 431 BC. It was about characters from Greek mythology -- Jason, leader of the Argonauts and hero of the Golden Fleece, and Medea, the sorceress who helped him obtain it. I did not hear the word "sorceress" last night, but the play mentioned that Medea was from Asia, and played a big role in Jason's rise to prominence in society. 

This adaptation of "Medea" was translated into Filipino by none other than National Artist for Theater Rolando Tinio. It stars some alumni of Tanghalang Ateneo who had just been spurred back to activity by the death of their inspirational mentor Ricky Abad. I was in awe when I watched Miren Alvarez-Fabregas, Yan Yuzon, Joseph dela Cruz reunite after a 20-year acting hiatus in "Mga Multo" last July, and I made sure I will not miss this new show.

Miren Alvarez-Fabregas was a force of nature here as Medea. We only hear her eerie cries of anguish and woe from offstage for the first fifteen minutes, and it was already giving us goosebumps. From the moment she appeared on stage, she owned our full attention the whole time. We felt her wrath and desperation escalating to the point of madness, until they peaked in that spectacularly-staged, smoky and chilling climax on her chariot. 

The supporting cast likewise gave strong performances -- Joseph dela Cruz as Medea's supportive friend Egeo who also witnessed the outcome of her act of vengeance, Katski Flores played Medea's old Yaya who worried about her mistress, Joel Macaventa played Medea's sons' Maestro who worried about his wards. The chorus of two -- Gold Soon and Pickles Leonidas -- helped the story along with their narration and as Medea's friends. 

Under the direction of Ron Capinding, the show ran for 1 hour and 40 minutes without an intermission. Tata Tuviera's rectangular stage was the courtyard of Medea's house set in between two raised bleachers on both long sides for the audience. Don't take those seemingly textured walls on both short ends for granted. Tuviera's costumes and Ara Fernando's makeup gave a Central Asian vibe. Zac Capinding's sound and music evoke tension and danger.

What a strong central female character who took agency, no matter how divisive or controversial her decisions are, this classic is feminist at its core. Even up to the present time, in any corner of the world, women are still often in situations where they are caught between a rock and hard place. While Medea's dilemma may be an extreme example of agency, her story remains a thought-provoking piece that will always invite debate anytime and anywhere. 

**********

Tanghalang Ateneo's production of "MEDEA" runs from November 12 to 24, 2024 at the FA Black Box Theater in the Old Communications Building of the Ateneo de Manila University. Shows at 7 pm, with 2 pm matinees on Saturdays and Sundays. Tickets available via this LINK. Basic price is P700, with appropriate discounts as the case may be.

November 10, 2024

It was 1971, and Mindanao was being rocked by a violent conflict between the Christian military and Muslim rebels. Nanay Bangis (Geraldine Villamil) pushed a cart around the roads to sell her goods to the soldiers on both sides. She had three children: Elvis (Ethan King), Kesong Puti (Raymond Aguilar), and a mute girl Christine (Khay Eva). Over the next ten years, she met various people along the way: the prostitute Ynez (Air Paz), the minister Brother Mike (Jigger Sementilla) and the cook Pedrong Tabako (Ronah Rostata- de la Pena).

"Nanay Bangis" is based on Berthold Brecht's "Mother Courage and Her Children," a play often hailed by critics as one of the greatest plays of the 20th century. Prolific playwright Rody Vera had adapted it in Filipino, transposing the original setting of Europe in the 17th century during the bloody Thirty Years' War, to Mindanao from 1971 to 1981 during the bloody Muslim separatist movement there.  Both of these destructive wars were rooted in religious conflicts -- Catholics vs. Protestants in Europe, Christians vs. Muslims in Mindanao. 

I was invited to what was called the Press Preview of this show last Saturday, November 9, 2024, 2:30 pm. However, when Dulaang UP Artistic Director Issa Lopez Manalo gave her welcome remarks, she called the show a Technical Dress Rehearsal. So, essentially the show I saw was not yet the actual show. There were technical elements which were not yet final, I guess depending on what worked or didn't work during this run-through. 

As of now, I can only describe what I saw in this open TDR. When you read this, keep in mind that what I saw was just a rehearsal and not the final show. The pacing felt off, where the transitions between subsequent scenes seemed to take too long. For example, it was announced repeatedly at the start that the show will run for 2 hours and 4 minutes with an intermission. This TDR ran for almost 3 hours, or at least felt like it.

The individual main scenes were very well-performed, especially during Act 2, by which time the viewer would have already gotten drift of the story, and there was already more action than exposition. However, the transitions between these main scenes still felt awkward, and needed tightening and streamlining. The singing parts felt jarring because they seemed so out of place, but later I would read that these songs were really there in the original after all. 

I have to admit that the acting style felt strange while I watching, rather aloof and unengaging. The characters here were all very flawed, such that I did not really like any of them, not even, or especially Nanay Bangis herself, who was particularly incorrigible. I would later learn that in Brechtian plays were written purposefully to alienate audiences from the characters emotionally. Therefore, expect this play to be a different experience, as I did.

Also unique for a Brechtian play is breaking the fourth wall. King and Aguilar went out of character to do narration. There was a part when Villamil took a break as Nanay Bangis, so the narrator King begrudgingly took over, as instructed by the stage manager. Brecht did this technique in order so audience would realize that they were only watching a play now. It reminds the viewers that the real fight happens outside the confines of the theater.

Brechtian epic theater is meant to be a living newspaper, where issues of society and politics are presented on stage. This aspect of a Brechtian play was definitely well-reflected in this play. The detailed narrations about the history of the Muslim separatist movement in the 1970s, complete with all the personalities and events, were very educational, thanks to the dramaturgical research work by Jonas Garcia and Popo Amascual.  

Directing this play with its specified rules and expectations must have been a welcome challenge for veteran director J. William Herbert Sigmund Go. Having Angel Dayao's musical score played by a live band with traditional Muslim instruments was an excellent idea. Mark Daniel Dalacat designed a stage formed like two wide intersecting roads on which Nanay Bangis's cart moved all around. Go did not limit the action on that main stage, but he also involved the rafters above, which can be accessed by a rope ladder. He even set major death scenes up there. 

Again, the only version of this play that I've seen was only a TDR, not a real full run of the play. There was even no curtain call at the end of the show for us to be able to show appreciation to the actors. Like ure that the full play will proceed more smoothly, exactly how director Go had envisioned it to be. I hope I still have the chance to go watch this play full-fledged, if not during this run, then a future rerun. 

**********

Dulaang UP's "NANAY BANGIS" runs from November 15 to December 1, 2024 at the Ignacio B. Gimenez - KAL Theater, UP Diliman.

Showdates and times are as follows: November 15, 22, 28 (7:30 p.m.), November 16, 23, 29 (2:30 p.m. and 7:30 p.m.), and November 17, 24, December 1 (10:30 a.m. and 2:30 p.m.).

Regular ticket price is P1000, with appropriate discounts as warranted.

Non-UP student tickets are priced at P750. PWDs and senior citizens may also enjoy a discounted rate of P800, while regular tickets are available for P1,000. 

November 30, 2024

She was a published author who is working on her next book. One day, she received a message asking her if she would consider taking over to write the online advice column, "Dear Sugar." After an initial hesitation, she accepted, even when she was told that she was not going to earn any money out of this gig. Once she began writing her advice for the letters sent to "Sugar," loyal readers recognized that it was a new person behind the pseudonym.

The source book "Tiny Beautiful Things" is a compilation of selected essays written by Cheryl Strayed (author of "Wild: From Lost to Found on the Pacific Crest Trail") for her advice column published the online literary magazine "Rumpus" from 2010 to 2012.  Nia Vardalos (of "My Big Fat Greek Wedding" fame) adapted and developed these essays into a play in 2016, for which she herself originated the lead role of anonymous advice columnist Sugar. 

For this play staged by The Sandbox Collective under the direction of Jenny Jamora, lead actress Iza Calzado plays Sugar who typed her column on her laptop on her dining room table. She got to interact with various letter-writers as embodied by three other actors (Rody Vera, Gabby Pineda, Ketchup Eusebio, with alternates Brian Sy and Regina de Vera), who went in and out and around the different areas of her house (designed by Kayla Teodoro). 

The topics of the letters ran the gamut of personal problems -- from light trivial to profoundly serious. Sugar drew from her own life experiences to try to clarify issues. Some memorable letters involved how to know when what one felt about someone was love, how to tell a good spouse that he wants a divorce, how to tell a new partner about a history of sexual assault, or how to make sense of a senseless death of a son. Heavy stuff, frank language.

The letter writers in the show I watched were: prolific playwright Rody Vera (whom I had never seen act in an English play before, and cursing to boot!), Gabby Padilla (effortlessly transitioning from her indie films to the stage for the second time this year), and Bryan Sy (internally intense as ever, you wouldn't know he was covering for film/TV actor Ketchup Eusebio). Too bad there were occasional mic issues which made some lines unclear. 

The main spotlight rested on elegant Ms. Iza Calzado, who was onstage for practically the entire 1 hour-50 minute run time. Her delivery of Sugar's lengthy, complicated lines was clear and flawless, very impressive for one playing lead in her very first stage production. She paced her emotions well as the intensity of the problems escalated, peaking in that cathartic, excellently-composed 24-point response to a most excruciating question at the climax.

**********

"Tiny Beautiful Things" runs at the Power Mac Black Box Theater at Circuit Makati, from November 16 to December 8, 2024, with evening shows at 7:30 pm, and matinees at 3 pm on Saturdays and Sundays. 

December 13, 2024

Kendra (Thea Marabut) had a loving family around her. Her mother Alice (Peewee O'Hara) loved baking muffins, knitting scarves, and girls night outs. Her father Bob (Soliman Cruz) was an ever-supportive dad who dutifully took care of everyone's needs. Her elder brother Ben (Joshua Cabiladas) was married with kids and a medical doctor, but he would never miss a family game night. However, Kendra still felt there was something missing in her life.

Kendra is the central character of this play, but she seemed to be the most distant from the other members of her family. I knew Thea Marabut from her videos with the hilarious SPIT Manila improv comedy troupe, so her pensive moods here were a revelation of her range. The mother always tried to bring her family together, and Peewee O'Hara's Alice always tried her best to a fault, even if she had to suppress the crisp cuss words she wanted to say. 

The father character had the vaguest description, with very generic requirements, like "he takes care of all of us." As a result, Soliman Cruz actually had the least "moments" with Kendra. This detail may reflect how little we may know about our fathers, except as a provider. The brother character was supposed to be the fun guy, and Joshua Cabiladas certainly fit the bill. However, the "fun guy" may not always be having fun behind his smiling mask. 

"Nagkatuwaan sa Tahanang Ito" is the Filipino translation of Sam Walsh's play "This House Is for Laughing," written and directed by Guelan Luarca. The title may make audiences expect a riotous comedy, but it is not really that, which may be disorienting. Yes, there were funny bits here and there. However, the overall atmosphere of this play was one of depression and uneasiness, not exactly the picture of the perfect family that the happy title may suggest.

This play was about the idealistic expectations we have from the other members of our family. We do not have a choice about who our family members are, or how they are as immediate relations. If society allowed us to program exactly what how we want our parents and siblings to be, will this finally bring us the elusive happiness we cannot find from our real families? This material is potentially triggering to those who may not be happy with their family.

***********

Mad Child Productions'"Nagkatuwaan sa Tahanang Ito" runs at the Black Box Theater, Old Communication Building, Ateneo de Manila University. This is a limited run of only 8 shows: December 12, 13,and 15 at 5:00 PM and December 9, 11, 12, 13 and 15 at 8:00 PM. Tickets at P1000 each. 

Additional show for December 15 at 1:00 PM just announced! 

December 12, 2024

It was Christmas Eve and the passengers of Liberty Airlines flight to Cebu City were stressed out. JD (Neo Rivera) was very excited, but his father JR (Floyd Tena) was grumpy at the hassle. A Lolo (Gary Junsay) and Lola (Carla Martinez) from the US were bringing their grandchild Kevin (Basti Santos) on his first trip back. Arnie (Lorenz Martinez) and his wife Josie (Neomi Gonzales) were rushing because they needed to catch a cruise. 

Baristas Chris (Davy Narciso) and Jas (Rafael Jimenez) were planning to court the pretty stewardesses, Mona (Krystal Kane) and Alex (Maron Rozelle). Senior flight attendant Pat (Carla Guevara-Laforteza) was being stalked by a naughty pilot Richard (Noel Rayos). The quartet of Dina (Julia Serad), Terry (Roxy Aldiosa), Jaime (Johann Enriquez) and Mikko (Zid Yarcia) sang Christmas carols at the airport. Mang Jose (Alfritz) was the janitor that night.

"Going Home to Christmas" is an original Filipino jukebox musical featuring the songs of Jose Mari Chan, a veteran singer-songwriter who has become the local Mr. Christmas because of a Christmas carols he had composed, in particular "Christmas in Our Hearts." This play was self-aware that it told "Hallmark-type" love stories -- puppy love, reunited love, unrequited love, long-distance love -- written in Taglish by Robbie Guevara, Joel Trinidad and Luna Grino-Inocian.

Ejay Yatco chose which Jose Mari Chan hit to fit each short story -- "Beautiful Girl" for JD and Chris, "Constant Change" and "Easier Said Than Done" for JR, "Love at 30,000 Feet,""Can We Stop and Talk Awhile" and " Hahanapin Ko" for Pat and Richard, "Tell Me Your Name,""Can We Start Over Again" and "Please Be Careful with My Heart" for Arnie and Josie. Yatco's innovative arrangements made the heart of these classics beat with new meaning. 

Audiences identify and respond to characters of their respective generation. For me, the stories and actors of Pat and Richard, Arnie and Josie, JR and Em (Mayen Bustamante-Cadd) resonated best for me. With multiple stories to tell, this play ran for 2 hours and 15 minutes, which may feel too long or too syrupy for more cynical viewers. However, true fans of Jose Mari Chan music should enjoy this show's cute sentimentality and savor its holiday warmth. 

**********

"Going Home to Christmas" ran from November 29 to December 15, 2024 at the Carlos P. Romulo Auditorium, RCBC Plaza, Makati City. It looks like this may be an annual classic for years to come. 

December 20, 2023

In 2024, Philippine theater continued its upward surge after recovering from the pandemic paralysis, a process of restoration that started a couple years ago. For the year 2024, I had seen and written about 38 theater productions: 11 musicals, 15 full-length plays, and 13 one-act plays. 

Among the shows I was not able to watch this year included "Sintang Dalisay" at Arete, "Gruesome Playground Injuries" by CAST, and Lea Salonga's version of "Request Sa Radyo." There were a couple of touring productions at the Solaire this year -- "Ms. Saigon" in March, and "Six, the Musical" in October -- both of which I also was not able to watch. 

I will list here what I feel were the best among those theater shows I had seen and written about for 2024:

I. ORIGINAL FILIPINO MUSICALS

Best: "PINGKIAN" (Tanghalang Pilipino) (MY FULL REVIEW) 

Book: Juan Ekis

Music, Songs and Musical Direction: Ejay Yatco

Stage Direction: Jenny Jamora

In 1898, Emilio Jacinto (Vic Robinson) led his troop of revolutionary fighters on a mission in Majayjay, Laguna. They were ambushed by Spanish troops, and Emilio was severely injured in his right leg. He was captured and held prisoner by Spanish soldiers (led by Jonathan Tadioan). A sympathetic doctor (Marco Viana) was called in to treat his injuries. A young Katipunan scout Isyo (Joshua Cadelina) found him, but he was too weak to escape.

Other Notable Productions:

"One More Chance, the Musical" (PETA), directed by Maribel Legarda, book by Michelle Ngu-Nario adapted from screenplay by  written by Vanessa R. Valdez and Carmi Raymundo, songs by Ben&Ben, musical direction by Myke Salomon (MY FULL REVIEW)

"Bar Boys, the Musical" (Barefoot), directed by Mikko Angeles and Pat Valera, book by Pat Valera, music and songs by Myke Salomon (MY FULL REVIEW)

"Jepoy and the Magic Circle" (Repertory Philippines), directed by Joy Virata, book by Rody Vera from a short story by Gilda Cordero-Fernando, music and songs by Ejay Yatco (MY FULL REVIEW)

Notable Performances:

Vic Robinson, Gab Pangilinan, Marco Viana, Paw Castillo, Joshua Cadelina, Bituin Escalante, Kakki Teodoro ("Pingkian"); Sam Concepcion, CJ Navato, Nicole Omillo, Via Antonio, Neomi Gonzales, Paji Arceo, Sheena Belarmino ("One More Chance"); Sheila Francisco, Juliene Mendoza ("Bar Boys"); Hans Eckstein ("Jepoy and the Magic Circle"), Carla Guevara-Laforteza, Floyd Tena, Mayen Bustamante-Cadd ("Going Home to Christmas"); Tex Ordonez-de Leon, Pepe Herrera, Deevo ("Buruguduy")

Memorable Tech Aspects:

All technical aspects of "Pingkian." The musical direction of "One More Chance." The puppetry in "Jepoy and the Magic Circle." The over-the-top set, costume and lighting design, and puppetry of "Buruguduy."

II. NON-FILIPINO MUSICALS

Best: "LITTLE SHOP OF HORRORS" (Sandbox Collective) (MY FULL REVIEW)

Book: Howard Ashman

Music and Songs: Alan Menken

Stage Direction: Toff De Venecia

Musical Direction: Ejay Yatco

Mr. Mushnik (Audie Gemora) owned a flower shop in a decrepit part of the city called Skid Row. Working for him were a foundling orphan boy named Seymour (Nyoy Volante), and a pretty but not-so-smart young lady named Audrey (Karylle). Because business was very bad, Mushnik declared that he has decided to close down shop. Desperate to keep the shop open, Seymour revealed that he had a new discovery which may improve business.

Other Notable Productions:

"I Love You, You're Perfect, Now Change" (Repertory Philippines), directed by Menchu Lauchengco-Yulo, book and lyrics by Joe diPietro, music by Jimmy Roberts (MY FULL REVIEW)

"Rent" (9 Works Theatrical), directed by Robbie Guevara, book, lyrics and music by Jonathan Larsen (MY FULL REVIEW)

"Once on this Island" (9 Works Theatrical), directed by Robbie Guevara, book and lyrics by Lynn Ahrens and music by Stephen Flaherty (MY FULL REVIEW)

Notable Performances: Nyoy Volante, Reb Atadero, Karylle, Sue Ramirez, OJ Mariano ("Little Shop of Horrors); Gian Magdangal, Marvin Ong, Krystal Kane, Barbara Jance ("I Love You, You're Perfect");  Anthony Rosaldo, Molly Langley, Ian Pangilinan, Adrian Lindayag ("Rent"), Thea Astley, Lani Ligot ("Once on this Island"); AC Bonifacio, Angela Ken, Ron Balgos, Elian Dominguez ("The 25th Annual Putnam County Spelling Bee")

Memorable Tech Aspects

The set, lighting and costume design, and puppet work in "Little Shop of Horrors."  The stylish set design of "I Love You, You're Perfect." 

III. FILIPINO PLAYS

A. One-Act: 

Best: 3 UPUAN (Arete) (MY FULL REVIEW)

Writer: Guelan Luarca

Director: Guelan Luarca

Three siblings come together when their father passed away from esophageal cancer. Eldest son Jers (Jojit Lorenzo) was a philosophy professor who quoted Plato and Nietzche in his daily conversations. Second son Jack (JC Santos) was a visual artist whose dream was to interpret Rolando Tinio's poetry into paintings. Youngest was Jai (Martha Comia), a journalist who migrated to the US while advocating for indigenous peoples.

Other Notable Productions: 

"Ang Munting Liwanag sa Madilim na Sulok ng Isang Serbeserya as Maynila" by Dustin Celestino, directed by Toni Go-Yadao (VLF Set D) (MY FULL REVIEW)

"The Foxtrot" by Chesie Galvez Carino, directed by Paul Morales (VLF Set C) (MY FULL REVIEW)

"Sentenaryo" by Herlyn Alegre, directed by Ian Segarra (VLF Set B) (MY FULL REVIEW)

Notable Performances: 

Jojit Lorenzo, JC Santos, Martha Comia ("3 Upuan"); Joshymae, Dyas Adarlo, Bon Lentejas (Ang Munting Liwanag); JC Santos and Liesl Batucan ("The Foxtrot"); Ross Pesigan, Ge Malacaman ("Ningas"). Kitsi Pagaspas ("Identite"), Thea Marabut, Peewee O'Hara ("Nagkatuwaan sa Tahanang Ito")

Memorable Tech Aspects:

The direction, script and set design of "3 Upuan." The realistic make-up of Ekis Gimenez in "Sentenaryo." The eloquent script of Lino Balmes in "Ningas."

B. Full-Length: Original Filipino Material or Filipino Adaptation: 

Best: BALETE (Tanghalang Pilipino) (MY FULL REVIEW)

Writer: Floy Quintos

Director: Chris Millado

In the town plaza of Rosales, Pangasinan stood one old magnificent balete tree. The biggest rice farm there was owned by a corrupt politician Don Vicente. It was run by by a stern caretaker Espiridion, who was the father of the narrator / protagonist, Francisco or "Kiko." As a child,  Kiko got along well with their farm servants. However, he also witnessed how his father had been a very harsh employer, often resorting to violence. 

Other Notable Productions: 

"Grace" by Floy Quintos, directed by Dexter Martinez Santos (Encore Theater) (MY FULL REVIEW)

"Mga Multo" by Henrik Ibsen, translated by Ron Capinding and Guelan Luarca, directed by Ron Capinding (Tanghalang Ateneo) (MY FULL REVIEW)

"Medea" by Euripedes, translated by Rolando Tinio, directed by Ron Capinding (Tanghalang Ateneo) (MY FULL REVIEW)

Notable Performances: 

Nonie Buencamino, Marco Viana, Gelo Molina ("Balete"); Stella Canete-Mendoza, Sharmaine Centenera-Buencamino, Leo Rialp ("Grace"); Miren Alvarez-Fabregas, Yan Yuzon, Joseph dela Cruz, Sabrina Basilio, Mark Aranal ("Mga Multo"); Miren Alvarez-Fabregas, Yan Yuzon, Joseph dela Cruz ("Medea"), Katski Flores ("Sa Tahanan ng Aking Ama"); Dolly de Leon (Request sa Radyo"), Liza Dino-Seguerra, Ice Seguerra ("Choosing"); Khay Eva, Jigger Sementilla ("Nanay Bangis"); Jaime Wilson ("The Ancient Prodigal")

Memorable Tech Aspects:

Direction, writing, set and lighting design, movement choreography of "Balete." Direction and writing of "Grace." The direction and set design of "Request sa Radyo"). The set design of "Nanay Bangis."

IV. NON-FILIPINO PLAYS:

Best: OTHELLO (CAST) (MY FULL REVIEW)

Writer: William Shakespeare

Director: Nelsito Gomez

Venetian army ensign Iago (Reb Atadero) was furious that his Moorish superior officer Othello (Tarek El Tayech) had promoted an aristocrat Cassio (Davy Narciso) to the position he aspired for instead of him. Recruiting unwitting accomplices in his wife Emilia (Maronne Cruz) and his lovesick friend Roderigo (Rafael Jimenez), Iago executed a devious plot to plant a seed of doubt between newlyweds Othello and his virtuous bride Desdemona (Gab Pangilinan).

Other Notable Productions: 

"The Half-Life of Marie Curie" by Laura Gunderson (MusicArtes) (MY FULL REVIEW)

"Betrayal" by Harold Pinter (Repertory Philippines) (MY FULL REVIEW)

"Tiny Beautiful Things" by Nia Vardalos and Cheryl Strayed (Sandbox Collective) (MY FULL REVIEW)

Notable Performances: 

Tarek El Tayech, Reb Atadero, Gab Pangilinan, Maronne Cruz ("Othello"), Missy Maramara, Caisa Borromeo ("The Half-Life of Marie Curie"), James Bradwell, James Cooney ("Betrayal"), Iza Calzado, Gabby Padilla, Brian Sy ("Tiny Beautiful Things")

Memorable Tech Aspects:

Direction and movement choreography of "Othello." Direction, set, sound and lighting design of "Betrayal." Set design of "Tiny Beautiful Things."

January 26, 2025

In was only 7:30 pm, seats were still filling up at the Skydome, but the concert proper began. Right off the bat, the screen showed three reasons why Gerald Santos was courageous: 1. when he persevered after was dropped by his network in 2010; 2. when, as a theater neophyte, he triumphed through several auditions to bag the role of Thuy in the UK international tour; and 3. when he performed Thuy in Denmark in the Danish language.

Gerald Santos came out wearing a maroon and cream checkered coat and cream pants, singing his own twist on the big song of the moment, "Defying Gravity" (VIDEO), from the hit stage musical now box-office hit movie "Wicked." He then sat on a stool, delivered his opening spiel, and sang "Always Remember Us This Way," a song by Lady Gaga from her version of "A Star is Born" (Bradley Cooper, 2018). 

He expressed his resolve to try other genres of music, and shifted gears to perform the viral ROSÉ and Bruno Mars hit "APT" with his Gen Z guests Elisha and new 12-member boy band, ASTER (VIDEO). When Gerald left the stage for a costume change, the youngsters took centerstage to sing and dance to Bini's catchy 2024 earworm "Pantropiko." 

Gerald came out wearing an eye-catching striped blue and bright yellow ensemble, and introduced his next set as tributes to two singers who passed away recently -- Liam Payne and Mercy Sunot. He proceeded to sing songs by Payne's boyband One Direction, namely "Little Things,""Story of My Life," and "Night Changes." This was followed by three iconic songs by Sunot's band Aegis, namely "Halik,""Basang-basa sa Ulan," and "Luha" (VIDEO).

Gerald then shared the story of how he won the role of Thuy in the UK-Ireland touring production of Claude-Michel Schönberg and Alain Boublil's 1989 stage musical "Miss Saigon" in 2017 and his memorable run as Thuy in the 2019 Danish production, for which he had to sing in the Danish language. To celebrate his exciting experience, he sang a song, not by his character Thuy, but one by the American GI character Chris, "Why, God, Why?"

After this segment, he went on to sing two more Filipino ballads: "Wag Ka Nang Umiyak" from the TV series "Ang Probinsyano," and "Kahit Isang Saglit," one of three songs he sang in the finals of the 2nd season of GMA Network's "Pinoy Pop Superstar" in 2006, where he emerged the grand champion at age 15, the youngest winner of that singing competition. 

Gerald then welcomed a series of guest singers with whom he sang duets.  With his Pinoy Pop Superstar 2006 runner-up and UK "Miss Saigon" cast mate, Aicelle Santos, he sang the current Bruno Mars - Lady Gaga US #1 hit, "Die with a Smile" (VIDEO). With 2003 "Star in a Million" runner-up Sheryn Regis, he sang the Lady Gaga - Bradley Cooper #1 hit duet, "Shallow" (VIDEO). Regis then regaled the audience with her comeback diva hit "Gusto Ko Nang Bumitaw." (VIDEO). 

Gerald returned onstage wearing a suit with a blue and green vertical stripes to introduce the grand champion of that same 2003 "Star in a Million" edition, Erik Santos. He said that it was their first time to sing together on stage. They sang a rousing duet version of Erik's winning song "This is the Moment" (from the 1990 Frank Wildhorn - Leslie Bricusse stage musical "Jekyll and Hyde" (VIDEO). Erik then took solo stage to sing "Sagot sa Aking Dasal."

When Gerald returned onstage, he was wearing a new brown and black outfit, topped by a long coat with short sleeves. He sang the inspirational song, "I Believe," then segued to the most serious part of the night's show, the launch of his advocacy, the "Courage Movement." 

After showing some clips of his Senate panel testimony in front of Senators Robin Padilla and Jinggoy Estrada, Gerald sang "You'll Never Walk Alone." Aicelle Santos came out to sing George Benson's "Greatest Love of All." Surprise guest singer Enzo Almario came out to sing Ben&Ben's "Leaves." The three of them then got together to sing Whitney Houston and Mariah Carey's duet from "The Prince of Egypt,""When You Believe." 

Gerald and Enzo remained on stage as they were joined by Sandro Muhlach. All three young men had experienced the same dark nightmare in their past, and have now bravely stepped forward to team up and lead the Courage Movement," an advocacy program dedicated to empower the victims of sexual harassment and abuse. This also aims "to raise awareness on these delicate and sensitive issues and how to deal with it objectively."

Getting back into the concert mood, Gerald talked about his latest single "Hubad" came about. He removed his long coat first before he went on to sing it live in a concert for the first time.  He put his long coat back on again before giving thanks to the Almighty for all the blessings he had received, singing a religious hymn that began with the words "I love you, Lord." 

Gerald then expressed his thanks for all his family, friends, sponsors, guests and musicians. Special mention went to his manager, Dr. Rommel Ramilo, who also wrote and directed this show. For his grand finale, Gerald chose to sing a Hugh Jackman song from "The Greatest Showman" soundtrack, "From Now On," about bravely forging on forward in life without distraction and procrastination. "From now on, what's waited for tomorrow starts tonight!" 

February 2, 2025

The Goodmans seem to be a normal regular family on the surface. Father Dan was an architect. Mother Diana was a doting housewife and mother. Teen children Gab and Natalie doing well in school. However, Diana had been taking a variety of prescription psychoactive drugs to control the labile moods brought about by her bipolar disorder. Poor response lately had prompted her new doctor Madden to recommend electro-convulsive therapy (ECT). 

For its original Broadway production in 2008, this rock musical with book and lyrics by Brian Yorkey and music by Tom Kitt won three Tony Awards out of 11 nominations. It won for Best Original Score, Best Orchestration and Best Performance by a Lead Actress in a Musical for Alice Ripley. Remarkably, it also won a Pulitzer Prize for Drama in 2010 even if it was not among the shortlist of three plays submitted to the jury for consideration.  

All in all, this is already the fourth time that I have watched this musical.  My first time was in 2010 at the Booth Theater on Broadway, starring Marin Mazzie, Jeff Danieley and Kyle Dean Massey (MY REVIEW). Second was a 2011 local staging by Atlantis, starring Menchu Lauchengco-Yulo, Jett Pangan and Felix Rivera (MY REVIEW). Third was a 2020 production by Blue Rep in Ateneo, starring Cris Villonco, Jef Flores and Tim Pavino (MY REVIEW).  

This Sandbox production is directed by Toff de Venecia. The cast I saw last night included film and TV actress Nikki Valdez (in her first stage role since "The Wedding Singer" by 9 Works in 2010), Floyd Tena, Benedix Ramos (fresh from his successful stage debut in "Bar Boys" last year), Jam Binay, Davy Narciso and Jef Flores. The alternate cast features Sheila Valderrama-Martinez, OJ Mariano, Vino Mabalot, Sheena Belarmino, Omar Uddin and again Jef Flores. 

Aside from nailing the drama which is expected of her, Nikki Valdez also nailed Diana's tough songs. Her voice sounded borderline hoarse, and this was only opening night, so she needs to safeguard it with vocal hygiene. The baritone of Floyd Tena deeply expressed Dan's difficult dilemmas. Gabe's sky-high notes were no problem for Benedix Ramos. Not exactly a fan of Natalie's hair, but Jam Binay simply brimmed with teenage angst.

This Sandbox production had an even simpler set than the Blue Rep production. The Goodman "house" in this one did not even have walls or doors at all, only four chairs, a few steps and a screened area on both sides -- that was the whole set. You are expected to fill in the rest in your heads, from the sandwich scene to the ECT scene. These are not easy to envision if you had not seen this play before, and they will feel too hollow if you had.

I know that the cast was acting and singing their hearts out, but the sound system was so garbled so the Pulitzer prize-winning lyrics were barely understood. The live band led by musical director Ejay Yatco was a big plus, but the music can occasionally drown out the lyrics even more. I was told the sound of this show was already a big improvement over the previous day's shows, so I trust adjustments are already being done to correct this issue.

**********

The Sandbox Collective's "Next to Normal" runs from February 1 to 23, 2025 at the  Power Mac Center Spotlight ⁠Blackbox Theater, Circuit Makati⁠. Ticket prices: VIP Php 3400, Premium Php 3000 and Regular Php 2,500.  Get your tickets via Ticket2Me at this link. 

February 8, 2025

Nardo (Ross Pesigan) and his wife Emma (Elora Espano) were driven out of their village when it was attacked by the rebels. They became close friends with Joel (Martin del Rosario), a soldier who helped them settle in this new community. One night during an eclipse, Martin visited their shack to bring them some food, and also to play poker with them. However, when Nardo had to go fetch water at the well, Joel and Emma had other plans in mind. 

I first knew of this Jun Robles Lana work as a film that he both wrote and directed. The film was noted for its remarkable camera work as it followed the three main characters in one long continuous take in and around a small hut furnished only with a dining table and a bed, which notoriously included a 15-minute long sex scene. It starred Luis Alandy as Joel, Anthony Falcon as Nardo, and LJ Reyes, who won the Urian for Best Actress, as Emma.

It turned out that this material was actually first written as a one-act play in 1993, when Lana was only 20 years old. It won first place in the Bulwagang Gantimpala playwrighting contest back then. When Idea First decided to venture into producing theater plays, it seemed natural that "Anino sa Likod ng Buwan" was their first choice. However, Lana decided to have someone else direct the project, a job which went to seasoned director Tuxqs Rutaquio. 

Emma and Nardo were played by veteran theater actors Elora Espano and Ross Pesigan, whose stage experience started in their student days in UP Diliman. Also very daring in her indie films, Espano captured the passionate fervor and mental alertness of Emma as she engaged in dangerous games. Pesigan imbued Nardo with an obfuscating air of blankness that may be interpreted as folly on one side, or cold-bloodedness on the other extreme.   

Movie and TV star Martin del Rosario is making his first foray on the legitimate stage with this play, and what an auspicious debut this was! Unlike other neophytes, del Rosario delivered Joel's kilometric lines with confidence and energy, giving them a 100% emotional wallop. He was very comfortable with his body even during sensual scenes in various stages of undress. He was never self-conscious, as if he had been doing this for years.  

Director Rutaquio's set design was very much like it was in the film. The space of the stage house also had a small dining table and a bed in there, with a door for them to go in and out. There were three columns at the back where shadowy trees were projected to represent the forest outside the house. The lighting design of John Batalla and the sound design of TJ Ramos complete the atmosphere of tension and dread. 

What I watched was a stripped-down preview staged at the Arete three weeks before the play formally opens at the PETA Theater Center on March 1. Even then, it ran for about two hours without an intermission, so surely certain aspects can still be tweaked to make it run better. There were scenes which felt repetitive which could use some streamlining, like maybe that repeated oral sex scene in Act 2 could either be cut out or varied into something else. 

*********

Idea First Live's production of Jun Lana's "Anino sa Likod ng Buwan" runs from March 1 to 23, 2025 at the PETA Theater Center in Quezon City. Ticket prices range from P2464 (Orchestra VIP Cushioned), P2240 (Orchestra Center, Balcony Center), P2016 (Orchestra Side) and P1120 (Balcony Side).

Each role has an understudy: Edward Benosa for Joel, Vincent Pajara for Nardo and in her stage debut, VMX star Denise Esteban for Emma. 

For its next project, Idea First Livc! is planning to produce a stage version of its 2016 MMFF Audience Choice hit "Die Beautiful," which was written by Rody Vera and directed by Jun Robles Lana. 

February 15, 2025

In the Muslim community of Semporna, there was a bitter feud brewing between two rich families -- the Mustaphas and the Kalimuddins.  During a masquerade dance, Rashiddin (Karl Borromeo) of the Mustapha family fell in love at first sight with Jamila (Maliana Beran) of the Kalimuddin family. Their forbidden love affair led to a series of violence that unfortunately led to deaths from both families, which led to Rashiddin getting exiled to Dapitan. 

Surely that synopsis sounds familiar -- it is William Shakespeare's "Romeo and Juliet" transposed to a Mindanao setting by Ricardo Abad and first staged in July of 2011 at the Ateneo under Abad's direction. It was the final set designed by National Artist Salvador Bernal before he passed away in October, 2011. When Abad passed away last December 26, 2023, Abad's protege Guelan Varela-Luarca took over as director for a 2024 restaging in his honor. 

The show opened with an overture played by a live band called Anima Tierra, playing their traditional, contemporary and experimental instruments right there on centerstage. They created a wall of sound with their percussions and vocalizations that set the propulsive and ethereal atmosphere of this play. Led by Jayson Gildore and Rhea Dagnalan, they take over the band of their mentor Edru Abraham and Kontra Gapi who played during the 2011 run. 

The first character to enter the stage was the Imam, who also served as the narrator of the story. James Reyes delivered his lengthy introductory monologue with his graceful movements and strong singing voice. Color was added when Reyes was joined by the other cast members dressed in their family colors -- orange for Mustaphas and green for Kalimuddins -- dancing the native igal (choreography by Matthew Santamaria) to the infectious beats of Anima Tierra. 

To be completely honest, I did not really understand every word being said onstage. Not only were they delivered in poetic old-fashioned Filipino, the sound system was insufficient to support the vocal projection of the actors. You can hear their voices going hoarse in their effort to make their lines understood. Those familiar with "Romeo and Juliet" can the drift of the story by context. Those unfamiliar with the original story may find it challenging to follow. 

Notable in this adaptation were the recurrent references to the afterlife. After Mercutio-equivalent Badawi (Roldine Ebrada) and Tybalt-equivalent Taupan (Jerome Dawis) were killed, they were shown to get up, wore a veil and salakot, and climbed up the stairs to the life beyond. At the end, they came back onstage to fetch the souls of Rashiddin and Jamila to lead them towards the hereafter, an aspect not in Shakespeare original. 

The classic multi-level set design by Salvador Bernal had been beautifully recreated by Tata Tuviera. A most remarkable scene was that when Rashiddin bought poison from witches with giant anahaw leaves -- breathtaking.  The important role of Sabrina Basilio's dramaturgy for a cultural topic like this cannot be underestimated. Likewise important was Missy Maramara's role as intimacy coordinator, particularly in that honeymoon night pas de deux. 

Majority of the audience of the matinee I watched were excitable English-speaking elementary school boys. They vigorously cheered every kick and clash of knives during the fights (exciting fight choreography care of Brian Sy). They gasped loudly when Ginoong Kalimuddin (Fred Layno) slapped Jamila's face, and likewise during the climactic modified suicide scenes.  You can just imagine how loud their rowdy hooting reactions were during the love scene!

Certainly, "Romeo and Juliet" -- with sensitive themes of teenage violence, marriage and suicide -- is not a play for young kids. I do hope their teachers debrief them adequately about these adult topics, as well as orient them of the rules of theater etiquette. Anyhow, for me, the noisy juvenile audience response added to the fun of my viewing experience. However, I noticed that the old ladies beside me were clearly not amused. 

--------

This rerun of "Sintang Dalisay" runs only for 9 shows only this February 14-23 at Hyundai Hall, Areté, Ateneo de Manila University. Buy your tickets from Ticket2Me via this LINK. Tickets cost P1200 for Orchestra and P800 for Balcony. The show runs for 2 hours with no intermission. 

March 15, 2025

It was the year 1993. Peasant Nardo and his wife Emma were driven out of their village when it was attacked by the rebels. They became close friends with Joel, a soldier who helped them settle in this new community. One year after they met, on one night with an eclipse, Joel visited their shack to bring them some food, and also to play cards with them. However, when Nardo had to go fetch water at the well, Joel and Emma had other plans in mind. 

I first knew of this Jun Robles Lana work as a film that he both wrote and directed. The film was noted for its remarkable camera work as it followed the three main characters in one long continuous take in and around a small hut furnished only with a dining table and a bed, which notoriously included a 15-minute long sex scene. It starred Luis Alandy as Joel, Anthony Falcon as Nardo, and LJ Reyes, who won the Urian for Best Actress, as Emma. (MY REVIEW)

It turned out that this material was actually first written as a one-act play in 1993, when Lana was only 20 years old. It won first place in the Bulwagang Gantimpala playwrighting contest back then. When Idea First decided to venture into producing theater plays, it seemed natural that "Anino sa Likod ng Buwan" was their first choice. However, Lana decided to have someone else direct the project, a job which went to seasoned director Tuxqs Rutaquio. 

The first time I watched this play was a "stripped-down" press preview show held last February 9 at the Arete in Ateneo. That show starred the main cast of this run, namely Martin del Rosario as Joel, Ross Pesigan as Nardo and Elora Espano as Emma. The second time I watched was today during the regular run at the PETA Theater, starring the understudies, namely Edward Benosa as Joel, Vincent Pajara as Nardo and Denise Esteban as Emma. 

At the Arete, director Rutaquio's set design consisted of a hut with a small dining table and a bed, a small closet, and a doorway. There were three columns at the back where shadowy trees were projected to represent the forest outside the house. The lighting design of John Batalla and the sound design of TJ Ramos complete the atmosphere of tension and dread. The show felt long, running for about 2 hours without an intermission.

Elora Espano and Ross Pesigan are veteran theater actors whose stage experience started in their student days in UP Diliman. Also very daring in her indie films, Espano captured the passionate fervor and mental alertness of Emma as she engaged in dangerous games. Pesigan imbued Nardo with an obfuscating air of blankness that may be interpreted as folly on one side, or cold-bloodedness on the other extreme.   

Movie and TV star Martin del Rosario is making his first foray on the legitimate stage with this play, and what an auspicious debut this was! Unlike other neophytes, del Rosario delivered Joel's kilometric lines with confidence and energy, giving them a 100% emotional wallop. He was very comfortable with his body even during sensual scenes in various stages of undress. He was never self-conscious, as if he had been doing stage work for years.  

At the PETA, the set was basically the same house and its furnishings we saw at the Arete, enhanced by more red lighting and more eerie sound effects. However, this time the three trees at the back of the house were huge three-dimensional tree replicas with thick roots. There was an area on stage where Emma would use real water to take a bath. This time around, the play felt brisker and more streamlined as expected, lasting only 1 hour 45 minutes without a break.

I had seen Vincent Pajara act on stage several times before, from "Ang Nawalang Kapatid" (2014) to "Sakuntala" (2017), to "Dekada 70" (2020). His Nardo felt more mature and confident, not a wimpy cuckold at all. Edward Benosa's voice sounded a bit hoarse, but he was still able to deliver convincingly as Joel, with his hefty build exuding swagger and sensuality. He just tended to have unnatural hand gestures which can be distracting. 

The biggest revelation here was VMX star Denise Esteban, who was also on her debut as a stage actress -- and what a difficult role she got right off the bat. During this regular run, there was actual back side nudity from Emma right from her very first scene bathing, then she got more daring during the sex scenes. Esteban's Emma really got the audience reacting during her scenes as we heard audible gasps and whispers with many of her explosive lines. 

The sex scenes during the regular run looked more graphic, but carefully blocked. However, more than these steamy moments, it was really still the complex, convoluted plotting of the story, and those lengthy, well-written arguments and counter-arguments about marital morality, or military-rebel conflicts, that held us rapt in attention throughout the play, until that intense final act. Watching it a second time around was even better. 

**********

Idea First Live's production of Jun Lana's "Anino sa Likod ng Buwan" runs from March 1 to 23, 2025 at the PETA Theater Center in Quezon City. Ticket prices range from P2464 (Orchestra VIP Cushioned), P2240 (Orchestra Center, Balcony Center), P2016 (Orchestra Side) and P1120 (Balcony Side). The playbill is for sale at the lobby at the price of P500. This contains the whole script for you to savor at your own time.  

March 22, 2025

When author Lucas was writing his anthology of short stories about women, he believed that love had a quota, not all love stories will succeed. Irene was averse to boys whose names began with a J. Sandra regularly spent time going to Room 23 of a motel. Erica was an online endorser from a place where the residents have forgotten how to love. Ester was a widow whose only memento of her greatest love was a photocopied photograph. 

His fifth story was about Bessie, who was an aspiring actress. Even if she was a loud, talkative extrovert in contrast to Lucas's quiet, withdrawn introvert, she was Lucas's inspiration in writing this set of stories. She was the B in the title of the book, as Lucas was dedicating his stories to her. However, she still cavorted with a politician's son Brigs and the two played a very cruel prank on Lucas. Lucas was very hurt, such that her story was left unresolved.

Ever-reliable Nicco Manalo underplays Lucas to give the five women protagonists of his stories their respective spotlight. Ava Santos's Bessie was loud, bold and brazen. Martha Comia shared her Irene's astounding photographic memory to her impressive line delivery.  Matel Patayon's Sandra (alternate Sarah Garcia) told the most unsettling taboo story. Via Antonio's Erica (alternate Yesh Burce) was outrageously humorous as expected. The arc of Olive Nieto's Ester (alternate Liza Dino) played more smoothly these days than 20 years ago. 

Esteban Mara (alternate Vincent Pajara) was the old friend Jordan Irene was looking for. Gino Ramirez played Lupe, Sandra's playmate in the warehouse. Gold Aceron (alternate AJ Benoza) played Ester's gay son AJ, while Kath Castillo played Ester's former maid Sarah. Jay Gonzaga played both Erica's chiseled beau Jake, as well as Bessie's violent hot-head Brigs. Divine Aucina played Jake's mother Mrs. Baylon and the wife of San Ildefonso's mayor. Aldo Vencilao played Lucas's writing mentor Pio, as well as Sandra's and Sarah's husbands.

This play was adapted by playwright Eljay Castro Deldoc from a 2008 best-selling book by National Artist Ricky Lee. Deldoc's process of stage adaptation started in 2011 and he would continue to evolve it every time it was restaged, including this present updated one. Deldoc was able to distill all the six chapters of the book to essentials, with some difficult topics and hints of politics. Director Yong Tapang, Jr. weaved it into a most entertaining whole, even if this current iteration of the play runs for a hefty 2-1/2 hours, with a 10 minute intermission.

The active interaction between a male author and his female characters (including his muse) is a very interesting premise. The women want agency over their own stories. They did not want an open ending that made their fates uncertain. They can even interrupt the writer during the time that he was still telling their stories. This meta approach gives us a hint on how Ricky Lee worked as a writer, metaphorically allowing his characters to critique how he wrote about them. Deldoc's script and Tapang's vision truly made this stage version very engaging to watch.  

**********

"Para Kay B" is a production by the LA Production House and Fire & Ice Live. It runs from March 14 to 30, 2025 at the Doreen Black Box Theater of the Arete in the Ateneo de Manila University. Tickets run from P2,500, P2,000 and P1,800, via Ticket2Me. 

March 28, 2025

Playwright: Joshua Lim So

Director: José Estrella

Angered by the destruction caused by miners, a powerful deity with ten heads Dadanhayan Ha Sugay (Jasper John) commanded the rain, lightning and thunder to punish them. The torrential rainfall from this strong storm caused a major landslide on a mountainside. A tamaraw named Tanya was trapped in the heavy mud. Another deity dressed in red Abunnawas (Tristan Bite) tried to pull the poor animal out, but he could not do it himself. 

The point of this hour-long play seemed simple enough. Mother Nature and its indigenous gods cannot save the creatures of the world from the destruction inflicted by greedy, uncaring humans. They need other responsible humans to step up and act, in order to get the healing process up and running. Unfortunately, I felt there were too many supernatural characters in the mix that made the play feel unnecessarily long and complex. Unfamiliarity with the multi-regional mythologies Lim So used made the story hard to follow at first. 

Devised from the play "Scenes from the Climate Era" by David Finnigan

Directors: Issa Manalo Lopez, Tess Jamias

This play was a quick series of vignettes about various aspects of climate change and how this phenomenon affected ordinary people all over the world. The directors and the cast devised the play "Scenes from the Climate Era" by Australian playwright David Finnigan and made its situations more relatable to a Filipino audience. Through its runtime of a little over one hour, the episodes ranged from humorous slapstick to dead serious, and thought-provoking all throughout.

The four main actors -- Delphine Buencamino, Bong Cabrera, Herbie Go and Ethan King -- played various characters. There were scenes about the impact of having children on the environment, the dangers of using plastic vs. paper bags, and problems with composting and recycling. They talked about losing a sense of the future because they feel that everything they did would hurt the planet, using terms like "eco-anxiety" or "climate distress."

They educate us about important events in the history of the climate change issue, from the first Earth Summit in Rio in 1992 to the fate of the Kyoto Protocol of 1997 under Clinton.  They discuss the bad consequences of eating takeout, online shopping or polyester fashion. They enumerate animals which had recently gone extinct. The most alarming scenes were those that describe how the rising heat can adversely affect air travel and current geography.

Adding a uniquely Filipino touch to the play was presence of the local mythical character of Mebuyan (MJ Briones). In Bagobo culture, she was a goddess with multiple breasts to provide milk to dead babies. In the context of this play, Mebuyan represented Mother Earth herself, whose body is already wrapped up in trash bags. She acted as conscience and Greek chorus in this play, singing about how Philippine politicians targeted environmental activists.

We are currently in a climate era, and it is only just beginning. There may be renewable sources of energy now, but with current attitudes, they may not be sustainable for long. The ending sequence was a powerful and disturbing montage of futuristic disasters around the world brought about by the critical global warming. Optimism and hope are among the stages of dealing with climate change, but definitive action is urgently needed now.  

***********

"Mga Anak ng Unos" runs at the IBG-KAL Theater, University of the Philippines Diliman, from March 28 to April 13, 2025. There are 7;30 pm shows every Friday and Saturday. 2:30 pm matinees on Saturdays and Sundays, and 10:30 am shows every Sunday. The show runs for a total of 2-1/2 hours, with a 15 minute intermission between to the two short plays. You can buy your tickets via this LINK. Tickets cost P1000 for regular, and P650 for UP students.  

March 30, 2025

In 2025, young NGO worker Elesi (Khalil Ramos) became an orphan again. His adoptive parents passed away within a year of each other. Elesi received two things which he had with him when he was adopted. One was a necklace with a distinct pendant. The other was a handheld spinning toy. Whenever he would press the green button on this toy, Elesi realized that he can actually travel back and forth in time. 

In one of his trips back in history, Elesi found himself in the 1880s in Manila. He met Cris (Vien King), a gentleman who just came home from studying in Europe. For more ease, Cris and his fiancee Clara (Alexa Ilacad) called Elesi as Elias. Cris was busy building a school in his community, while seeking justice from a powerful person who had disrespected his father. One day, a bad accident at the construction of Cris's school put all his plans in jeopardy.

This new production staged by 9 Works Theatricals is another jukebox musical, this time using the songs written by Rico Blanco for himself and for his previous band, Rivermaya.  As you can probably surmise from the synopsis above, the book written by director Robbie Guevara was based on a certain famous Philippine novel, at least the first act. However, on the second act that Guevara totally went off page to whip up new surprises for all the characters.

Musical director Daniel Bartolome had the meticulous task of picking which Rico Blanco songs and which parts of these songs to stitch into the book to move the story forward. "Hinahanap-hanap Kita" and "Umaaraw, Umuulan" were recurrent themes. "Kisapmata" was a heartbreaking moment for a neglected lover. "Himala" was an answered prayer for a distressed mother. "Balisong" became a gothic song of lust for a creepy villain. 

Khalil Ramos never fails to stun his audiences with his acting, and now, even his singing of his difficult songs. Elesi's name was obviously chosen to accommodate the song with the same name. However, the part how the song was integrated in the story was very well-written. Ramos' rendition of "Elesi,""Ulan,""241" and especially "214" were memorably emotional, as with his romantic "Your Universe" and "You'll Be Safe Here." 

Vien King struck a noble stance and strong tenor vocals as hot-headed heroic figure, Cris. He gets to lead the singing of patriotic songs, "Isang Bandila," Panahon Na Naman,""Yugto,""Posible,""Alab ng Puso," and the title song "Liwanag sa Dilim." Like her Julia in "Walang Aray," Alexa Ilacad's Clara, delightful in her fast pick up of English slang, was hopelessly in love with her man, but she also aspired for independence and agency for women like her.  

Arnel Carrion, with his height and classic Hispanic visage, looked perfect to play the most reviled villain in Philippine literature. However, the only solo he got to sing was "Chismis," in a comedic number that felt forced in. On the other hand, Boo Gabunada and his huge curly pigtails, played the sleazy shadowy second villain to the hilt. For "Faithless," he was given a full production number bathed in eerie red light, with a chorus of evil nuns behind him.  

The scenography of Mio Infante was one of the most stunning aspects of this show. The time-travel theme required backdrop quick-changes which were executed well with the actors, as Elesi went from high-rise condominium to the balcony of Clara's house to the inner sanctum of a convent (even to a close encounter with a T-rex) with a mere click of a button. The live band played on an elevated platform above the main stage, obscured by a translucent screen.

This show was certainly an ambitious undertaking by 9 Works Theatricals. The running time of 2 hours and 45 minutes is formidable, in spite of the 15 minute intermission. Perhaps the script could use some streamlining for future stagings, especially for Act 1 since its events are already familiar to most viewers. Appreciation of the parody aspects of Act 2 may depend on the sensitivities of the viewers, since it subverts a supposedly virtuous martyr character. I did like the way that the ending set up for a possible sequel, perhaps with music of another band.

**********

"Liwanag sa Dilim: The Musical" was originally running up to April 13 only at the Carlos P. Romulo Auditorium, RCBC Plaza, Makati. However, it has been announced that its run will be extended to resume after Holy Week for two more weekends, continuing up to May 3, 2025. 

Ticket prices range from P3900 (Orchestra Center Premium), P3,700 (Orchestra Center, Loge Center), P3,500 (Orchestra Center Front), P3,600 (Orchestra Side), P3,400 (Orchestra Side Zone 2, Loge Side, Loge Back), and P2,00 (Balcony) -- available via Ticket2Me via this LINK.

April 5, 2024

Poncio Pilato (Jerome Ferguson) was assigned to Judaea as its new Roman prefect. His wife Procla (Christy Lagapa) was very supportive of his ambition to leave a significant legacy. A Jewish historian Josepo (Onyl Torres) has been commissioned to record his rule. When Pilato placed monuments with Caesar's face in Jerusalem and then used temple funds for his aqueduct project, he caught the ire of Caiaphas (Jeremy Manite), high priest of the Sanhedrin. 

Act 1 chronicling Pilato's rise to power in Judaea ran for about 1-1/2 hours long. This part of the story will be new for most viewers (including me), as writer-director Eldrin Veloso distilled his extensive research into Pilate's largely apocryphal history into his Filipino languae script and lyrics. The start may be rather confusing as we met Pilato's father (Robert Macaraeg) and Emperor Tiberius's rep Sejanus (Thor Ganchero), but we do get the drift soon enough. 

An interesting part of Act 1 was the scene where they gave us a peek into the debates in the Sanhedrin, as Pharisees and Sadducees  (Mika Espinosa, VJ Cortel, Julia Panlilio) argue over laws applicable to the cases at hand. We also meet Nicodemus (Darwin Lomentigar) and hear his more liberal views. However if the production will decide to streamline the play in future stagings, this is likely the part which may be cut out without affecting the run of the story.

Hesus (Noel Rayos) will not come out until Act 2, which also lasted 1-1/2 hours long. It opens with His triumphant entry into Jerusalem greeted with palm leaves.  We see all the key events -- the Last Supper, the kiss of betrayal, the release of Barrabas on Pesach (or Passover), the trial with Herod Antipas (also Thor Ganchero), Pilate washing his hands, the Crucifixion and the sign above His head. We Christians already know this part of the story like the back of their hands, but I still feel that most of us watched this show only expecting to see this part of the story. 

An interesting part of Act 2 was when Pilato's three sidekicks -- Publius (Marit Samson), Decimus (Chan Rabutazo) and Marcus (Ard Lim) -- give their analysis of a tense meeting between Pilato and Herod Antipas. This was one of the rare humorous scenes of the whole play, as the three make witty side comments as they decode the hidden double-talk meaning of each and every statement made by the two politicians. (Before the show, we already heard Marit Samson warning that rule violators will be punished by flogging.)   

Jerome Ferguson certainly looked the part of Pilate, with his patrician looks and how he rocked a toga. However, his performance of Pilate as an ambitious governor with a streak of violence was not consistent. Ferguson had some uneven moments when it felt like he slipped out of character. This was perhaps because of the way this character was written to be an enigma, as there was barely any record about him before and after his time in Judaea. 

For me, the best total performance of the show was given by Noel Rayos for his emotionally and physically pitch perfect portrayal of Hesus. Even if the central character of this play was supposed to be Pontius Pilate, it cannot be denied that Jesus Christ still dominated this story. From the moment Rayos entered the stage through the doorway of the temple at the start of Act 2, he fully embodied the image of Jesus as leader, teacher and sacrifice. 

The best singers in the cast were: Jeremy Manite, whose soaring tenor lifted his Caiaphas over everyone else; Christy Lagapa, whose Procia can belt like any of the best power-divas; and Onyl Torres, whose vocals were solid throughout as he sang his lengthy wordy narrative songs. The rest of the ensemble include: Hiro delos Reyes, Misha Fabian, Francel Go, Harrah Casey, Cynthia J. Santos, Jason Chan -- all showing potential to be triple threats. 

The original songs with music by Yanni Robeniol and lyrics by Eldrin Veloso, had appropriate solemnity, yet the melodies were catchy and had some pretty complex choral arrangements. I'd listen to the whole soundtrack on Spotify if they uploaded them, to better appreciate the lyrics. The lighting design of Ian Torqueza worked very well to enhance the Tsard Chua set, as well as build up the drama of the emotional scenes, particularly those of Hesus. With a few tweaks here and there, this show could be a Lenten stage staple for years to come. 

The point of the play was precisely about the accuracy with which Pilate's history had been written. Among Christians, he was mentioned by name in the Apostles' Creed as the man who made Jesus suffer, as recorded in all four Gospels.  He believed Jesus had done nothing wrong, but he bowed to the pressure of the Jewish mob. Presently there are Orthodox Churches who even consider Pilate a saint because this disinclination to pass sentence. As Pilate himself asked Jesus in John 18:38, "What is truth?" Such is the question of any history.

**********

"Pilato" runs at the PETA Theater Center from April 4 to 13, 2025. Ticket prices are as follows: P2,200 (VIP), P2,000 (Orchestra Center), P1,500 (Orchestra Side and Lower Balcony Center), P1,200 (Lower Balcony Side and Upper Balcony Center) and P1,000 (Upper Balcony Side). To buy tickets, please click on this LINK.