Fred Said: THEATER, CONCERTS, EVENTS

April 19, 2016

To close their current season, Dulaang UP chose to stage a play about the theater, a 1997 Japanese play called "The Dressing Room" by Shimizu Kunio. As DUP usually does, they would be staging in parallel both an English and a Filipino version of this play. The English version was written by Chiori Miyagawa, as adapted from the original English translation by John Gillespie. The Filipino translation is by multiple Palanca award-winning playwright Nicolas Pichay.

Aside from the language, Dulaang UP also pushes the envelope further by innovating on the casting as well. The original play involved four actresses playing the four actress characters. The English version will stay faithful to this casting. In the Filipino version however, the four actress characters will all be played by MALE actors. On the day I watched, I caught the Filipino version with the gentlemen. Now that I have seen it, I fervently hope I also get a chance to watch the English version with the ladies.

"The Dressing Room" is literally where the action of this play is set. Initially, we see Actress A and Actress B dressed in Japanese-style robes, sitting in the middle of the stage in front of their respective box tables, applying white makeup on their faces. Suddenly, Actress C will enter dressed in Victorian finery, rehearsing her lines. Much later, an Actress D will come into the room to tell Actress C that she wants her role back. The whole play will be about the actresses musings about Shakespeare and especially Chekhov as they reflect on the passions and frustrations they have about their acting careers.

Theater actors and theater fans will definitely fall in love with the intense love for theater espoused by this play. When sentimental Actress A and acerbic Actress B have an acting showdown playing Lady Macbeth, the effect was electric. This was even though some essence had been lost with the translation as the difference between two Japanese adaptations should have been highlighted (but obviously could not be conveyed in Filipino). Familiarity with the history of Japanese theater will enhance appreciation since the original Japanese play assumed the Japanese audience it targeted already knew.

I woe the fact that I am not very familiar with the Anton Chekhov plays referenced extensively in this play, namely "The Seagull" ("Ang Tagak" in Filipino) and "The Three Sisters". Those who know these Chekhov plays will definitely have a deeper emotional connection with these four actresses who adore "The Seagull" with unparalleled devotion. It was a bit confusing for me to delineate between which lines were from which play. I can imagine how this integration of another play within the main play could be so powerful for those who know these lines beforehand.

Roeder Camanag was a clear standout with his subtle yet intense portrayal of Actress A. He did not have to resort to hysterics and big gestures to get his character actress. Actress A is the oldest of the four actresses so Camanag's demure and dignified performance was on point. Of the four, he was the one who came across as most genuinely Japanese.

Andoy Ranay as the flamboyant Actress B had all the funniest lines and Ranay runs to town with them. His over-the-top delivery of the hilarious lines hit the mark. He struck the audience's collective funny bone successfully in many scenes. His attack on the role is definitely more contemporary and more Filipino.

Actress C I think was the most difficult role to play for a male actor, because with her wig and gown she was so obviously female. The actor who plays Actress C needed to really needed to show that she was a strong person yet insecure actress. Compared to the others, actor Gwyn Guanzon had a tall and hefty build, so it was obvious he was only cross-dressing as a woman. It took time for me to get the drift of his character and his acting style.

The entrance of Actress D was such a puzzle to me since I could not understand what she was talking about at first. Here, knowledge of Nina's lines in "The Seagull" would be a marked advantage. Young actor Jon Abella played her quite awkwardly at first. Fortunately when his character undergoes a transition in the story, Abella hits his stride and became more at ease in his performance. His second entrance was so beautifully eerie.

Ohm David should be commended for his beautiful three-dimensional set design. This "dressing room" could have been just a plain drab musty room in the hands of a less artistic designer. David's dressing room is breathtaking to behold. The rest of the artistic team who deserve mention would be Meliton Roxas Jr. (for the lighting design) and Faust Peneyra (for costume design, especially the Japanese ones.)

Director Alexander Cortez generally had excellent control over his material. If there was anything that I felt was off, it was the decision to add dancers with odd choreography (care of Dexter Santos) which I thought was distracting and added nothing significant to the story-telling. Other than that, this play was briskly told in a little over an hour (with no intermission break). The whole show had an ethereal quality, haunting, nostalgic, especially enriching for those who love the theater.

************

The play’s English version is called “The Dressing Room: That Which Flows Away Ultimately Becomes Nostalgia". The all-female cast includes Frances Makil-Ignacio (as Actress A), Ces Quesada (as Actress B), Missy Maramara (as Actress C), with Maxine Ignacio and Marynor Madamesila (alternating as Actress D). This is such as strong cast. I hope I get the opportunity to see this too during their remaining shows this week: April 19/Tuesday/7pm, April 21/Thursday/7pm, April 23/Saturday/3pm and April 24/Sunday/10am.

The full Filipino title is "Ang Dressing Room: Kung Saan Lubusang Pangungulila Ang Dulot Ng Agos Ng Panahon." The all-male cast includes Roeder Camanag (as Actress A), Andoy Ranay (as Actress B), Gwyn Guanzon (as Actress C) with Ian Ignacio and Jon Abella (alternating as Actress D). The remaining shows this week are: April 20/Wednesday/7pm, April 22/Friday/7pm, April 23/Saturday/10am and April 24/Sunday/3pm.

The venue of the play is at the Wilfrido Ma. Guerrero Theater, 2nd floor, Palma Hall, U.P. Diliman. For tickets, call Samanta Hannah Clarin or Camille Guevara at 926-1349, 433-7840, 981-8500 local 2449.

April 27, 2016

I can't believe that it had already been 12 years since we saw his elegant first concert in the Philippines held in the fully-packed Araneta Coliseum. Andrea Bocelli was at the height of his popularity back then. I am a big fan of his music, having bought cassettes of all his albums back in the 1990s. His beautiful "Sogno" album (1999) was one of my favorite albums of all time. His duet with Celine Dion "The Prayer" was of immense and enduring popularity even up to now.

This time around, I am not really familiar anymore with Bocelli's new material in the past five years. However when news came out that he was returning for a concert at the MOA Arena, I wanted to recapture the magic experience of being in that first concert. Since it was already our second time, I thought front row General Admission tickets were good enough for us.

When we arrived at the Arena last night however, we were surprised to see that the people who bought Gen Ad tickets were being upgraded to occupy the last three rows of the Upper Box! This was on a first come-first served basis, so luckily we went there early to get good seats near the center section. After a video about Bocelli's foundation for the disabled, the show began at around 9 pm. The Arena was not really full yet even when conductor Carlo Bernini led the ABS-CBN Philharmonic Orchestra through the opening overture.

Andrea Bocelli

Bocelli looked much older now with much of his hair a dignified silver, but the full vocal quality and range that made him popular was still very much there. The set list of first half of the show was composed of Italian arias only. Frankly, I was only familiar with "La Dona e Mobile" (from "Rigoletto") which was the second song he sang and the most popular song in that whole set. His guest artist in the first half was Mexican soprano Maria Katzarava whose voice was so powerful yet silky smooth as she reached those high notes. The Ateneo Chamber Singers provided the background vocals.

After the 20 minute break, the second half immediately opened with a very familiar tune -- "Maria" (from "West Side Story"). I was enlivened by this song because I felt this already signalled the main course of the show -- music from his latest album called "Cinema" featuring songs from motion picture soundtracks.

The next tune was "Brucia la Terra" featuring guest flutist Andrea Griminelli, which Bocelli sang while beautiful images from its source movie "The Godfather" were being shown on the video wall behind him. Griminelli stayed on stage to play a flute instrumental solo on the Ennio Morricone tune "Gabriel's Oboe" from "The Mission." This tune may be more familiar to some as "Nella Fantasia" done originally by Sarah Brightman in 1998.

Bocelli and Andrea Griminelli

Bocelli came back to sing a couple more songs from the album -- the very popular "The Music of the Night" (from "The Phantom of the Opera") and Mario Lanza's "Be My Love" (from "The Toast of New Orleans").

When Bocelli and Bernini left the stage for a break, Gerard Salonga came on to conduct the orchestra. Up and coming Filipina pop singer Christine Allado took the stage. She was a statuesque young lady who gave a memorable fiery performance, matching her fiery red gown. Her showstopping solo renditions of "As If We Never Said Goodbye" (from "Sunset Boulevard") and "Fly Away" (from "Moulin Rouge") were smashing highlights of the whole show. People who had not heard her sing before (like me) will definitely know her now. She practically stole the show right there and then.

Salonga and Allado left the stage as Bocelli and Bernini took their places and performed "Por una cabeza" (from "Scent of a Woman"). To the delight of audience, Allado came back out again to sing "Cheek to Cheek" (from "Top Hat") with Bocelli while scenes of Fred Astaire dancing were playing in the screen behind them. The maestro even showed his funa and frisky side in his interaction with Allado. Bocelli and Allado then went on to sing one of my favorite songs from the "Sogno" album -- "Canto della Terra." This song would have me on LSS all the way to my parking slot, and even up to now as I am typing this recap.

Bocelli and Christine Allado

Bocelli then sang "Nelle tue mani (Now We Are Free)" (from "Gladiator") accompanied by an elegant video showing Bocelli (now 57 years old) riding a black stallion playing in the background. Ms. Katzarava came back on stage to sing with Bocelli their final song together "Con Te Partiro (Time to Say Goodbye)." To satisfy the audience who was on their feet then clamoring for more, Bocelli returned to the microphone to sing "Nessun Dorma" ("Turandot") which was already the very last song of the concert.

It was a very moving concert. Bocelli's voice had that enchanting effect on his fans. There was always that last note which never seemed to lose strength even as it lingered for a long time -- that really gets me all the time, and still does. Of course, I was disappointed not to hear "Romanza,""Vivo Per Lei" or "Sogno", more of my old favorites. We did not hear "The Prayer", which I am sure everyone was waiting for but did not get. Nevertheless, we all went home filled with much joy and spiritual upliftment which the Bocelli voice inspires.

April 29, 2016

Philstage is an umbrella organization of professional performing arts companies in the Philippines. Presently the members include: 9Works Theatrical, Actor’s Actors Inc. Ballet Manila, Ballet Philippines, Full House (Resort World Manila), Gantimpala Theater Foundation, PETA, Philippine Ballet Theater, Philippine Opera Company, Repertory Philippines, Red Turnip, Stages, Tanghalang Pilipino and Trumpets. Gawad Buhay is the name of its awards of excellence.

Last night, Gawad Buhay, the first-ever industry awards exclusively for the performing arts, gave its awards for the 8th year. This was the third year in a row that I watched it. For the last two years, the awards night was held in the CCP Little Theater. This year, the ceremonies were held in Onstage at Greenbelt 1, with the show directed by Jenny Jamora.

For 2015, it was my distinct honor to have been invited to serve on the Gawad Buhay jury, an independent panel of critics, scholars, artists and theater enthusiasts who determines the winners for the awards. I was not only watching the show this year, but for the past year, I actually participated in the nomination and voting process for the quarterly citations and of course, these awards. Since the final vote was by secret balloting, I had no idea who will win. So some winners also came as a big surprise to me.

Representatives of the Philstage member companies gather onstage

Like last year, the ever-funny Topper Fabregas was the emcee of the proceedings. But this time he had Kakai Bautista (in an eye-catching body-hugging white outfit with a deep plunging neckline) to banter with as co-host. They gave out the first four awards, all of which were automatic winners for being the only nominees in their category.

1. Outstanding Original Musical Composition
• Joed Balsamo, “Mabining Mandirigma” (TP)
"Ganito pala ang pakiramdam ng manalo pag wala kang kalaban."

2. Outstanding Original Libretto
• Nicanor Tiongson, “Mabining Mandirigma (TP)

3. Outstanding Original Musical—Original or Translation/Adaptation
• “Mabining Mandirigma” (TP)

4. Outstanding Production of Existing Material for a Musical
• “La Cage aux Folles” (9WT)

The cast and crew of La Cage Aux Folles receive their award.

The next presenters were Roselyn Perez and Fred Lo.

5. Outstanding Ensemble Performance for a Musical
• “Mabining Mandirigma” (TP)

6. Outstanding Musical Direction
• Joed Balsamo, “Mabining Mandirigma” (TP)

7. Outstanding Stage Direction for a Musical
• Chris Millado, “Mabining Mandirigma” (TP)

Chris Millado, receiving one of 11 awards for "Mabining Mandirigma"

This was followed by "How Do I Prepare?" This was the first of a series short documentary videos (directed by Joaquin Valdez) showing the theater or dance production as a evolving process by collaborating artisans.

The next presenters were Nar Cabico and Phi Palmos (who was in a blonde wig, trying to channel Meryl Streep, I think) to present award for acting in a musical.

8. Female Featured Performance in a Musical
• Cris Villonco, “Bituing Walang Ningning, The Musical” (Full House)

9. Male Featured Performance in a Musical
• Antonio Ferrer, “Mabining Mandirigma” (TP)

Antonio Arman Ferrer receives his award

with Phi Palmos and Nar Cabico behind him

10. Female Lead Performance in a Musical
• Delphine Buencamino, “Mabining Mandirigma” (TP)
Her award was received by proud mother, Ms. Shamaine Centenera-Buencamino.

11. Male Lead Performance in a Musical
• Audie Gemora, “La Cage aux Folles” (9WT)
"Two years ago, Melvin Lee won this award for "Care Divas." Last year, it was Red Concepcion for "Priscilla". Now this. If you want to win this award, you have to wear a dress!"

Audie Gemora receives his award

After another short video about "Designers in their Element", John Herrera, Giannina Ocampo and Caisa Borromeo strutted out like fashion models to give out the design awards.

12. Outstanding Costume Design
• James Reyes, “Mabining Mandirigma” (TP)

13. Outstanding Sound Design
• TJ Ramos, “Mabining Mandirigma” (TP)

14. Outstanding Lighting Design
• John Batalla, “33 Variations” (RTT)

15. Outstanding Set Design
• Toym Imao, “Mabining Mandirigma” (TP)

Toym Imao won for his "steampunk" designs for "Mabining Mandirigma

The NATATANGING GAWAD AWARDS were chosen by the Philstage Board Members, not the GB jury. These lifetime achievement accolades recounting the lives of veterans who led lives filled with passion for the performing arts were very inspirational parts of the show.

Tonight the first honoree is Ms. Celia Diaz Laurel. The introduction by Ms. Joy Virata told us about Ms. Laurel's prolific career on stage, starring in probably a hundred plays as lead actress throughout her career, from UP to Repertory Philippines. She was also a master of designing costumes within a limited budget. When Ms. Laurel went up the stage, her children Cocoy, Nicole and Iwi accompanied her as she sang "The Colors of My Life" before her heartfelt speech.

An unprecedented special number featuring three pairs of dancers from each of the three biggest dance companies of the country -- Ballet Philippines, Ballet Manila and the Philippine Ballet Theater -- regaled us with the power and grace of contemporary ballet. This led to the the presentation of the awards in the Dance categories.

One of the Ballet Pairs in an elegant excerpt

A reunion of the "Priscilla Queen of the Jungle" cast, namely Jon Santos, Red Concepcion, Michael Williams, presented next. Jon Santos was a hilarious scene-stealing riot as always.

16. Male Featured Performance in Modern Dance
• Earl John Arisola, “Sarong Banggi” (BP)

17. Female Featured Performance in Modern Dance
• Monica Gana, “Sarong Banggi” (BP)

A shy and excited Monica Gana

with Jon Santos, Red Concepcion and Michael Williams behind her.

18. Male Lead Performance in Modern Dance
• Gerardo Francisco, “Ang Mahiwagang Biyulin”/from “Tatlong Kuwento ni Lola Basyang” (BM)

19. Female Lead Performance in Modern Dance
• Rita Winder, “Sarong Banggi” (BP)

Sleek and statuesque Rita Winder receives her award

20. Male Featured Performance in Classical Dance
• Gerardo Francisco, “Romeo and Juliet” (BM)

21. Female Featured Performance in Classical Dance
• Pia Dames, “Romeo and Juliet” (BM)

22. Male Lead Performance in Classical Dance
• Victor Maguad, “Peter Pan” (BP)

A genuinely surprised Victor Maguad did not expect to win this award.

23. Female Lead Performance in Classical Dance
• Lobreza Pimentel, "Don Quixote" (PBT)

The second Natatanging Gawad Award was for the recently-conferred National Artist for Dance -- Ms. Alice Reyes. She was introduced by Paul Morales of Ballet Philippines. She was given a dance tribute entitled "Tagistis ng Ulan" accompanied in song by OJ Mariano. In her speech, Ms. Reyes reminded us, that in the midst of this fast-paced world we live in today, we should always make time for artistic excellence.

National Artist and now Natatanging Gawad awardee Ms. Alice Reyes

Kim Molina presented the next set of Dance awards with her "Rak of Aegis" co-stars Pepe Herrera and Jerald Napoles (in drag) wackily "dancing" behind her.

24. Outstanding Ensemble Performance for Modern Dance
• “Bloom”/ from “BM 2.0” (BM)

25. Outstanding Ensemble Performance for Classical Dance
• “Peter Pan” (BP)

26. Outstanding Choreography for a Dance Production
• Edna Vida-Froilan,“Peter Pan” (BP)

Denisa Reyes receives her award,

with the goofy pair of Jerald Napoles and Pepe Herrera behind her

27. Outstanding Choreography for a Play or Musical
• Denisa Reyes, “Mabining Mandirigma” (TP)

28. Outstanding Production for Children
• “Peter Pan” (BP)

29. Outstanding Modern Dance Production
• “Bloom”/from “BM 2.0” (BM)

30. Outstanding Classical Dance Production
• “Peter Pan” (BP)

Pair from "Peter Pan" dance an excerpt from the show

Ms. Menchu Lauchengco-Yulo introduced the In Memoriam segment next. On the live accompaniment of Ejay Yatco on piano and Jef Flores on violin, the video screen reminded us of the recently departed theater artists, like tenor Nolyn Cabahug, actor Felindo Obach, playwright/director Rosauro de la Cruz, soprano Eleanor Calbes, production manager Lisa Camus and actor Junix Inocian, among others.

The next short video reminded us how last year 2015 was "The Year of the Straight Play." Following that, Liesl Batucan and Jonathan Tadioan presented two awards.

Kanakan Balintagos receives his award

with Liesl Batucan and Jonathan Tadioan behind him

31. Outstanding Original Script
• Kanakan Balintagos, “Mga Buhay na Apoy” (TP)

32. Outstanding Translation or Adaptation
• Rody Vera, “Arbol de Fuego” (Peta)

The next set of awards were presented by Loy Martinez and indie film actress Meryl Soriano (who kept on wondering aloud what she was doing in a theater awards show).

33. Female Featured Performance in a Play
• Roselyn Perez, “33 Variations” (RTT)
Very happy for her, even if I was rooting for her to win for "The Normal Heart" though.

Roselyn Perez receives her award

with Meryl Soriano and Lorenz Martinez behind her

34. Male Featured Performance in a Play
• Teroy Guzman, “33 Variations” (RTT)

35. Male Lead Performance in a Play
• Jef Flores, “This Is Our Youth” (RTT)
If there was an award for Breakout Star of the year, it would go to Jef Flores.

Jef Flores shares his award with his co-star and co-nominee Nicco Manalo

36. Female Lead Performance in a Play
• Irma Adlawan, “Mga Buhay na Apoy” (TP)

It was a stage reunion for "La Cage Aux Folles" couple Michael de Mesa and Audie Gemora as they presented the last set of awards.

37. Outstanding Ensemble Performance for a Play
• “The Normal Heart” (AAI/TNT)

38. Outstanding Stage Direction for a Play
• Bart Guingona, “The Normal Heart” (AAI/TNT)

Bart Guingona and the award-winning ensemble of "The Normal Heart" behind him.

(Perez, Flores, Concepcion and Fabregas)

39. Outstanding Production of Existing Material for a Play
• “The Normal Heart” (AAI/TNT)

40. Outstanding Original Play—Original or Translation/Adaptation
• “Arbol de Fuego” (Peta)

Lead star Cherie Gil and director Loy Arcenas receive the award for "Arbol de Fuego".

April 30, 2016

April 16 is World Voice Day (WVD). Every year, the Dept. of ENT-HNS along with the Voice and Swallowing Center in my institution join colleagues the world over to celebrate this advocacy. WVD reminds us about the importance of our voices in our daily lives. We should strive to acquire and maintain good voice habits in order to preserve this vital vehicle of self-expression, communication and occupation. Like before we had a free throat endoscopy mission and a lay forum about voice care.

As with previous years, a WVD celebration is not complete without a musical presentation. This year, we have invited a classical singing ensemble called VIVA VOCE to be our main guest. We had already invited Viva Voce before in previous WVD celebrations for mini-concerts at the lobby of St. Luke's Medical Center in Quezon City during the lunch hour. This year however, the concert will be held at the Henry Sy Sr. Auditorium of St. Luke's Medical Center in Bonifacio Global City at evening primetime.

Viva Voce had its beginnings as a summer voice camp in 2010 whose faculty was headed by Camille Lopez-Molina, who remains to be the group's musical director up to now. The members are young classical singers from schools of music from various colleges and universities around the metro, including UP, UST, PWU and St. Scholastica. Aside from concerts and recitals, Viva Voce also participates in various theater productions by Dulaang UP and PETA to name a few.

Carlo Manalac and Anna Dinnah Migallos

With Ms. Molina at the piano, the concert proper began seriously with four Italian operatic arias by Donizetti, Mozart and Puccini, done as an ensemble or solos by selected members. Roxy Aldiosa, a soprano, sang "Alto's Lament" by Marvin Hamlisch. There was also a duet by Anna Migallos and Carlo Angelo Falcis entitled "Love Unspoken" from "The Merry Widow" by Franz Lehar, which ended with a real kiss on the lips! They ended the first half with a group version of "Climb Every Mountain" (from "The Sound of Music")

Some doctors were also invited to share their singing talent in this concert. Junior ENT resident Dr. Tomas Mendez regaled the audience with a strong rendition of Puccini's showstopping aria for tenors "Nessun Dorma" (from "Turandot"). Cardiology consultant Dr. Rodney Jimenez was as smooth as ever with his rendition of "What I Did for Love" (from "The Chorus Line"). Neurology resident and "I Love OPM" shoo-in winner Dr. Fran Efendy channeled Josh Groban with "To Where You Are". (VIDEO)

Carlo Angelo Falcis and Myramae Meneses

Raymond Yadao and Glenda Liao

After the 20-minute intermission, Viva Voce changed from their formal wear in the first half into more casual wear for the second half. The first few songs of the second half were Filipino songs. The set started with "Maalaala Mo Kaya" by Constancio de Guzman sung by the ensemble. There was a duet by Glenda Liao and Raymond Yadao of "Makikiliti Kang Totoo" (from "Walang Sugat" by Severino Reyes), as well as a medley of Tagalog folk songs entitled "Halina't Magsaya."

There were also two songs which featured the silken soprano voice of Ms. Myramae Meneses. I believe she is the most well-known soprano from Viva Voce, having already played the lead role of Maria Clara in both the Dulaang UP and the Resorts World staging of "Noli Me Tangere the Opera", as well as in "Kanser @35" by Gantimpala Theater. Her first solo was traditional folk song "Leron Leron Sinta", followed by Manuel Velez's "Sa Kabukiran" (as a duet with Iona Ventocilla).

Roby Malubay and Roxy Aldiosa

Mark Bautista and Iona Ventocilla

The group then divided according to gender to render the next two songs. First, the boys got together to sing "Drinking Song" (from "The Student Prince" by Sigmund Romberg. Then the girls took their turn to sing "Comes the Broken Flower" (from "Trial by Jury" by Arthur Sullivan). They all joined up again to sing a medley of the most familiar songs from "The Phantom of the Opera" by Andrew Lloyd Webber.

The final three songs of the main set were from the very popular Claude Michel Schonberg musical "Les Miserables." Baritone Yadao first sang his version of "Stars", then tenor Falcis sang "Empty Chairs at Empty Tables," both of which just so happened to be my favorite songs from the show (-- you bet I was singing along, haha!). The grand finale of course is "One More Day"(VIDEO), after which everyone took their bows. Upon cries for more from the audience, Viva Voce obliged and sang a Filipino pop classic "Nais Ko" (VIDEO) as their encore before taking their final bows for real.

The Ensemble sing their Encore Song

May 28, 2016

Unusual for a concert of an artist at the prime of his career, the MOA Arena was not a full house last night at the Jason Derulo concert. Ticket sales must have been bad, since General Admission was closed down and ticket holders were upgraded to Upper Box.

When the crew of front act took the stage by about 8:30 pm, there were still a lot of vacant seats all over the venue. Red Foo (of LMFAO) and his gang really tried his best to pump up the energy of the audience and it worked. People were up and dancing most of his hour-long set of mixes of his catchy, hi-energy original material. Most were not really familiar to me, except for his #1 hit "Party Rock Anthem" (VIDEO).

Red Foo sprays the audience with bubbly

They really had a lot of gimmicks to engage the audience frenzy. They had smoke effects, numerous confetti showers, champagne spraying, blow-up animal toys (including two giant zebra dolls) which they threw out into the VIP audience to their delight. Red Foo even invited a number of girls from the audience to dance with him on the stage. I was surprised at the daring of these initially shy-looking girls when got into the groove of the beat and started their twerking! (VIDEO)

After the Red Foo set, they needed about 20 minutes or so to clean up all the confetti off the stage. Then Jason's official DJ Jae took the stage and started to re-energize the audience with his mixes of popular chart hits of other artists from Rihanna to Silento to Bieber which got the crowd singing and dancing along. It was already about 10:30 pm when finally, Jason Derulo himself got on stage.

He opened with his 2013 #14 hit "Trumpets". "Wiggle" (#5, 2014) and "Get Ugly" (2015) followed with Jason showing off his def dance moves with his crew. After a short break featuring his female dancers, Jason returned with a gentler beat with "Marry Me" (2013) sung with colorful stained glass windows in the background.

Then he did a throwback with his first ever chart hit in 2009, a song that went all the way to #1, "Whatcha Say" (VIDEO). A couple more of his older hits followed with"Ridin' Solo" (#9, 2010) and"In My Head" (#5, 2009), all very well received by the crowd. For the next song "It Girl," a girl from the audience was called to join Jason onstage. She was a big girl but very charming as she hugged Jason several times and even got to show off her dance moves. Too bad, Jason did not engage her in conversation, but she was visibly thrilled about getting close to her favorite singer.

When Jason came back onstage after a short musical interlude, he was shirtless, showing off his physique with the requisite abs. The song "Breathing"was performed in red light and had a really intense vibe with the choreography. Jason then sat on the edge of the stage and introduced this song which he called "a song currently #1 in the Philippines." It turned out to be his solo version of a Little Mix hit ballad called "Secret Love Song" (VIDEO) on which Jason was a featured artist. He ended this set with "If It Ain't Love" his latest Billboard chart hit in the US.

The next song "The Other Side" started with what seemed to be an empty stage with just a hooded figure in the shadows. By the time it reached the chorus though, the lights opened and Jason surprised everyone by performing at the back of the orchestra section! He returned up the stage to sing "Cheyenne". This was another well-choreographed number with excellent lighting effects and eerie accompanying video in the background.

Jason Derulo chats with his fans

It was already past 11:30 when Jason got to sing his two biggest recent hits in succession "Talk Dirty" (#3, 2013) (VIDEO) and finally the very danceable "Want to Want Me" (#5, 2015). The show simply ended there after his thanks and goodbye, with no more encores.

I went to this concert primarily to accompany my two teenage boys, but I realized I also actually knew a lot of his songs myself (though I could not really sing along to them, haha!). It was a good energetic boost-me-up concert that left the audience on a natural high.

June 4, 2016

Artist Playground opens its second season with an original play written by prolific playwright Rody Vera six years ago, entitled "Happiness is a Pearl." This is the first time this play had ever been staged for the public. The young theater company pushes the envelope with daring material that is for mature audiences only.

In the center of "Happiness is a Pearl" is a love triangle. Kenji is a Japanese gigolo who knew how to pleasure the ladies with his "equipment" uniquely enhanced by a pearl. Mari, a Japanese woman married to a rich businessman, could not resist Kenji's company for the ecstasy that he gives her. However, Kenji's heart had fallen for Maria, a Japayuki in a seedy Filipino bar in Chiba. As a confrontation among the three lovers was inevitable, each one realizes what they had to lose to gain the happiness of love.

The interior of the Little Room Upstairs where this play was staged was rearranged to fit a bigger diagonally-set stage with three substages. The audience sat on three sides of this stage, offering a different view of the action onstage. The ceiling was adorned with pink florets looking like cherry blossoms to symbolize the Japanese setting of the play. Some movable frames were set on the posterior stage, but I did not exactly get what these frames were supposed to represent.

Of the three main actors on the stage, the one that easily commanded attention by his mere physical presence was the newcomer (with the shortest CV) who played Kenji-- 22-year old indie film actor Tomas Miranda. He is a handsome well-built young man, with penetrating eyes which actually made him look Japanese. He acted with confidence, belying the fact this is was his very first theater production, Japanese accent and various stages of undress notwithstanding. (Jerome Rosalin alternates as Kenji.)

The two ladies who shared the stage with Miranda also had their respective moments to shine. Cath Go played the Japanese matron Mari as an obsessed lonely lady who was willing to buy her way to her happiness. This was the only character supposedly based on a real person. Ira Ruzz (who previously made a good impression as Flerida in Gantimpala's "Florante at Laura") played the entertainer Maria with typical homespun charm, very Filipina in attitude in situations of adversity. (Ruth Alferez alternates as Mari. Shiela Espina alternates as Maria.)

The extreme limitations of the stage space makes this play a challenge in blocking for director Paul Jake Paule, so that the audience around will get to see everything that was happening on stage. However, an even more difficult challenge was for choreographer Lezlie Dailisan. The choreography of the tangos danced by the three main actors was emotionally communicative, one of the best and most memorable aspects of this show. Despite the fact that Miranda, Go and Ruzz had no previous dance training, they were able to execute all the daring lifts and flips with grace and aplomb, very impressive all.

************

"Happiness is a Pearl" is staged at The Little Room Upstairs, Rm. 1701 of the Landsdale Tower along Mo. Ignacia (cor. Timog Ave.) in Quezon City. The play shall run from June 9 to July 3, 2016 with 7 pm shows from Wednesday – Friday; 3 pm and 7 pm shows every Saturday and Sunday. For tickets and inquiries, visit Artist Playground's FB Page or contact 0926 932 3179. Strictly for ADULTS only.

June 19, 2016

Earlier this year, popular 80s band Culture Club featuring their flamboyant cross-dressing lead vocalist Boy George audaciously announced a two-night concert in Manila at the Araneta Coliseum on June 17 and 18, 2016. However, by the first week of June, it was announced that the first day had been scrapped and that there will only be one concert on June 18. I had to swap my 06/17 tickets for 06/18 tickets.

When we entered the Coliseum at around 8 pm, there were still very many empty seats all over in all sections. This was a Saturday night, so this situation was very unusual. The Gen Ad section had been closed and the lucky GA ticket holders were upgraded to Upper Box, which nevertheless still never filled up despite this. It would never be a full house even as the concert started by about 9 pm.

Roy Hay (guitar and keyboards), Mikey Craig (bass guitar) and Jon Moss (drums and percussion) entered the stage first, before star vocalist Boy George made his grand entrance. The concert started very strongly, with four consecutive big hits: "Church of the Poison Mind" (#2 UK, #10 US, 1983) (VIDEO), "It's a Miracle" (#4 UK, #13 US, 1984), "I'll Tumble 4 Ya" (#9 US, 1982) and "Move Away" (#7 UK, #12 US, 1986) (VIDEO). It was promising to be a great concert of 80s nostalgia, as the music videos of each hit were being shown on the big screen as Boy George was singing the songs.

Then suddenly, the images on the big screen vanished. The technicians announced that there had been a power outage on the stage! While the microphones and overhead lights seemed to be working, all the amplifiers of the instruments are dead. Upon this announcement, Boy George at first joked if he was going to do a stand-up comedy routine. However, probably realizing that the power problem was serious, he left the stage for a "costume change."

The drummers tried to engage the audience with a couple of drum numbers, however they also could not sustain the long wait. The audience grew restless and, in true Filipino fashion, spent the time singing or joking around. This wait would last for an interminable 30-40 minutes before the power was finally restored and the concert could resume. Boy George apologized profusely and thanked everyone for waiting patiently.

The first number sung after the outage was Boy George's solo hit "Everything I Own" (#1 UK, 1987), a reggae-flavored cover of an old ballad hit by Bread. Then Boy George paired up with one of his diva-esque back-up singers to perform the soulful "Black Money", followed by another soulful solo song entitled "Victims" (#3 UK, 1983). These two songs prove that Boy George's pipes light-as-air vocals can also be powerful and dramatic.

The next four songs was another hit blitz. For "Time (Clock of the Heart)"(#3 UK, #2 US, 1982), Boy George enjoined lovers put their arms around each other. This was followed by the upbeat crowd favorite "Miss Me Blind" (#5 US, 1984) with its Japanese-themed video playing behind him. The next song Boy George introduced as the song that started it all for them: "Do You Really Want to Hurt Me?" (#1 UK, #2 US, 1982) (VIDEO). Immediately following was their first and only Number 1 hit on the Billboard Hot 100 (also #1 in UK) -- "Karma Chameleon" (VIDEO). This song finally got the whole crowd up on their feet.

After that hitting that high though, Boy George elected to play it serious again, with a cover of his personal inspiration David Bowie, an impressive version of"Starman." This was followed by a song that Boy George said he was being pressured to sing. He revealed that they have practically never sung this next song in a concert, only maybe three times in the past 30 years. This was the big hit "The War Song" (#2 UK, #17 US, 1984) sung in a new deconstructed version, which also delighted the audience.

The next song they performed was another cover, "Bang a Gong (Get It On)" by T. Rex, and also by the Power Station. Boy George suddenly announced his goodbyes towards the final notes of this song and left the stage. The rest of Culture Club and the band wound up their music and bade their goodbyes as well. The audience seemed unsatisfied still, and no one left their seats right away, yelling for more. However, an encore did not come anymore.

The concert covered ALL the biggest hits of Culture Club, so the show should be OK. Maybe it was the order in which the songs were performed that made it seem that the show did not reach a higher climax. I was personally disappointed that Boy George did not get to sing his version of "The Crying Game", which was a favorite of mine. The 30-minute power outage really sapped the momentum of the show considerably. I think Boy George was disappointed with the show overall. He did not dance too much. He only had one costume change. I think maybe it was because of the unexpectedly sparse audience turnout. I really cannot fathom why this concert did not sell as well as it could have.

June 25, 2016

Green Day is one of the most popular American punk bands that gained prominence in the 1990s. In 2010, a sung-thru stage musical with a musical score which included a line up of Green Day songs debuted on Broadway, with a book written by lead singer Billie Joe Armstrong collaborating with director Michael Mayer. Earlier this year, 9Works announced that they will be a local staging of this show and this news was truly exciting. Knowing how high-energy and electrifying Green Day music is, this is definitely a must-watch show.

Basti Artadi and Jason Fernandez

The venue was a huge stage set in an outdoor amphitheater in the heart of Bonifacio High Street in Taguig. There were big screens on both sides of the stage, just like there would be in any rock concert. Just looking at the set already gave you an inkling that this would be an extraordinary show.

There were three young men who were close friends whose paths eventually diverge. Will got his girlfriend pregnant and reluctantly decided to stay in town to stay with her. Tunny got convinced by TV ads to join the US Army. Johnny gets seduced by the drug lifestyle, even developing a powerful alter-ego St. Jimmy to justify his abuse. When his girlfriend Whatsername decides to leave him, Johnny had to make his own life-changing decisions.

Yanah Laurel, with Fernandez and Artadi

The central character of Johnny was played by former Rivermaya vocalist Jason Fernandez. Will was played by Chicosci frontman Miggy Chavez. This is the stage debut of both of these rock stars. Their singing prowess was incontestable, and both also did well in the acting department. Fernandez's character went to hell and back and he impressively convinced us of this. Chavez tended to be a little tentative at first but loosened up eventually. Tunny is played by theater actor Nel Gomez, and his confident ease around the stage is unmistakable, both in acting and singing.

Johnny's mysterious guru persona St. Jimmy was played by none other than the iconic leader of the 90s band Wolfgang, the legendary Basti Artadi, who had been out of the entertainment scene for sometime. The right-sided facial paralysis he suffers now may occasionally draw unnecessary attention. However, Artadi's powerful vocal reach and his enigmatic charisma was still very much there to keep us riveted when he is on stage.

Miggy Chavez

The ladies in the cast certainly had their spot numbers to shine. Yanah Laurel (as Whatsername) got to highlight her unexpectedly powerful rock pipes in the anthemic number "21 Guns". Ms. Saigon alumna Ela Lisondra certainly proved she was an "Extraordinary Girl" as she showed off her pole- and belly-dancing grace on top of singing that song. Alex Godinez was sweet and sentimental as Will's girl Heather, and her crystal-clear vocals in her various songs reflect her character well.

Of course, the big Top 40 hit songs, namely "Boulevard of Broken Dreams,""Wake Me Up When September Ends" and "21 Guns" were easily the most popular numbers. The whole company sings a rousing rendition of "Good Riddance (Time of My Life)" as a triumphant encore.. The other songs also make strong impressions despite their relative unfamiliarity. The poignant"Give Me Novocaine" and the forceful "Know Your Enemy" in particular were my personal favorites.

Nel Gomez

Director Robbie Guevara succeeds to engage the audience with his effective use of the complex multi-level stage area (again with set design by Mio Infante), Videos (by GA Fallarme) projected the influential television images that affected the lives of the youth. Daniel Bartolome conducts the live orchestra, as Onyl Torres serves as musical director for vocals. One of the important aspects of this production was the frenetic yet sexy Choreography, and this was care of PJ Rebullida. Lights and sound quality was excellent despite being in an outdoor venue. The costumes (a mix of leather, t-shirts and khaki) and makeup (trademark black eyeliner) brought us all into their punk world.

The modern culture with the deadly troika of "sex, drugs and rock n' roll" was not comfortable to watch onstage, with all the decadent nihilism it espouses among disillusioned and disoriented young people. However as performed by the live musicians and sung by the talented cast, the headbanging music of Green Day was undeniably invigorating and glorious. The lyrics developed a new depth of meaning when heard in the context of the story unfolding on stage. 9 Works have a strong contender for Musical Production of the Year!

The Company sings "Good Riddance"

************

Green Day's AMERICAN IDIOT will run from June 24 to July 10, 2016. There will be shows on Fridays, Saturdays and Sundays at 8 pm. Venue is at the new Globe Iconic Store, Bonifacio High Street Amphitheater, BGC, Taguig. For TICKETS call 586-7105 or Ticketworld at 891-9999!

June 30, 2016

This is the third year in a row that I am catching some of the fresh one-act plays chosen for this year's 12th edition of the Virgin Labfest at the CCP. This year, 197 scripts were submitted and the top 12 were chosen to be staged. Because of my work schedule, I could only watch two sets for now. I hope time clears up for me to be able to watch more. VLF XII opened yesterday. Today, on the day of the Presidential Inauguration, I was able to catch the premiere showing of Set B.

1. BAHAY-BAHAYAN, TAGU-TAGUAN

Written by: Herlyn Alegre
Directed by: Ricardo Magno

There was a civil war of sorts which displaced a significant number of residents from a place called Puting Bato to seek refuge in a tent city across the sea. A well-to-do oil executive Eben loses his whole family when their boat capsized while crossing the border. When he reaches the tent city, he encounters a former teacher Fatima, her son Sami and another young man Dan, who had all been there for over a year now. Eben learns that they were actually trying to move out of this dire camp to try their luck to live somewhere else.

During the post-show interaction, playwright Herlyn Alegre revealed that she was inspired by the Syrian refugee crisis when writing this play. The story was very interesting and vital, but as it was staged this afternoon, it felt long and oddly monotonous, hardly lifting off. I did not feel the action rising, nor a satisfying climax. The slow pace and long silences did not help. The reliable Doray Dayao was gritty as ever portraying the jaded Fatima. Sky Abundo (Dan) and Rence Aviles (Sami) play the young men as desperate yet idealistic. As Eben, Chrome Cosio projected the confusion of a new refugee well, but I was expecting more emotion from his character because he did just lose everything he had.

2. ANG BATA SA DRUM

Written by: Dominique La Victoria
Directed by: Dudz Terana

A young girl has a conversation with her younger brother Ruru who, at that time, had been punished by their drunk abusive father by incarcerating him inside a large empty water drum. The script could feel repetitive as kids talk would usually be, talking about school, their chickens, their parents. In addition, majority of the script was in lilting Cebuano language. However, the deep emotional message was not completely lost despite me not fully understanding all the words.

We never see Ron Alos, the actor playing Ruru, until he came out for the final bows. We knew him only by his plaintive voice from inside the drum. On the other hand, Raven Relavo had to act by herself onstage in a virtual one-woman show. By the end of the play, Relavo was in real tears, even during the curtain call. We in the audience felt our hearts melting as the siblings realize the hopelessness of their condition. This was a one-act play of poignant simplicity. That final scene before lights out was truly haunting.

3. LOYALIST

Written by: Kanakan-Balintagos
Directed by: Law Fajardo

This one-act play is set in 1992, the year when Imelda Marcos came from from her exile. It is a spirited conversation between an activist-artist college boy from UP and his mother, who was staunchly loyal fan of the Marcoses. The setting was a chicly-decorated living room where the son caused a big mess with his stuff. The mother practically spent the whole time cleaning and straightening up the place while talking with her slacker of a son.

The fact that none other than Ms. Irma Adlawan was playing the mother is already enough reason for you to watch this play. She of course lives up to her reputation, in a complex role that required her to be so lively and passionate. I have also seen several plays with Abner Delina Jr. before in PETA and here in VLF and he is also consistently on point with his performances. He certainly holds his own against the formidable talents of Ms. Adlawan. In the Q&A after the plays, playwright Kanakan-Balintagos confessed that this, like his recent full-length play "Mga Buhay na Apoy," was also a script he wrote twenty years ago. His professor did not like it then. Amazing how the passage of time had made this material entertainingly nostalgic and fun to watch, especially for us who actually lived through that moment in history.

July 6, 2016

Talking about death is uncomfortable enough, but more so if that death was a suicide. Family and friends of a suicide victim would almost always suffer severe guilt feelings about why they were not able to see it coming, and no one wants to talk about it. It is this taboo topic of suicide gets a tragicomic treatment in this maiden production of a brand new theater company, Twin Bill Theater, as it audaciously stages Andrew Hinderaker's 2010 Off-Broadway play “SUICIDE INCORPORATED.”

For this production, we get introduced to a new theater venue in San Juan City. It is along Lt. Artiaga St., which can be accessed either from N. Domingo or from Bonny Serrano Ave. You can see the name and logo of the place PARC (Performing Arts and Recreation Center) right there on the gate of #494. The play venue itself is an intimate room where the audience can sit on either of two sides of the stage. The backdrop is glass, stylishly decorated with names and quotes from noted people who had committed suicide. There is a TV screen to serve as an indicator where the scene was set.

Perry and Jason

Legacy Letters is a company whose macabre business was to help people planning to commit suicide to write and edit their suicide notes. This was owned by a brash and ruthless businessman, Scott Daniel Johnson (Jeremy Domingo) who relished to profit from the agony of his depressed clientele. His staff writer Perry (Chino Veguillas) was ultra-loyal and devoted to his boss and his job, despite being constantly on the receiving end of Scott's insulting remarks.

A former writer of Hallmark cards, Jason (Hans Eckstein) was just newly hired. He was immediately assigned to take on the case of Norm (Mako Alonso), a distraught young man who was planning to commit suicide because could not move on from his failed marriage which ended in annulment. Meanwhile at home, Jason also had to deal with the issues of his younger brother Tommy (Bibo Garcia) who cannot seem to cope with college.

The script of Hinderaker was very well-written with a very fast tempo in its storytelling. However, while it was a dark comedy at heart, it was still very sensitive about the psychology of suicides, specifically among males. The direction of Steven Conde is very classy and smooth. There was no indication whatsoever that this was the press preview of a debut production. Everything went on so fluidly, from the flawless ensemble acting of its all-male cast to the faultless technical work of the crew (which includes Ed Lacson for the set, Jay Pangilinan for sound, and Joseph Matheu for the evocative lighting).

Jason speaks with Norm, as Scott looks on

This role of Jason was the most intensely dramatic role that I have seen Hans Eckstein attack. He really was able to convey the pressures and conflicts that his complex character experienced in both his new job and more so in his personal life, particularly his strained relationship with his brother Tommy.

Bibo Reyes, who looks very different from how I saw him first in "In the Heights" where he stole scenes as the smart-ass Sonny. His performance here as Tommy was more quiet and pained. He shone especially in that confrontation scene with Jason that brimmed with so much palpable bitterness.

Jeremy Domingo felt really at home and was clearly enjoying his role of Scott. This foul-mouthed alpha-male jerk of a character seemed to have been written with Domingo in mind, as he gleefully fit the role like a glove with a wry and dark comic sense that seemed second nature to this veteran actor.

Chino Veguillas played the nerdy effeminate Perry. His insecure jealousy about Jason and his obsession for Scott's attention and approval was just the comic relief needed to keep this serious script from totally wallowing in its misery. Veguillas would also take on the more minor roles of a policeman and a waiter in other parts of the play.

At first you think that the role of the customer Norm would just be a small one for Mako Alonso. However, the role expanded with every subsequent scene. By the final scene, Norm would have a lengthy soliloquy which would truly test any actor's acting (and memory) skills. Alonso rose to the occasion and nailed that challenging monologue infused with unbearable regret and guilt. (George Schultze will be alternating for this role).

Tommy, Jason and Norm in an intense scene

The purpose of the producers Joseph and Francis Matheu for staging this show was not only for entertainment, but more importantly, they wanted to shed light and raise awareness on mental health issues regarding suicide. A doctor (probably a psychiatrist) will be present for every show to facilitate the talkback sessions they intend after each show in order to allow audiences to ask questions and even share their own experiences about the topic.

I would say that "Suicide Incorporated" is for suicide, as "The Normal Heart" was for AIDS. These prickly topics need to be addressed in public more to create more awareness for their prevention and management. A suicide occurs every 40 seconds somewhere around the globe. While the Philippines is said to have the lowest incidence of suicides in this side of Asia, this rate is steadily increasing in recent years.

This show would be good therapy for those who may be contemplating suicide because it gives vent to their frustrations and pent up emotions, and perhaps clear up their confusion. Furthermore, it is also good education for everyone else, to make us sensitive to possible signals potential victims may be sending. Men, in particular, are addressed here because they generally do not talk about their feelings nor ask for help. Collapse in communication should be curbed as this is the big antagonist of all. Because of the acute awareness this play creates, it is hoped that a suicide or two could actually be prevented.

The cast Veguillas, Domingo, Eckstein, Alonso and Reyes

“Suicide Incorporated” will run from July 15-31, 2016. It will have shows Fridays and Saturdays at 8 pm, on Sundays at 3 pm. There will be an additional 3 pm show on Saturday July 30. Tickets are available on Ticketworld.

July 7, 2016

1. MGA BISITA NI JEAN

Written by: Ma. Cecilia "Maki" dela Rosa
Directed by: Ariel Yonzon

Jean receives a phone call while watching a war film. Suddenly she was visited by Cage, her superior while she was a member of the armed resistance. Cage and his wife Lara officiated Jean's wedding to Brad. Much later, Jean also receives a visit from Ted, her closest friend among her rebel colleagues. While Jean talked about her current time apart from her husband, secrets from the past are revealed.

This is yet another VLF play with characters who were armed rebels (or used to be). I note that this is a popular theme among VLF entries. However, in this play, this occupation did not seem entirely necessary for the main plot, which was a frustrated love story, except perhaps to break the stereotype that these female warriors were man-hating amazons. What is not to love about Sheenly Vee Gener's emotionally-rich, very natural performance? Aldo Vencilao may not immediately strike you as the typical leading man, but he certainly had an electric chemistry with Gener that generated a unique romantic thrill with the audience. The Cynthia Alexander song they sang together as a duet in perfect harmony could melt hearts.

2. BAIT

Written by: Guelan Luarca
Directed by: Mara Paulina Marasigan

Two 12-year old boys had a big fight. John Paul took the Koran of his Muslim classmate Ahmad and desecrated it by throwing it on the floor, spitting on it and tearing out the pages. Incensed, Ahmad pushes the errant boy too strongly causing a freak injury that lands the John Paul in critical condition. The boys' adviser Mr. Arevalo met with Ahmad's father, Mr. Sampurnay, about this accident and its repercussions. However, the father remained adamant about his religious convictions about the case.

This was a play that was so difficult to watch because of the intense conflict it presented to us. Luarca was very brave to take on such a sensitive and potentially incendiary topic around which to base his one-act play. The performance of Renante Bustamanteas the Ahmad's father was so chillingly realistic that I could hardly bear to look at his face during the play. Kalil Almonte portrayed the nervous confusion any teacher would feel when engaged in an emotionally-charged conversation such as this with a headstrong parent. The tension developed by director Mara Marasigan was so thick. The ending was such a powerful shock. The whole theater suddenly fell silent at that moment.

3. MULA SA KULIMLIMAN

Written by: Carlo Vergara
Directed by: Hazel Gutierrez

Gorio and Lilia had been married for a long time. Their son Jerome is already 15 years old. However lately, Gorio had been spending weeks on end out of town, such that Lilia had to practically raise Jerome on her own. One day, mysterious events forced Gorio to confess his real nature and what he had been doing all along. Even Jerome knew about it. What Gorio tells Lilia was so preposterous, she simply could not believe a word he was saying.

Count on Carlo Vergara to submit the wackiest comedy in this year's VLF batch. The writer of "Zsazsa Zaturnnah" also gave us "Kung Paano Ako Naging Leading Lady" before. He revisits the same genre with this one, again with his trademark skills in madcap comedy. Director Gutierrez decided to use shadow play techniques to portray the supernatural aspects of the story, which added another dimension to her storytelling.

Mayen Estanero was amazingly winning in her portrayal of the vivacious and gregarious mother, Lilia. She was such a warm presence onstage, we will all wish she was our own mother. Timothy Castillo was a natural comedian, unafraid to make fun of himself in his portrayal of the smart-aleck son Jerome, who loved his comic books more than homework. Tad Tadioan was a total fun riot as Gorio, a husband who had been keeping major secrets from his wife all these years. The actors played as one smooth seamless comic ensemble and the audience had a rollicking good time.

July 8, 2016

1. MARTE

Written by: Eliza Victoria
Directed by: George de Jesus

The setting is Mars. People from Earth can go there to work and get higher wages than if they work on their home planet. However working for the Promethei Industries on Mars is proving to be very dangerous for the health of its employees. Veteran worker Tina tells newbie companion Lorie about an unfortunate incident where a co-worker Mylene had a chemical splash on her face which caused critical injuries.

Of all the plays I had seen in this year's VLF, this one had the most outrageously imaginative set and production design. The crew really had to think outside the box here to create a futuristic set that would look convincing as Mars. They even thought of a "robot" campaigner for the gubernatorial candidate. They had hand-held "hologram players" and "remote control" video screens (which also showed a pre-recorded message from festival director Tuxs Rutaquio to introduce the whole set, something he would usually do live in person for the other sets).

The basic premise of the story though is very familiar. It sort of reminded me about the film "Imbisibol" (itself a VLF play three seasons back) which was about the travails of Filipino workers in Japan. This time, just replace Japan with Mars, but the OFW issues tackled (problems about working away from home, the over-dependency of the family back home, the conflicts between two co-workers) remain the basically the same. Stella Canete-Mendoza and Martha Comia give very effective performances, as the disgruntled Tina and the troubled Lorie respectively.

2. DADDY'S GIRL

Written by: Ricardo Novenario
Directed by: Nicolas Pichay

A young woman finds herself in another dimension, and there she meets her father. An unfortunate incident of a forbidden nature that occurred between father and daughter when she was 16 caused their estrangement. Its vivid memory still haunted their reunion. Now that they were both dead, could they now fulfill their destinies as romantic soul mates?

Based on the synopsis alone, you can imagine how much discomfort this play can cause in the audience watching. This play tackles outrageously scandalous stuff -- rape and incest between a father and his daughter. No matter how much comedic diversion the writer injects to lighten up the proceedings (that sequence when the two of them reenact classic love scenes was very funny and well-executed), the unsettling nature of underlying premise still cannot be so easily alleviated. The practically bare set design worked well with the bizarre story.

Marco Viana and Skyzx Labastilla were definitely very energetic in their passionate portrayal of these two star-crossed soul mates. They did not necessarily have convincing romantic chemistry together though.

3. HAPAGKAINAN

Written by: Rick Patriarca
Directed by: Chris Martinez

A seemingly ideal family of four sits together at their dining table for a delicious dinner of tinola prepared by their mother. However, it did not take long until their picture-perfect smiles and polite manners turn into bitter, expletive-laden, madcap tirades about parental ineptitude, illicit affairs, teenage pregnancy, and drug abuse.

The play opens with the strains of "My Favorite Things" from "The Sound of Music" and a smiling formal family portrait hanging in the background. Little do we know that we are going to see probably one of the most outrageous plays of this year's VLF in terms of language. The profanity index of this script literally shoots off the charts as every known curse and cuss words known in the Filipino language crisply emanate from every character's mouths.

The most unlikely actors play the four foul-mouthed family members. The glamorous Adriana Agcaoili portrays the mother while the dapper Arnold Reyes plays the father. Innocent-looking Mikoy Morales and sweet Adrienne Vergara play the two teenage kids. Despite the potentially offensive continual barrage of dirty language, Rick Patriarca's witty script, Chris Martinez's mastery of satirical dark comedy, and the fluid ensemble work and precise comic timing of the cast succeed to make the whole audience roar in lustful laughter the whole time.

July 9, 2016

As introduced by VLF Festival Director Tuxqs Rutaquio, staged readings are a special venue given for some submitted plays which did not make it into the Magic 12 but are also outstanding on their own merits. One of the recent examples of a play that started as a VLF staged reading and eventually successfully produced as a full play was Kanakan Balintagos'"Mga Buhay na Apoy." These staged readings are open to the public free of charge. They were held at the Tanghalang Amado Hernandez, a big conference room somewhere deep in the belly of the CCP.

This is the first time that I watched a VLF staged reading. "Changing Partners" was remarkable in that it was the first musical one-act play to be a staged reading. The people behind it are big names in Philippine theater. The book, music and lyrics are written by Vincent de Jesus of PETA. The director is Rem Zamora of Repertory Philippines and Red Turnip Theater. As further proof of the pedigree that precedes this staged reading, a who's who of Philippine theater was there in the audience watching. I saw Ms. Menchu Lauchengco-Yulo, Michael Williams, Jef Flores, among many others.

I cannot write a summary myself without spoiling the ingenious web of personalities tackled in this very well-conceived genius of a story about Chris and Alex and Chris and Alex. I better stick to its publicized synopsis to play it safe, short and symbolic: "A musical exploration of the alchemy of relationships. "Changing Partners" questions the nature of fidelity and the complex issues partners face regardless of gender. When feelings are neither right nor wrong, all you can do is sing." How the story actually unfolded on that stage was so much more magical than these words can convey.

The cast of talented actors exceeded all my expectations. Their delivery of all those angst-filled lines and singing those painfully sad songs were sounded so perfect, I could not imagine them done any better. Sandino Martin may have had the shortest time on stage but he makes the most of it with a deeply emotional performance that left him in tears after the final song. Giannina Ocampo, with that disaffected look on her face, was a big puzzle for her onstage partner (and us) to figure out. Patricia Ismael came on very strong in her dominating and controlling character, yet you can feel the palpable bitterness in her words. Enrique M. Ibe impressively worked magic with his subtle change of vocal inflections totally and convincingly changing his character as the script required.

Vincent de Jesus has truly produced a masterpiece here. He was right there playing the accompanying music live for us as he was hearing his amazing script come to life. I am sure he was very proud of how this staged reading turned out. The way Rem Zamora staged this reading today was practically as good as it gets already. Those blocking switches during the rendition of the final quartet was just so good. If not for those scripts held in the hands of the actors (which I honestly did not think they really needed anyway), this felt like the actual full production already. The girl reading the narration and stage directions (Geraldine Young) had such a beautifully modulated voice, and contributed so much to the effective dramatic staging of this reading.

I honestly cannot believe this very ingenious script did not make it into the Magic 12 of this year's VLF. For a script in progress, it looked and sounded complete already even within its compact one hour running time. In that case, I cannot wait for this to metamorphose into its full form in the future, as de Jesus himself teasingly promised us at the end of this scintillating show.

July 31, 2016

When I heard that the title of the PhilStagers' latest project this year is entitled "Katips", I thought it would be about the Katipuneros. However, since they had already tackled Andres Bonifacio and the Katipunan back in 2013. This new show must be about something else.

Just a few days ago, I read an article in the newspaper that this play would actually be about Martial Law. Wow, that is one tough subject matter, very touchy and sensitive, especially with the election just past when "the Martial Law thingy" was again brought up. After seeing how skillful Atty. Vince Tanada was in creating full-length musicals about events like World War 2 (in "Filipinas 1941") or people like Pope Francis ("#Popepular"), I was eager to see how he would navigate this darkest time in our country's modern history. Musical direction was again by Pipo Cifra, Tanada's longtime collaborator in his shows.

Introduction of the Premise

The play opened in 1970 on Mendiola Bridge in Manila during the so-called First Quarter Storm. Among the activists out there were Panyong (Vince Tanada), a writer for the Philippine Collegian, and Greg (Kevin Posadas), a medical student. Panyong thought of himself as Bonifacio, while he called Greg Rizal. The Metrocom came to disperse the activists in a violent manner. Some leaders, a UP professor among them, were killed.

"Katips" refers to the house of Alet (Adelle Ibarrientos-Lim), a lady who has opened her home for student activists from UP to meet and stay over in, earning her the monicker of "Tandang Sora". Lara (Maya Encila), a Fil-Am actress from New York City whose father was one of those killed in the first rally, is the newcomer at Katips. Lara will get a rough awakening from her inherent bias and apathy as she gets to learn firsthand what the Martial Law is really all about.

It won't be all serious political issues though. As before, there will also be personal love stories among the characters interwoven into this story. There was a noteworthy part where four pairs of lovers get to converse with each other in a witty interconnected manner, culminating in one big song number "Sa Gitna ng Dilim", in true Tanada style. Despite the very serious main topic, we also get moments of shallow jokes and romantic thrill moments to enliven and lighten the proceedings once in a while.

First Quarter Storm Scene

Fans of previous Stagers play will immediately recognize the energetic and youth-oriented style of song, dance and acting. Every song is given a big production number with cast members located all over the stage, singing their lines and dancing in unison, with a band playing the music live. The choreography had a rocking disco vibe but we still see those unmistakeable signature Stagers moves. Seeing those psychedelic Niknik shirts and bell bottoms onstage really evoked 70s nostalgia.

Tanada's tried-and-true formula really gets the youth interested in and react positively to his shows. He uses no highfalutin jargon to confuse issues. There is only common street language everyone will understand, so the message will get through clearly. There are certain moments during the play which some older viewers may call corny or cheesy or over-the-top, but it has to be emphasized that the youth is the target audience and these stage techniques may be the better way to get through to them.

Vince Tanada and the UP Oblation

As an actor, Vince Tanada can really possess the stage when he is on because of his commanding vocal power and range. The vocal demands for Panyong were really so punishing as he had to sing rock anthems like "Manhid" which can really push the voice to the breaking limit. It was incredible when he revealed that they had been playing this show up to four times a day for the past two weeks in soft-opening shows. We can hear his vocal fatigue during his talk during the curtain call. This guy really gives his all in his every show. (Alternating in the role of Panyong is Jomar Bautista, Atty. Vince's nephew.)

Adelle Ibarrientos-Lim has really risen through the ranks to now play the female lead character, Alet. Her dramatic skills shine through in both her spoken and the sung parts. Her intense portrayal of Alet in the heart-wrenching climax will definitely wring your tear ducts. You will definitely feel her pain.

Kevin Posadas played the long-haired hippie loverboy Greg. He had definitely improved a lot from previous Stagers' plays I have seen him in, especially in the field of singing. His baritone has become fuller and more solid. Acting-wise, his range is a bit limited because the character of Greg being mostly reactionary to those of Panyong or Lara, but Posadas makes the most out of his role. (Alternating in the role of Greg are Daniel Cruz and Kierwin Larena.)

Kevin Posadas and Maya Encila

Completing the lead quartet is Maya Encila as the headstrong Fil-am girl Lara. This young lady has a pretty face, a clear soprano voice and a delightful American accent. I think this play is the debut production of Encila for PhilStagers. She snagged a lead role right off. and nailed it with flying colors. Looking forward to seeing her in future Stagers productions.

Gerald Magallanes played the aggressive hothead Estong who would later suffer for his boldness. (Mark Montillana alternates as Estong.) Vean Quedo was scene-stealing as Susie, the funny girl from Tacloban who was Art's girlfriend. (Rutchell Leonor alternates as Susie.) John Rey Rivas played the UP freshman and new recruit Art. Rospel Gonzales plays Susie, Estong's girlfriend, a reluctant participant in the protest actions.

Stagers veteran Chin Ortega played Ka Temyong, Estong's father, who worked as another iconic Martial Law denizen, the Metro Aide. (Jay Jay Andres alternates as Ka Temyong.) Playing activist nuns were Jessica Evangelio (as the fearless Sr. Claire) and Levi Bracia (as the meek Sr. Josie). Arian Golondrina played Bebang, the editor-in-chief of the Philippine Collegian.

JP Lopez is the friendly guy who always welcomes the audience before each show to talk about theater etiquette for the student audience. During the play though, he eerily transformed into a fearsome Metrocom police monster named Lt. Sales. His lines may have been few, but his face and actions spoke louder than words -- pure cold-blooded, chilling, brutal evil. Chris Lim and Art Andrade, who played his assisting minions Cabigao and Alagao, were also effectively ruthless and sadistic.

JP Lopez, John Rey Rivas and Adelle Lim

This show was conceptualized to educate Millennials about what really happened during the time of Martial Law. It aims to provide theatrical depictions of actual nightmarish experiences by political prisoners during that time who had survived to tell the tale. There were actual Martial Law victims who were in the audience with us yesterday afternoon, whose presence Tanada acknowledged during the curtain call. He called them his inspirations for his advocacy, and proof that he was not only making all this up. Atty. Tanada's own grandfather was none other than the illustrious Sen. Lorenzo Tanada, who also suffered imprisonment during Martial Law.

"Katips" does not sugarcoat anything in its fight against revisionism. Not only will we see rallies in Mendiola and strikes in La Todena, we will see various forms of abuse and torture so cruel and repulsive we could not help but squirm in our seats or cover our eyes. The cold graphic violence shown will certainly shock and disgust. Atty. Tanada wants Millennials to realize that Martial Law should never happen again, and he definitely gets that big message across with a big exclamation point.

Encila, Posadas, Lim and Tanada in the Grand Finale number

"Katips: Ang Mga Bagong Katipunero (A Filipino Musical)" will run from July 2016 to March 2017 in various venues all over the country. Contact 09276006864 for bookings, venue and ticket information.

Schedules for August 2016: August 6 SM Southmall Cinema 3 8am, 11am, 2pm; August 7 SM North EDSA Cinema 9 8am, 11am, 2pm, 5pm; August 11 Adamson University 8am, 12nn; August 12 Adamson University 4pm (World Premier); August 13 SM Centerpoint Cinema 1 8am, 11am, 2pm; August 14 Yuchengco Auditorium De La Salle University 10am 2pm 5pm; August 20 and 21 SM Centerpoint Cinema 1 8am, 11am, 2pm; August 25, 26, 27 Pampanga and Tarlac (Time and venue to be announced); August 28 SM Centerpoint Cinema 1 8am, 11am, 2pm

Schedule for September onwards will be announced soon.

August 20, 2016

The theater scene in Manila is really alive and relevant. Recent plays I've seen have tackled the most difficult, most uncomfortable subject matter. "The Normal Heart" was about AIDS. "Suicide Incorporated" was about Suicide. "Katips" was against historical revisionism with regards to Martial Law. Now here comes "Tribes" which tackles another sensitive topic not commonly depicted in theater -- Deafness. After staging complex plays like "Rabbit Hole" and "33 Variations," we can really count on Red Turnips to come up with the most intellectually-challenging productions.

"Tribes" is an award-winning play written by British playwright Nina Raine in 2010. This current local production is helmed by Topper Fabregas. The theater area of the Power Mac Spotlight Center was transformed into the first floor of a middle class Jewish-British household with its living room and dining room by set designer Ed Lacson, Jr. The layout of the stage and the audience areas was very different from how it looked in the last Red Turnip production, "Constellations". It would be exciting to see how flexible this area can be rearranged to fit the requirements of future productions staged here.

Billy was born deaf. He lives with his ever-quarreling family, who had raised him to read lips and talk, never to sign. His father Christopher is an acerbic academic and critic. His mother Beth is caught up in writing her very first detective novel. His two elder siblings are aimless young adults still living with their parents. Brother Daniel is a bum bothered by voices he hears in his head. Sister Ruth is a frustrated opera singer desperate for a boyfriend.

One day Billy meets and falls in love a pretty and articulate girl named Sylvia, a hearing girl born of deaf parents. Sylvia teaches Billy how to sign and gets him to learn more and get immersed into the world of the deaf that his family had painstakingly sheltered him from his whole life. Billy comes into belated realizations about his life, his handicap and his dysfunctional family. All this while though, Sylvia was having her own adjustments to go through as her own hearing fades.

The first scene of the show was not easy to watch because it was very noisy. The characters were oftentimes shouting, cursing, boisterous, vociferous, talking over each other at the same time. The effect to emphasize the isolation of the deaf member of the family definitely worked. In our efforts to get our voice heard, we can inadvertently leave a deaf person out of the loop, and this message was clearly delivered. The family of Billy were initially portrayed like the antagonists of the play. They were the family from hell, it seems, with their egotistical pursuits and philosophies. They seemed unmindful of their effect on Billy and his handicap, despite caring for him deeply.

Despite spewing invectives with every sentence, Teroy Guzman's masterful delivery of his lines as the dad Christopher was so captivating in his very naturally-accented British English. The ever-delightful Dolly de Leon plays the ditzy and sympathetic mother Beth. Sassy Thea Yrastorza played Ruth with her brand of humorous exasperation. Cris Pasturan had the misfortune of being given the unenviable role of Daniel, who for me most unsympathetic character in this play. It would a big challenge for any actor to make the audience understand him, if at all. It felt rough going in the first half for Pasturan, but we finally get him in the second half.

Kalil Almonte had to deliver Billy's lines with that certain airy resonance like how we usually hear deaf people speak, and I bet that was difficult to do for the entire hour and twenty minutes of play time. For the whole first act, he was relatively reserved and reticent, simply reacting to the people around him. He finally made his mark in the second act when he discovered how to get people to listen to him and declares a bold decision to his family -- the big dramatic moment of the whole play.

For me, the standout actor in the ensemble was Angela A. Padilla giving life to the extraordinary character of Sylvia. Every scene she was in was a highlight. She will make us fall in love with Sylvia like how Billy did on their first meeting. She will mesmerize us with her calm dignity like how Billy's family were at their first dinner together. She will break our hearts in that scene in the second act when she described how she was losing her hearing. Ms. Padilla looked great and had strong stage presence. Her line delivery was so natural and fluid. Her acting was so real and heartfelt. Her piano scene was divine.

In my line of work, I encounter a lot of patients with hearing disability. When their hearing loss is severe to profound, they are not easy to communicate with, especially if they do not have a hearing aid. Early in my career, I tried to learn Sign Language in order to be able to communicate with them. However after finishing the lessons, I slowly lost the skills due to lack of usage and practice. I deeply regret that I never picked that language up again, especially as I was watching this particular play.

The play tackled a lot of issues about the deaf we hearing people take for granted. It brought up a lot of misconceptions we have about the social interactions of deaf people. This was all very fascinating to learn about. The show I watched yesterday afternoon was specially dedicated for deaf audiences. The whole play was subtitled via a projection of the script on the wall. I am very curious what these deaf members of the audience thought of the issues taken up during the show. Too bad there had not been a Q&A session for us to learn from them, especially about the accuracy of the information presented in the Philippine setting.

*************

TRIBES started its run last August 5, 2016 and will run weekends up to September 4, 2016. Remaining shows: Aug 26 Friday 9pm, 27 Saturday 4pm and 8pm, 28 Sunday 4pm, September 2 Friday 9pm, 3 Saturday 4pm and 8pm and 4 Sunday 4pm and 8pm. Venue will be at the Power Mac Center Spotlight, Circuit Lane, Circuit Makati. Tickets priced from P1,254 to P1,881 via Ticketworld.

August 28, 2016

“Ang Katatawanan ng Kalituhan” is Guelan Varela-Luarca’s Filipino translation of William Shakespeare's “The Comedy of Errors.” Dulaang UP opens its 41st season with this work of the Bard in observance of Shakespeare’s 400th death anniversary this year. The prospect of watching Shakespeare translated in Filipino may sound formidable, but as with my previous experience with Dulaang UP, they make sure we will understand the story as we will be entertained in the process.

Antipholus of Ephesus is a known and respected citizen of his city. His loyal but foolish servant Dromio is always at his beck and call. One day, Antipholus of Syracuse pays a visit to Ephesus, accompanied by his own foolish servant Dromio. The people of Ephesus mistake both sets of men for each other because they apparently looked exactly like each other. Even Adriana, the jealous wife of Antipholus of Ephesus, and her romantic sister Luciana also fell victim to this madcap mix-up. In fact, each Antipholus and each Dromio were themselves misled by their twin's identity. The situation would later escalate to crazy accusations of mental illness and demonic possession.

As with most Shakespeare plays, the first few minutes can be confusing as the complicated situation was getting set up. The kilometric Shakespearean lines seemed more complex when delivered in poetic Filipino (which the cast impressively delivered with no obvious line fumbles). However, once you get your bearings straight about who is who, as well as get used to the style of the language used by Luarca in his animated and sparkling translation, then you will definitely enjoy the rest of the riotous ride. The hilarious over-the-top situations of the second half (especially that nutty vegetable throwing scene and that psychotic witch doctor scene) really had me laughing out loud along with everyone else.

Paul Jake Paule and Jerome Rosalin played the two Antipholus, Paule from Syracuse and Rosalin from Ephesus. These two actors were quite different from each other in physical appearance and attitude so it was not too convincing that people were mistaking them for each other, even if they were wearing exactly the same clothes. Paule was very much in tune with the farcical nature of the play with his expressive and comical face. Rosalin was the more serious and physically agile of the two, and he was really funny whenever his character got annoyed or angry.

The comic highlights of the show though were care of the Dromio characters. Gabo Tolentino and Khen del Prado, played the two Dromios, Tolentino from Ephesus and Del Prado from Syracuse. In their slave garb, they could pass for a pair whom people could mistake them for each other. These two guys had exhausting, very physical slapstick comedy scenes that had the audience in stitches. Tolentino is the more histrionic of the two, recalling the flamboyant style of a young Roderick Paulate in his showy style. Del Prado is the more subdued actor of the two, but just as funny in his antics.

Gel Basa played the nagging wife Adriana with a certain Odette Khan vibe with her fierce communicative eyes and big frizzy hair. Jean Judith Javier played her sister Luciana. This is the first time I have seen a non-singing part for soprano Javier and she was quite the delightful comedienne. Mitoy Sta. Ana played the Duke of Ephesus, probably the only sober character of the show, the mediator amidst the mayhem. Greg de Leon played the Syracusan trader Egeon and Amihan Ruiz played the Abbess, both of whom will have their own big revelation moments at the end. The ensemble actors playing various people in the neighborhood, like the goldsmith, the merchants, the courtesans, the ugly kitchen wench and the witch doctor all had their turn to shine.

Director Alexander Cortez created a very lively and energetic, occasionally naughty, occasionally absurd, overall very entertaining show. Gino Gonzales' costume design with those geometric designs and bright colors really livened up the stage, along with Ohm David's complementary set design that seemed to be a colorful cartoon town come to life, so vibrant. Citations go to Meliton Roxas Jr. for his complex technical direction and lighting design and PJ Rebullida for his wacky choreography.

"Ang Katatawanan ng Kalituhan" opened last August 24, 2016 and will run up to September 11 with the following schedule: August 24, 25, 26, 31 (7 p.m.), August 27, 28 (10 a.m. & 3 p.m.), September 1, 2, 7, 8, 9 (7 p.m.) and September 3, 4, 10, 11 (10 a.m. & 3 p.m.). Venue is at the Wilfrido Ma. Guerrero Theater, 2nd floor Palma Hall, U.P. Diliman, Quezon City. For more information, contact Dulaang UP office | 926.13.49 | 433.7840 | 981.8500 loc 2449 or Arkel Mendoza (0908 814 9975), Joshua Chan (0917 677 5141), Zia Parcon (0915 338 5227) or email dulaangupmarketing@gmail.com

September 10, 2016

PETA's "Rak of Aegis" proved that a jukebox musical featuring the discography of a musical artist or group can have a phenomenal run that lasted two and a half years. Earlier this year, PETA came up with "3 Stars and a Sun" which used the songbook of Francis Magalona to tell its story. The PETA Theater was once also the venue for the excellent "Sa Wakas" inspired by the music of Ebe Dancel and Sugarfree.

Now, the PETA Theater welcomes Cornerstone Entertainment Inc., a local talent management, special events production and music publishing company, embarking on their first theater production (in cooperation with ABS-CBN Events) entitled "Ako si Josephine." This show features the music of one of their prize talents, the Pop Rock Princess Ms. Yeng Constantino. They got same creative team behind "Rak of Aegis" collaborated to create this new musical hoping to recapture the same box-office magic: playwright Liza Magtoto, director Maribel Legarda and musical director Myke Salomon.

The setting was a future time in the country of Allegra where the only type of music allowed is HYP (short for "Happy, Youthful and Purposeful." This was a monotonous rhythmic music meant to accompany and energize people at work. All other types of music were outlawed, and the despotic transgender supervisor Monotomia and her three loyal minions made sure this law was strictly enforced.

Responsible for creating this "music" were composer Chinito and his co-songwriter Josephine. Josephine, who had a huge crush on her stoic boss, longed to write her own kind of music, the fun and romantic music which her parents wrote before they were sent to exile in Isla Sintunados. When she found out later that Chinito shared the same sentiments, they collaborated to write a song which could free Allegra from its oppressive musical landscape.

The whole dystopian setting, set design and costumes, and the story an underground group fighting for freedom, really reminded me of "3 Stars and a Sun." The only difference was that the treatment of "Josephine" was definitely lighter with its bubblegum songs, brighter colors and funnier situations. The show lasted almost three hours with a 10 minute break. Act 1 setup the complicated story quite nicely, but Act 2 had troubling story development (especially between Josephine and Chinito) which could use some more polishing as the run goes on.

The names of the various supporting characters were inspired by musical terms, like Schizoprano, Tenorchur or Piyoko Ono, which I thought were very witty. The colorful background graphics made the stage appear like panels of a comic book or graphic novel come alive. Sometimes the images were not too clear because of the hollow-block like background they were projected on. The most memorable set pieces here were the walkalator on center stage as well as the body of an old jeepney, both effectively used.

Ateneo Blue Repertory actress Maronne Cruz gets to play her biggest professional role so far as Josephine. Her singing voice was surprisingly powerful. Her comic timing was usually on point with her flexibly goofy, expressive face as well as her charming, toothy and gummy smile. Her alternate in the title role is another relatively unknown actress named Via Antonio. It was really quite a risk on the part of the production to cast these new names in the lead role of a new show, but this gave these two talented ladies the big chance to show audiences everything they've got to prove.

Theater veteran Joaquin Valdez played Josephine's love interest, Chinito. His character's name is clearly chosen in be able to include Ms. Constantino's hit song of the same name. There was no doubt about Valdez's singing talent, something evident in past shows I had seen him in, like "Into the Woods" and "The Last Five Years." This is the first time I had seen him in a Filipino language play. Valdez had to flex his acting muscles more in Act 2 because Chinito had to talk and act weird. The script in this part though was puzzling in its inconsistency.

The main antagonist role Monotomia was played by Ricci Chan. The last time I saw Chan in a major play was in "Care Divas" also in a cross-dressing role, and also by PETA. He can really transform intothese flamboyant transgender characters as if they were his second nature, playing his evil character with glee. His singing voice is also solid, as was his comic interaction with the orchestra audience. His alternate in this role is the inimitable Jon Santos, whom I had also seen wearing drag in the show "Priscilla Queen of the Desert." The two say they will be essaying two different kinds of Monotomia, and that makes it certainly very tempting to check out both performances.

Among the ensemble, my favorite performers were Raul Montesa and Joanne Co, who played Josephine's parents (Andante and Pitchy-Pitchy) in cute flashback sequences. They were wearing very flashy and colorful 70s-like fashion. These two senior actors really stole every scene they were in with their strong stage presence and amazing vocals when they sing. I wish there were more scenes with them. I did not expect that they would also be responsible for the operatic singing of Chinito's parents (Kundiman and Harana) who were shown to us by video. Being from the older generation, these were my favorite scenes in the whole show.

Vic Robinsonstood out as the tone-deaf messenger Flattitude. His comic highlight was when he was transmitting messages between Josephine and Chinito via the walkalator.Teetin Villanueva (as Helena), Lemuel Silvestre(as Stacatto) and Ruth Alferez (as Piyoko-ono) played the rest of the Syncopados, Josephine's secret group. That scene when they were composing music using ancient cellphones was delightful. Jay Gonzaga (asBola-Bass), Roi Calilong (as Tenorchur) and Domileo Espejo (as Schizoprano) hilariously played the Konduktor, the three henchmen of Monotomia. Their fierce and ardent grindingand vogueing wereshamelessly funny. The rest of the multi-tasking ensemble includeJoshua Cabiladas (asFortissimo), Nicole Manlulo, Yumi Lacsamana,Chir Catalan, andNorbs Portales.

I knew Ms. Yeng Constantino since she won Pinoy Dream Academy 10 years ago in 2006. Unfortunately though, I only know a few of her songs (unlike the more classic Aegis or FrancisM oeuvres). I only know the big hits like"Hawak Kamay,""Chinito,"and"Ikaw" out of the 28 (!) songs by Constantino used in the show."Jeepney Love Song"and"Pag-ibig"I did not know before, but they were turned into very entertaining song and dance numbers by Josephine's parents that I liked a lot.However, the other mellow love songs just seemed to indistinctly blend into one another for me, even in their varied versions. The youthful story and kooky charactersmay havemass appeal, but millennial fans who are more familiar with Constantino's music would probably enjoy theshow more.

**********

"Ako si Josephine" runs from September 8 to October 9, 2016 at the PETA Theater in Quezon City. Tickets prices at P1,981.80 (VIP), P1,651.50 (Orchestra Center and Balcony Center), P1,321.20 (Orchestra Side) and P1,101.00 (Balcony Side). You may buy from Ticketworld or via the following ticket-sellers:

September 24, 2016

The Japanese occupation during World War II was a most traumatic part of our country's history. Several movies and plays had been set during this era because of the intense human drama our countrymen went through in that dark and tumultuous time. Continuing their tradition of staging challenging one-act theater pieces, the creative minds behind Artists Playground have decided to mine one such local play tackling sensitive and heavy wartime issues.

First staged about 10 years ago, "LAGABLAB" is a theatrical adaptation in Filipino written by the multifaceted theater artist Don Hollanda from a 1943 short story by British author W. Somerset Maugham. Entitled "The Unconquered," the plot of that story was set in World War II when the Germans occupied France. Hollanda had so ingeniously taken the gist of the story and created a script so Filipino in heart and spirit.

Ceasico and Solis

Chayong is a pretty young schoolteacher from rural Bulacan. She is the pride of her illiterate farmer parents Andong and Pilang and younger brother Carding. She is all set to marry her beloved Unyo. Her world shattered into pieces when a Japanese soldier Hirohito entered their home and wreaked unspeakable horror on their family. After that day, repentant Hirohito tried to make amends by giving gifts to the family. However, Chayong vowed to make Hirohito suffer the same pain and torture that she and her family experienced under his brutality.

At one hour, this is already the longest play ever staged by Artists Playground. Artistic director Roeder Camanag says if they ran a longer play it might make the audience feel claustrophobic. It is amazing how their set designer can convert the very small and narrow space of their Little Room Upstairs into so many different permutations of stage and audience space. This time the main set was the living and dining area of Chayong's house. You can peek into the bedroom through the bamboo slats making up the wall.

Ruzz and San Pedro

Ira Ruzz constantly improves with every play I see her in. As Chayong, she effectively embodied the strong Filipina, fearlessly confronting enemy threat. Her intense face is especially expressive even without words being said. (Four other actresses -- Mariella Munji Laurel, Jhaeka Madrinio, Jacelle Escanan and Farlin Flores -- all alternate as Chayong. I thought this is a very interesting casting decision, promising varied interpretations of this central role.)

Manu San Pedro was consistent as Hirohito with his monotone deadpan delivery of Japanese-accented Filipino. His gentle-looking facial features were so right for his insidious character. Every time we see him on that stage reeked with tension. (Anjo Resurrecion alternates as Hirohito.)

Ceasico and Bacolod

The crowd favorites were Sheryll Villamor Ceasico and Gilbert Bacolod who played Chayong's parents. They provided much of the dark humor as Pilang and Andong sought Hirohito's favor, despite the nasty rumors of collaboration that swirled around them in their neighborhood. Caesico, in particular, was so natural and delightful in her practical character. We like her despite her unlikable behavior. How her face lit up at the mention of the word "tractor" was precious. (Lodie Atis and Greg Abelardo de Leon alternate in these roles).

Coco Mark Mamuad was very soft-spoken, sounding very shy as Chayong's beau Unyo. At first it was difficult to hear what he was saying. However, the volume of his voice turned out to be quite haunting in his role as a victim of cruel circumstance, especially in his second scene, his main highlight. (Christian James Tiongson alternates as Unyo.)

Mamuad and Ruzz

Sheneill Solis played Carding as the typical lazy and happy-go-lucky teenager forced to grow up faster because of war. The stark contrast of his scenes before and after Hirohito entered the scene clearly showed the effect of Japanese invasion on the youth. (Aaron Dioquino and John Racho alternate in this role.)

Given the limitations of space, director Paul Jake Paule was still able to stage the most difficult scenes to most disturbing effect. That scene when we first see Hirohito enter the house was so tense, we can really feel the fear the characters were feeling. The terror of the first attack was realistic and palpable. The scene of Unyo's second conversation with Chayong was staged with ethereal sensitivity. We will feel their pain. That critical final scene was effectively delivered with solid suspense and shock.

Cast Photo

**********

"Lagablab" runs from September 23 to October 30, 2016, with 7 pm shows on Friday, Saturdays and Sundays and 3 pm matinee shows on Saturdays and Sundays. Venue is at the Little Room Upstairs, Rm. 1701 Landsdale Tower, Mother Ignacia Avenue, Quezon City. For ticket inquiries, contact Kim at 0926-9323179. If you liked this play, you can also choose to be an Angel and sponsor tickets for groups of less fortunate students to "bring the illuminating experience of theatre" to them.

September 30, 2016

This is the first time I saw "Changing Partners" was last July 8,2016 when it was featured as a staged reading during the Virgin Lab Fest. The book, music and lyrics are written by Vincent de Jesus of PETA. The director is Rem Zamora currently of Red Turnip Theater. That staged reading already felt like the full show, only betrayed by the actors performing with mic stands and scripts in hand, and the stage directions were narrated off-stage. My review of that scintillating staged reading is posted HERE.

Barely two months after that auspicious sneak preview, "Changing Partners" is now a full show of its own,as the maiden production of Vincent de Jesus' very own Munkeymusic in cooperation with the PETA Theater Center. Rem Zamora is still the director here. Only one of the four original actors in the staged reading remain, so interpretations of the roles are expected to vary from the reading. Instead of the bare stage, there will now be a set and actual props with lights (by Ian Torqueza) and sound design to further flesh out the situations dramatized onstage.

"Changing Partners" tells us about the love relationship of Alex and Cris, two individuals 15 years apart in age who decide to live together. It tells us about how their love story began and how it eventually evolved six years later. The twist of this ingenious script is that the roles of Alex and Cris can interchangeably be played by male and female actors such that the dynamics of the relationship also change significantly. Then again, it also shows that the outcome of such relationships may not really be that different after all, whatever the genders of the people involved.

Agot Isidro and Jojit Lorenzo portrayed the older and more domineering Alex. Anna Luna and Sandino Martin portrayed the younger and more callow Cris. This was a very cohesive cast with excellent rapport with each other. All of them sang very well, both tonally and emotionally. Here, perfection in tune only played second fiddle to the rawness of the words and the genuineness of the feelings, thus the word "torch" in the subtitle. The explosive climactic confrontation scene with all four actors on the stage at the same time switching roles so fluidly was certainly a triumph in stage direction. Having the composer de Jesus himself up there playing the piano was a precious bonus.

If you are watching this show (and you really should), come early so you can pick the best seats in your section. A big factor against enjoying this show fully is to having to sit in a chair where parts of the stage were obscured by the people sitting in front of you. The monobloc chairs are not well-arranged such that audiences in the non-elevated area will have an unobstructed view. Where I was sitting, I could hardly see the actors when they are seated on the couch. I was so thankful when they were standing or sitting around the dining table instead, where I can see them clearly.

Above everything though, the biggest reason for the enduring quality of this show is the remarkable script and lyrics with their biting humor and even more biting realism. The idea of making the couple a May-December affair expands the audience appeal from Gen X to Millennials, as will the tackling of both heterosexual and homosexual issues.

Vincent de Jesus revealed that unlike his other musicals when he needed to do solid background research, the emotions of "Changing Partners" are known to him very well because he had personally lived through these feelings. Only a genius could have developed an entire musical play out of a seemingly mundane circumstance of a lesbian stage manager filling in for the absent male lead during a rehearsal. Kudos to the talented Mr. de Jesus for yet another triumph!

****************

"Changing Partners" will have its limited run at the PETA Theater Center Studios (located on the third floor) on September 30, October 1, 2, 21, 22 & 23, 2016 (7PM) with additional 3pm matinees on October 22 and 23. Ticket prices are 800 (Regular) and 1000 (VIP). Tickets can be bought via Ticketworld or you may also call (725) 6244 or (0927) 3917379 for further inquiries and reservations.

October 1, 2016

I knew this acclaimed off-Broadway musical entitled "Tick, Tick... Boom!" had been staged locally before. That first staging opened way back July 26, 2002 by Atlantis Productions, and starred Jet Pangan, Bituin Escalante and Michael de Mesa, directed by Bobby Garcia. In 2009, the Ateneo Blue Repertory staged another version, under the direction of Bea Garcia. Fortunately for us who had not been able to see this musical yet before, it is being re-staged this month by 9 Works Theatrical with a cast of fresh, up and coming theater talents, directed by Robbie Guevara.

This musical was written by the creator of "Rent"Jonathan Larson. It was semi-autobiographical in the sense that Larson himself experienced the frustration that came with trying to make it on Broadway. This musical was first staged June 2001 off Broadway with no less than Raul Esparza in the lead role. It had been re-staged and toured many times over since then.

New York City,1990. Jon is turning 30 years old in a few days but he is still waiting tables at a diner, yet unable to stage a show on Broadway as he planned. His best friend Michael was making serious money as a marketing executive, already owning a BMW. His girlfriend Susan, a dancer, had serious intentions of settling down and moving to Cape Cod. His agent was able to arrange for a public workshop of Jon's rock musical "Superbia," but it seems only his friends and family liked it, not the investors. The pressure clock is loudly ticking, ready to explode inside Jon's head as his birthday drew nearer.

This show originated as a one-man show, a "rock monologue" performed by Jonathan Larson himself. You can clearly see these origins in the show as Jon narrated everything happening around him and in his head. Script consultant David Auburn had the idea to add two more actors to play Michael and Susan, as well as all the other minor characters in the story. That led to more energetic onstage interaction as well as fantastic vocal harmonizing, as arranged by Stephen Oremus.

Jef Flores, and Mio Infante's set

(photo credit to Mio Infante)

Jef Flores proved that his victory as Best Actor in a Play (for Red Turnips'"This is Your Life") in the Gawad Buhay awards last year was no fluke. He impressively pulled off this exhausting role of Jon with so much verve and energy. He was onstage the whole 1 hour and 35 minutes of the show (without intermission), delivering his monologues, singing, dancing, running around. We did not see him even take a single sip of water throughout the show. This was another amazing tour-de-force performance from this actor, the It-Guy of the local theater scene these days.

I saw Tanya Manalang perform for the first time. She just played Kim for two years in London's reboot of Miss Saigon, and as one of the Aileens in "Rak of Aegis". Manalang played not only Susan, but also Jon's agent, Michael's snooty colleague and "Superbia" lead actress Karessa. As Karessa, Manalang really ripped through her big solo number "Come To Your Senses" with showstopping diva aplomb. I thought there wasn't really much romantic chemistry between Tanya and Jef, but their vocal chemistry was undeniable especially in the song "Therapy," my personal favorite song in the whole show.

I first saw Ariel Reonal as Favorite Son in the last 9 Works show "American Idiot", where he showed off his athletic dance skills. Here we see more of his gentler side and his comic timing as he played not only Michael, but also Jon's father, an Indian shop owner and even Jon's female agent (in one surprise scene). His big showcase number "Real Life" showed off his rich and warm vocal chops.

The stage of the Carlos P. Romulo Auditorium at the RCBC Plaza seemed to big for this intimate 3-actor play. To occupy the big blank space above the actors, stage designer Mio Infante came up with the idea to hang a beautiful multi-layer mobile of circles, seemingly to represent the swirling thoughts and the clocks ticking in Jon's head. This set was enhanced by Martin Esteva's lights. The choreography of Arnold Trinidad in upbeat songs like "Sugar" was fun to watch. Always great to hear a live band provide music for a musical show, care of the 9PO (led by musical director Daniel Bartolome).

***************

"Tick, Tick... Boom!" opened at the Carlos P. Romulo Auditorium at the RCBC Plaza, Makati on October 1, 2016. Subsequent show schedules are as follows: October 8 (Sat, 8:00 PM), October 9 (Sun, 3:30 PM), October 15 (Sat, 8:00 PM), October 16 (Sun, 3:30 PM), October 21 (Fri, 8:00 PM), October 22 (Sat, 8:00 PM) and October 23 (Sun, 3:30 PM). Ticket prices range from P1776 to P940. For TICKets contact 0917-5545560, 586-7105, TICKetworld at 891-9999 or email info@9workstheatrical.com.

Review of Dulaang UP's ANG DRESSING ROOM: Ethereal and Enriching

Review of ANDREA BOCELLI CINEMA World Tour MANILA: Intensely Inspirational

Recap and Winners List GAWAD BUHAY AWARDS for 2015: Mabini and Peter Pan Lead Awardees!

Recap of Our WORLD VOICE DAY Concert 2016 with VIVA VOCE

Recap of JASON DERULO Live in Manila: Energy and Exuberance

Review of Artist Playground's HAPPINESS IS A PEARL: Lost in Love

Recap and Videos: CULTURE CLUB Live in Manila: Partying with a Power Outage

Review of 9Works' AMERICAN IDIOT: The Gravitas of Green Day

Review of VIRGIN LABFEST XII - SET B: Unsettling Uncertainties

Review of Twin Bill Theater's SUICIDE INCORPORATED: Tackling Taboos

Review of VIRGIN LABFEST XII - SET C: Excellence in Extremes

Review of VIRGIN LABFEST XII - SET D: Outrageous Oeuvres

Review of VLF XII - CHANGING PARTNERS: A Scintillating Staged Reading

Review of PhilStagers' KATIPS: Resolve Against Revisionism

Review of Red Turnips' TRIBES: Deconstructing Deafness

Review of Dulaang UP's ANG KATATAWANAN NG KALITUHAN: Madcap Mix-ups!

Review of Cornerstone's AKO SI JOSEPHINE: Emancipation from Electronica

Review of Artist Playground's LAGABLAB: Fiery and Fearsome

Review of Munkeymusic's CHANGING PARTNERS: Gender-Go-Round

Review of 9 Works' TICK, TICK... BOOM!: Tough Transitions at Thirty