Fred Said: THEATER, CONCERTS, EVENTS

October 7, 2016

Last September 21, 2016, the Philippines marked the 44th anniversary of the day then President Ferdinand Marcos signed Proclamation No. 1081, which placed the entire country under Martial Law. This year, the results of the recently concluded national elections shook many Gen X people up that the public awareness against Martial Law now ran very low, and history was slowly being revised among the millennials. The organizers of this show entitled "Never Again: Voices Against Martial Law" aimed to re-educate the millennials of today about what really happened during these controversial years from 1972-1981.

There were three sets of three one-act plays (most of them are originals specifically for this show) by several noted playwrights and directors in the Filipino theater world today. Because of my tight schedule these last two months, I think this Set C that I watched today may just be the only set I will be able to watch. All three plays are originals, first to be staged in this festival.

The venue of the shows is in the Bantayog ng Mga Bayani (a museum dedicated to the Martial Law years and the People Power Revolution) located along Quezon Avenue near EDSA beside Centris) that I never even knew existed. While waiting for the show to begin at 8pm, I was able to look at some of the interesting though very eerie exhibits they had displayed. The auditorium had very comfortable seats. I was already seated at the last row, yet the whole stage was clearly visible with excellent acoustics.

1. Shhh

Playwright: Allan Lopez
Director: Jenny Jamora

One rainy morning in September 1977, lovers Kim (a photographer) and Mark (a law student) were dressing up to go have lunch. As they cavort around in their apartment, they discuss about the pictures Kim took during an open forum a few days ago. Mark's fraternity brother Archimedes Trajano, a student from the Mapua, who dared asked the distinguished speaker a question about her appointment as director of the Kabataang Barangay. He mysteriously went missing after that.

This was a voyeuristic play by 10-time Palanca winner Allan Lopez which took us to look and listen in to very intimate intercourse between two young lovers as sensitively staged by Ms. Jenny Jamora. Most plays use humor to break from serious issues. This one uses steamy scenes and sexually-charged lines, so apt for a play set in the liberated 1970s. Thea Yrastorza (last seen in Red Turnips'"Tribes") and Karl Medina (one of the three talented sons of Pen Medina) were very natural actors as they boldly and realistically play the vibrant Kim and the libidinous Mark. A third actor, Paulo Rodriguez, struck an ominous tone of fear as he appears late in the play as Kim's driver Vera.

2. Ang Lihim na Kasaysayan ng Huling Habilin ni Ferdinand Edralin Marcos (Spiritual King Solomon of Israel) Hinggil sa Pamanang Kayamanan ni King Bernardo Carpio at Jose Protacio Rizal Para sa Pagpapaunlad ng Bansang Pilipinas na Siyang Nalalaman ni Mang Ambo, Taxi Driver

Playwright: Guelan Varela-Luarca
Director: Roobak Valle

G was researching about Martial Law for a play she was writing. It just her luck that the taxi she was riding was being driven by Mang Ambo, the Number 1 fan of Ferdinand Marcos. He animatedly shares with the girl about Marcos' last will and testament which contained an incredible story about his fantastic wealth of gold and platinum, and how he inherited this treasure trove from past kings Bernardo Carpio and Jose Protacio Rizal, interwoven among other historical personalities and events.

Yes, that is the full 42-word title of this very funny play by the prolific and multi-talented Guelan Luarca. Director Roobak Valle has a natural touch for these absurd comedies, like he did with Deldoc's "Ang Goldfish ni Professor Dimaandal", a classic favorite at the Virgin Labfest. Veteran actor Lou Veloso and the bubbly J-Mee Katanyag were such delightful performers as they took us on a hilarious trip around the world through time. The whole situation was so silly and out-of-the-box, it was downright brilliant. The audience was laughing from the very first scene.

3. Indigo Child

Playwright: Rody Vera
Director: Jose Estrella

Felisa just underwent a session of electro-convulsive therapy. She experiences a period of lucency when her past history as a rebel during the Martial Law days all came coming back so vividly, she shared it all with her son Jerome. She had to endure torture, electrical and otherwise, under her ruthless captor named Kidlat. She called Jerome an Indigo Child, a child born out of strife with a mission to save the world.

The first time I saw Skyzx Labastilla and Rafael Tibayan were in Virgin Labfest plays. Labastilla was the soulmate of her own father in the controversial "Daddy's Girl". Tibayan was the very patient butcher's apprentice in the acclaimed "Si Maria Isabella at ang Guryon ng mga Tala." This play was a showcase for the thespic talent of Labastilla as she ripped through the erratically emotional monologues of this damaged woman with searing ardor, and director Jose Estrella wisely just allowed her to carry us along with her inner pain. The metaphors of lightning and electrical torture and ECT were well-used by Rody Vera to convey Felisa's deeply-scarring life experiences.

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The remaining show date for Set C is on Oct 14, Friday at 8pm. Tickets are sold for P500 per set. For tickets, text Joshua Chan (09176775141) or Eunice Rodriguez (09178047191).

Set A is composed of "Loyalist Redux" written and directed by Kanakan Balintagos, "Duyan Ka ng Magiting" written and directed by Erika Estacio and "Thingy Or Ang Pak na Pak Ganern na Ganern sa Pakikipagsapalaran ni Milenyo, D’ Great Pokemon Hunter," written by Chris Martinez and directed by Dennis Marasigan. The remaining show date for this set is on Oct 15, Saturday at 8pm.

Set B is composed of "Disco 1081" written by George De Jesus III and directed by Melvin Lee, "Princess Lilli" written by Layeta Bucoy and directed by Tuxqs Rutaquio, and "Bulong-Bulungan sa Sangandaan" written by Ramon Jocson and directed by Audie Gemora. The remaining show date for this set is Oct 16, Sunday at 1pm.

October 8, 2016

For its season opener this year, Tanghalang Pilipino takes on William Shakespeare's popular comedy "A Midsummer Night's Dream" using the Filipino translation done by no less than National Artist for Theater and Literature, Rolando Tinio. Instead of the Little Theater, this production was staged in the much smaller Tanghalang Huseng Batute (Studio Theater) which was surprising given the complex scope and big cast of this story.

However, upon entering the theater, the huge two-tiered stage design made the area look so much bigger than how it looked like when we watch Virgin Labfest shows. The backdrop design looked like houses rendered abstract and geometric, colorful and vibrant, with stylized green shrubbery in the foreground. After his awarded steampunk design for "Mabining Mandirigma," Toym Imao had again risen to the challenge, conquered and expanded the limited room and re-imagined Athens at the same time.

The Pyramus and Thisbe Scene

This was a very busy play with so many characters. There were two realms -- the human and the fairy. Teseo, duke of Athens, ravishes Hipolita, Amazon queen. Hermia loves Lisandro, but her father Egeo wants her to marry Demetrio, whom Helena is infatuated. There was a ragtag company of workers trying to stage their version of "Pyramus and Thisbe" for the duke's wedding. Meanwhile, Oberon, the King of the Fairies, wants to teach his proud wife Titania a lesson in humility. However, in fulfillment of his orders, Oberon's naughty servant Puck caused a major mix-up.

This was the first time I've seen local theater royalty Audie Gemora do a straight play in Filipino, and it was as fairy king Oberon to boot. This was the first time I had seen the ageless Jackie Lou Blanco act on stage, and her carriage onstage as Hipolita was nothing less than regal. This was the first time I had seen Richard Cunanan actually deliver lines in Filipino with his usual carefree insouciant air as Egeo.

Audie Gemora and Aldo Vencilao

There were five actors who really stood out in this production for me. Liesl Batucan was riveting, fierce and sexy as Titania. Jonathan Tadioan was pure mirthful joy as the foolish Bottom, Pyramo, and the jackass that he turned into. Marco Viana's performance of Lisandro under the magical flower's spell was delightfully ironic. Lhorvie Nuevo was so intensely moving as the desperate, and later the confused, Helena. Teroy Guzman is really a quintessentially elegant Shakespearean actor, however small his role here was as Teseo.

The rest of the main cast were played by the members of the TP Actors Company, like Aldo Vencilao (as Puck), Toni Go (as Hermia) and JV Ibesate (as Demetrio). Ybes Bagadiong (as Peter Quince), Joshua Tayco (as Starveling/Buwan) and Doray Dayao (as Snug/Leon) play the other wacky characters of the "Pyramus" crew, with guest actors Kristofer Kliatchko (scene-stealing as he played Snout/Pader) and Rafa Siguion-Reyna (in smeared lipstick and ragged drag as he played Flute/Thisbe). Monique Nellas, Eunice Pacia and Blanche Buhia play the fairy handmaidens of Titania (Agiw, Garbanzos and Mustasa, but I am not sure which one played which).

Jonathan Tadioan and Liesl Batucan

After an odd and rather violent opening scene, the comic premise of the play slowly unfolded until we are all caught up laughing in its gleeful clutches. Director Carlos Siguion-Reyna was sitting right in front of me during the show, and I saw that he was still laughing as the madcap show went along. I am guessing that the cast may be making impromptu comic ad-libs which make each show fresh. The costume design of James Reyes for the fairies, particularly Titania and her nymphs, played with bright colors, in contrast to most of the other noble characters in white (with black accents), and the workmen in shades of drab browns and dirty cream.

I was surprised when the play started with English lines. The rest of the play would be in Filipino, but the occasional English lines will still be delivered by some characters, which I imagine is a big challenge to memorize for those actors. That rollicking fun performance of "Pyramus and Thisbe" in the last act looked so natural as a disastrously amateur effort -- hilariously amazing! The show may be long (over 2-1/2 hours with a 10 minute intermission) and the language poetic (yet so refreshingly current), but overall it was mischievous fun, engaging and very entertaining -- another triumphant production by Tanghalang Pilipino! The happy and appreciative full house last night was proof of that.

The Cast and Director Take a Final Bow

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The remaining shows of "Pangarap sa Isang Gabi ng Gitnang Tag-araw" are on: October 9, 2016 (Sunday) – 3PM, October 14, 2016 (Friday) – 8PM, October 15, 2016 (Saturday) – 3PM & 8PM and October 16, 2016 (Sunday) – 3PM. For tickets, call 832 1125 loc. 1620/1621 | 822 6920 or at TICKETWORLD 891 9999

October 15, 2016

I had only seen the film version of "Jersey Boys" directed by Clint Eastwood two years ago when it was shown in local theaters. I never got the chance to watch it on stage even though I had seen posters of the hit stage production in both Broadway and in Las Vegas when I was visiting those places before. I was very excited when Atlantis announced that they were going to stage this show with an all-Filipino cast from Sept. 23 to Oct. 16 this year. Unfortunately because of a very tight schedule, I was only able to catch it today, on its third to the last show.

The music of this decidedly masculine musical was by Bob Gaudio with lyrics by Bob Crewe, while the book was by Marshall Brickman and Rick Elice. Using the group's name as basis, the play was divided into four sections each given the name of a certain season.

Spring was narrated by Tommy de Vito, as it detailed the unsavory origins of the group. Despite its image as a clean-cut group, they actually had criminal records and shady connections with the Mob. Summer was narrated by Bob Gaudio, as their entry into pop stardom was described. This was the most exciting section as it was here that their unforgettable hit songs -- "Sherry" (#1 Aug. 1962), "Big Girls Don't Cry" (#1 Oct. 1962) and "Walk Like a Man" (#1 Jan. 1963) -- were sung.

After the intermission, it was Fall, narrated by Nick Massi. As the title of the section suggested, this part was the downer section recounting the band's fall from grace brought about by Tommy's reckless dealings with loan sharks and the IRS, something that eventually led to the group's disbandment. The last section Winter was narrated by Frankie Valli, telling about his strained personal relationships, as well as his emergence as a successful solo artist. This culminated in an electric reunion performance of "Rag Doll" (#1 Jul. 1964) during their induction in the Rock and Roll Hall of Fame in 1990.

Nyoy Volante was amazing as he delivered his lines and sang his songs in the very distinctly squeaky speaking voice and soaring falsetto singing voice of Frankie Valli. We know he had a talent for impersonation during his remarkable stint as a contestant on TV's "Your Face Sounds Familiar" when he impressively took on a most varied list of singers from Luciano Pavarotti to Sylvia la Torre. But to copy someone's voice for one song is one thing, and to stay in that voice consistently for the entire 2-1/2 hours duration of the play is something else. Volante's singing range was breathtaking as he tore into those iconic songs as if he were Valli himself. His sincere acting we can all empathize with.

Markki Stroem had been an erratic performer in the previous times I had seen him on stage or film. However, make no mistake, his performance in this show as Tommy de Vito was the best I had ever seen him in. He stood out with his strong stage presence, full of confidence and bravado as he realistically delivered those gangster lines of his, as well as perfect comic timing in those sly humorous zingers he had.

Nino Alejandro is a very natural actor for someone who is new to the stage scene. His character Nick Massi was the most low key of the four, and he admitted to this himself, likening himself to Ringo Starr. We hear Alejandro's rich voice distinctly as he sang the baritone parts of the harmonies, in audible contrast with Volante's falsetto. His sense of comedy was also faultless in his delivery of his funny lines in that realistic Jersey accent.

Christian Bautista is no doubt a very good singer. His very first song in this show "Cry for Me" showed off his singing range. However his range as an actor was noted to be rather limited in previous roles as Tony in "West Side Story" and Sam in "Ghost". Since he plays the rather one-dimensional goody-goody role here as Bob Gaudio, his performance was actually quite good this time. His dancing though still needed more verve when compared to the other three guys.

Jamie Esteva Wilson played a serene Mafia don Gyp deCarlo, while Nelsito Gomez played a comical Joe Pesci. The other members of the hard-working company had to portray the numerous side characters around the central four, and their singing was all on-point as well. The men were Bibo Reyes, Altair Alonso, Steven Conde, Rhenwyn Gabalonzo, Kendrick Ibasco, Gab Medina, and Timmy Pavino. The ladies were Mikkie Bradshaw, Yanah Laurel, Giannina Ocampo, and Emeline Carmela Guinid. Thanks to the transforming hair & makeup design by Johann Dela Fuente and costumes by Erwin Tan, I did not recognize who was who anymore from where I was sitting.

The set designed by Faust Peneyra looked like plain brown wooden boxes only at first, but they came alive with the multi-colored lighting design of Driscoll Otto. Those boxes turned out to be multi-purpose wonders as they were converted into a recording studio, a performance stage in a club, a line of prison cells, various offices and living rooms, by the fluid pushing in and out of the props. They did not fail to reproduce the light post under which the boys first realized they had magic sonic chemistry together.

"December 1963 (Oh What a Night)" (#1 in 1976), my personal favorite Four Seasons song, was performed twice. The first time was sung by Bob when he got his Christmas "gift", and the second time was during curtain call (when you can't help but to stand up and dance along). A night spent watching this show is indeed quite a night. The music of the Four Seasons remains as vital as they were 40-50 years ago, under the adept musical direction of Ceejay Javier. The fantastic performances of our Filipino actors triumphantly transcended boundaries. The enthralled audience was clamoring for an encore after the last song. This first-rate Atlantis production of "Jersey Boys" as directed by Bobby Garcia is definitely worthy to tour the world.

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"Jersey Boys" has one last performance at 3pm on October 16, 2016 before winding up their critically and fan-acclaimed run at the Meralco Theater. Parental guidance is advised for young viewers. The Jersey tongue is prone to profanity, so several crisp ones come up through out this show. There were also scenes with overt sexual references.

October 29, 2016

One of the first projects of Trumpets in 1993 was "Fables and Parables" by writer-director Freddie Santos. In the same vein and spirit with that pioneering show, the maiden production of Trumpets Playhouse is an all-new musical of the same genre entitled "Always Upon a Time." In fact the title of this new show came from the lyrics of the former show.

What made this new show more special was that the main people behind this production were all former Playshoppers, graduates of the Trumpets Playshop theater training sessions ongoing now for the past 23 years. The list includes Steven Conde (writer and director), Vince Lim (original music) and Joaquin Valdez (current executive director of Playshop and Playhouse). The present cast of kids and teens were all Playshoppers as well for the past three years or more.

Brothers Daniel and Tommy brought their Father up to the attic of their house to look for story books that their recently-departed mother Vicky used to read for them. At first, Father was ill-tempered and impatient, to the extent of dismissing "happily ever after" as but a myth. But as circumstances keep them stuck in the attic for a long while, Father eventually warmed up to his sons' fantasy and biblical tales, and later actively participated by imparting important lessons from each story told.

The story-telling started simply with a straightforward telling of "The Boy Who Cried Wolf." With the next story "The Lion and the Mouse," we already begin to notice the beautiful hand-crafted masks worn by the kids. By the time the next segment about "The Princess and Frog" came, we are treated to the first of a series of elaborately-executed episodes with increasingly more complex masks and puppets. "The Fisherman and his Wife" followed suit with its giant pop-up book style props.

The Bible stories began with rapping "Adam and Eve" segment, with a very imaginative paper-chain puppet of the Serpent. The "David and Goliath" segment had an innovative way of showing the giant size of Goliath, with a most intricate, whole-body, life-size child puppet for David. The final story was the story of "Job" and his countless misfortunes, a sad story most unexpected to see in a show like this, but carried the message of faith and hope very effectively.

These imaginative sets, puppets and masks of painstaking detail were by Make It Happen Workshop by Otto Hernandez, AC Hernandez and Paolo Mañalac. They are the same people behind the beautiful horses of a recent Trumpets' show "The Horse and his Boy" (MY REVIEW).

Daniel Drilon (as Daniel), with his distinctive thick mop of hair, had a very good singing voice and a strong stage presence. Little Gabo Tiongson (as Tommy) had flawless delivery of his lengthy lines was most impressive, despite the observation that his eyes seemed to be irritated by the bright stage lights. For the whole 1-1/2 hour run of the show (without intermission), these two kids held their own against the ever-reliable veteran actor Lorenz Martinez who played their Father.

Gabby Concepcion (a young miss, not the actor) showcased her sweet vocals as she briefly sang some lines as the mom Vicky. She then went on to play the spirited princess who met the frog prince, played by Guido Gatmaytan (who wore his mask and worked his frog puppet to excellent effect). Gatmaytan was one of the boys who alternated as Tyltyl in Trumpets' triumphant "The Bluebird of Happiness" (MY REVIEW) three years ago. The other was Anton Posadas, who looked all grown up now playing the hapless Fisherman who had an ever-discontented wife (played by Crystal Paras).

Their sister Mytyl on "Bluebird," Chimmi Kohchet-Chua, showed off her talents as the slinky Serpent and as David's friend (with a short but showstopping solo). Daniel Khan (who stood out with his facial hair) played the hiphop Adam and Eena Salvador played his Eve. The rest of the cast members rotating in various roles in the show are Andee Achacoso, Teddy Velasco, Ethan Paras, Vea Salvador, Rianelle Albaladejo, Michelle Chua, Eggo Velasco, and Reubz Galenzoga.

These kids were actually carrying the weight of the whole professional production on their shoulders. Kudos to Trumpets for taking such a gamble. They had to work on this show alongside their school schedules, which I can imagine is no joke. This matinee show I watched today is their first public performance and it may not be perfect with some flubbed lines and a number of sound issues with their microphones. However, the kids were such troupers, carrying on with their scenes despite these little lapses. There is no denying the smiles, energy and verve that carried the whole show forward. I realize this show is still a work in progress, and they will definitely continue to improve with every performance.

The future of Philippine theater is indeed up there on that stage, and, as far as we can see, this future is secure.

This is a very limited run of only five shows on two days during the Halloween semestral break. There were two shows on the first day October 29 at 3pm and 8pm. There are three more shows on the second (and last) day October 30 at 10am, 3pm and 8pm. Venue is at the Carlos P. Romulo Theater at the RCBC Plaza in Makati. Tickets at only P800 for orchestra and P600 for loge seats.

November 11, 2016

The Vienna Boys Choir is one of the oldest choirs existing in the world with a history dating back at least 500 years. Illustrious musicians like Mozart and Salieri have worked with the choir, while Schubert and Haydn have actually sung with the choir. It was really fortunate that the boys performed at the Plenary Hall of the Philippine International Convention Center for a one-night only concert on November 11, 2016 as the final stop of their Asian tour this year. The last time this famed choir performed in Manila was back in 2004.

The show opened with the Philippine and Austrian National Anthems sung by the girls and boys of the Hail Mary the Queen Choir from Cubao, decked in bright and colorful Muslim-inspired costumes. The young current principal of Xavier School, Fr. Aristotle Dy, SJ delivered his opening speech, followed by the Ambassador of Austria to the Philippines, Dr. Josef Muellner. Their speeches reminded us that this concert not only celebrates the 60th anniversary of Xavier School, it also celebrates the 70th anniversary of diplomatic relations between Austria and our country.

The members of the Vienna Boys' Choir were mainly from Austria, but over the years, more and more boys from other countries have joined. This present visiting group (the Bruckner group) was multi-racial. There were at least four Asians in the group, including Yu (from China), Ryusei (from Japan), Jeong-Min (from Korea) and Lance (from the Philippines). Lance So is the first Filipino member of the choir. He is the son of Mr. Eric So, a member of Xavier School batch 1992 who was responsible for bringing the choir over in cooperation with the Embassy of Austria. Their current choirmaster (since 2008) is the youthful and energetic Italian pianist and conductor Manolo Cagnin.

Lance So delivers his speech

with Maestro Manolo Cagnin beside him

The first half of the program was dedicated to classical choral pieces byVivaldi, Schubert, Verdi and Strauss. Two rather unique pieces stood out and were most well-applauded. The first was the amusingly rhythmic "Capricicciata a tre voci" and "Contrappunto bestiale alle mente" (from Adriano Banchieri's farce "Festino", 1608) where the boys sang with sounds of a dog, a cat, a cuckoo and an owl. The second piece was the strange but delightful "Cat's Duet" compiled by Robert Lucas de Pearsall (using melodies from Gioachino Rossini's 1816 opera "Otello"), where four boys sang nothing else but meowing sounds the whole time. The main boy soprano Robert (from Ireland) offered a stirring solo performance of Schubert's "Ave Maria" to the country.

The second half of the program after a short 10-minute break featured an eclectic mix of more familiar songs. It opened with the Rosemary Clooney ditty "Mambo Italiano" (Bob Merrill, 1954), then Enrico Caruso's Neapolitan barcarolle "Santa Lucia". More popular songs followed with some boys showing off their talents on guitar, violin and percussion: "O Sole Mio'", "That's Amore,""Nella Fanstasia,""Amazing Grace"and "Volare". For me, the most beautifully-rendered song of this set was the quintessentially Austrian "Edelweiss" from Rodgers and Hammerstein's "The Sound of Music." Their final song on the program was "Blue Danube" by Johann Strauss II, Austria's so-called "secret national anthem".

The impressive Sopranos whose soaring voices defined the VBC sound

The Hail Mary the Queen Choir came out again and sang the Ilocano folksong "Pamulinawen" together with the boys. After that, another soloist Matthew (from New Zealand) came forward to render the very popular Mandarin standard song "Yue Liang Dai Biao Wo De Xin (The Moon Represents My Heart)" to the delight of the Chinese members of the audience. The boys generously entertained the calls for a few more encore numbers (including a Christmas song medley) until the concert of angelic voices finally came to an end. We had just heard one of Austria's national treasures sing for us live, and that was an extraordinary experience to cherish.

November 12, 2016

Adapting Shakespeare into Filipino certainly sounds like a formidable venture. However, in various such local productions, the talents of Filipino theater artists have made the tricky transition look easy. This year alone, Dulaang UP had done "A Comedy of Errors" while Tanghalang Pilipino did "A Midsummer Night's Dream" to great success. In recent years, PETA had done "King Lear" in 2012 and "Twelfth Night" (as "The Wonder Twins of Boac") in 2013, both of which were very well-received.

This present production of PETA entitled "The Tempest Reimagined" was done in cooperation of the British Council, the Royal Academy of Dramatic Art and The Japan Foundation Manila. The director and playwright of this play Nona Shepphard is British, as is the set designer Marsha Roddy. The lighting director Tsuguo Izumi is Japanese. This international technical staff together with the all-Filipino cast gives this play its unique look and flavor. The script was translated to Filipino/Taglish by Liza Magtoto. The sound design is by Teresa Barrozo.

"The Tempest" was about a sorcerer Prospero who ordered his enslaved spirit named Ariel to whip up a destructive storm at sea, sinking the ship which carried the Queen Alonsa and her family. The survivors all sought refuge on Prospero's island, enabling his daughter to meet and fall in love with Alonsa's son Ferdinand. This main story line was complicated by subplots about Prospero's brother Antonio and his treacherous plots, as well as about the island monster Caliban and his drunken encounter with the fools Stephano and Trinculo.

In her adaptation, Shepphard changed "The Tempest" from a play containing only one major female character (Miranda) into one with six female characters. The central character of the sorcerer Prospero remained to be male, but was now played by a female actor. The King Alonso was now a Queen, Alonsa. The king's brother Sebastian was now a sister Sebastiana. And in the most inspired deviation from the original, the powerful sprite Ariel is now being portrayed by three actors, one male and two female.

Furthermore, this main story was extended to include the story about the fates of Papa Boms, Edith, Alina and Diego, four strangers who got together when they were swept up by the giant storm surge that rose and flooded Tacloban City at the height of Super Typhoon Yolanda. Social commentary was directed towards the national government, local government and the private sector and the quality of their relief and rehabilitation efforts for the victims of the disaster.

I was not familiar at all with the story of "The Tempest" so it took some time for me to get into the drift of the story. The casting of Prospero as a woman (CB Garrucho) was a particularly puzzling modification of uncertain significance. The portrayal of Ariel as a trio was initially confusing (but this later turned out to be a fantastic decision). Why were Jenny Jamora and Brian Sy (who seem to be the same age) cast as mother and son?! The whole Caliban, Stephano and Trinculo subplot did not seem to fit too well into the narrative.

The inclusion of the Yolanda characters, portrayed by the same actors running around the stage and varying their costumes to signify the character they were playing, did not make it any easier for me to understand what was going on at first. To be honest, the manner how and the reasons why the two stories connected to each other at the end were not so clear for me even up to now that I am writing about it.

This was the first time I saw PETA President CB Garrucho in a major stage role. She had those long Prospero lines perfectly down, delivered with no errors. While I can imagine a man play this character with ruthlessness, but Garrucho instead imbued her Prospero with gentility and compassion. Bodjie Pascua is such a reliable veteran with his effortless natural style as Papa Boms. Norbs Portales had an easygoing sense of humor as the narrator Jaime. This was the first time I have seen the Red Turnips Jenny Jamora and Topper Fabregas deliver lines in Filipino. Meann Espinosa, John Moran and Renante Bustamante all had their moments to shine as Edith, Caliban and Antonio respectively.

In the show I watched today, Ariel was played by Gio Gahol, Neomi Gonzales and Gab Pangilinan. The conceptualization and execution of this character was flawless, great lines. Their makeup and costume really stood out among everyone else. Their harmonizing in song was also so beautiful to hear. There was another memorable trio that made a lasting impression: John Moran, Jack Yabut andTopper Fabregas as Gods 1, 2 and 3. Their hilarious exchange of lines made its implicit mocking of governmental action (or inaction) during Yolanda most engaging with effective satire.

The acting talent on that stage was undeniable and this was the saving grace of this show. The set may have looked very simple before the show began, however the way they portrayed the titular tempest onstage was so good. We all felt like we were aboard that ship being tossed around by the waves. The lighting and sound design both deserve commendation as well. I admit my difficulty in fully grasping the structure of the play and some of the casting decisions. The intention to integrate stories of Yolanda with Shakespeare may have been noble, but the overall result of the complexity was a little unwieldy for me.

"The Tempest Reimagined" will run from November 11 to December 4, 2016 at the PETA Theater Center. For tickets, ticketworld.com.ph, 8919999.

November 21, 2016

Since it was announced that Lea Salonga will be returning on a local stage for a play, fans had been looking forward to watching this production. I have heard of the title "Fun Home" and the multiple Tony Awards this musical play brought home just last year. Therefore the hype and anticipation for watching such a recent Broadway hit show locally is very high leading up to its debut at the CP Romulo Auditorium at the RCBC Plaza, Makati City last November 10, 2016. This is the international debut of this show, a real big deal.

"Fun Home" is the nickname fondly given by the members of the Bechdel family for their maudlin family business, the Bechdel Funeral Home. We follow the story of the narrator, eldest daughter Allison: her childhood growing up, her sexual awakening in college and her current occupation as a comic book graphic artist. The story is told with regard to her delicate bond with her jack-of-all-trades father Bruce, who may or may not have been as ideal a dad as she thought.

This story originated from an actual 2006 autobiographical graphic novel by the real Alison Bechdel. The musical was first developed in 2009 with book and lyrics by Lisa Kron and music by Jeanine Teson, and first played Off-Broadway in 2013 before its Broadway debut in 2015. The show went on to win five Tonys out of its twelve nominations, including Best Musical, Director (Sam Gold), Book, Original Score and Lead Actor (for Michael Cerveris).

The flow of the play is familiar and typical enough. We meet what seems to be an ideal happy American family composed of father Bruce, mother Helen and their three kids Alison, Christian and John. Later in the course of the play as events unfold, we see that they are actually a dysfunctional family. So far, so familiar.

However, this play goes beyond just simple dysfunction to tackle one sensitive issue after another: from gay girls cavorting and gay guys seducing, to child abuse and marital abuse, all the way to lying inside coffins, and there is even talk of body lice! These are all very serious controversial stuff that the more conservative musical theater fans may not really feel comfortable about. After watching, it was frankly very difficult to process how I liked the story, or not.

If you go to watch the show without any knowledge about the story, the unfolding of the story can be quite discomfiting for some more right-wing folk. The show is rated PG-13 for some intense scenes which require maturity, but there are actually young kids in the cast so those sensitive scenes can come as quite a shock for some people. I'd personally rate it R-16. Anyhow, you need to remember that this is already a Tony award-winning book so more people love it than you don't.

If the story may evoke conflicting reactions as it progressed, I believe that the conclusion will be universally loved. The touching way the ending scene ("Flying Away") was executed by director Bobby Garcia with his three Alisons (of three different ages) really hit its mark. When that beautiful drawing of small Alison playing airplane with her father flashed on the screen behind the actors, I was swept by an overwhelming rush of emotion as the image of me and my own father (as well as me and my own daughter) flashed in my mind.

It was really amazing how they cast three actresses of different ages to play Alison. The 43-year old Alison Bechdel was played by Cris Villonco and of course, she could do no wrong as she was practically onstage the whole time narrating the story while working on her graphic novel. As good as Villonco was as always, impossible as it may seem, the two younger Alisons were given more to do in terms of character development and the two younger actresses actually do much better.

10-year old Small Alison was played by the young dynamite Andee Achacoso. 11-year old Achacoso played her character very naturally with the right balance of charm, smarts and mischief. She also had a good rapport with two boy actors who played her kid brothers (Ronan Crisologo ? and Albert Silos). Fathers in the audience (like me) will be able to feel the father-daughter connection. Her biggest song is also the most controversial and , "Rings of Keys," telling us how she felt when she first saw a butch lesbian. Hearing a child sing this brave song can be unsettling for the uninitiated. (Katie Bradshaw alternates as Small Alison. Daniel Drilon and Teddy Velasco alternate as Christian, while Noel Comia, Jr. alternates as John.)

19-year old Medium Alison was played by Mikkie Bradshaw. I first saw her as "Carrie" and knew back then that she is one very good actress and singer. Bradshaw had a light, Disney-esque vocal quality that conveyed her character's innocence and curiosity (so well heard in her humorously naughty song of awakening entitled "Changing My Major"), in perfect contrast to that incredibly deep earthy voice used by Yanah Laurel as her girlfriend Joan.

Atlantis decided to get a bonafide Broadway star, Eric Kunze, to play Alison's father Bruce. This role is complex and meaty -- a flawed character that actors love to sink their teeth into. For audiences, his scenes were very discomfiting to watch. That scene when he picks up male student in his car was particularly squeamish, especially with that Hitchcock-like music that played in the background. His big moment of painful and ultimately mortal catharsis came in a song called "Edges of the World." Ironically, of all the actors, I had most trouble hearing Kunze's lines. His mic might not be working perfectly that show.

Young Fil-New Zealander actor Laurence Mossman played multiple roles of Roy, Mark, Pete, Bobby Jeremy, boys who hung around the Bechdel home for various reasons. At first we thought he was just there mainly because of his good looks and buff body as those roles required. However, he actually surprised us with his strong tenor singing voice in the song "Rainbow of Love". I think we will be seeing more of this guy in future stage productions.

Despite what audiences would expect for a star of her magnitude, Lea Salonga actually had very little stage time as Alison's long-suffering martyr of a mother Helen. Anyhow, Salonga would make the most of her big showcase moment when she gets to spill out all the harrowing emotions and frustrations Helen had held back all these years in a powerful ballad entitled "Days and Days." This single song alone, rendered with simmering intensity coming to a full boil, is able to highlight why Salonga is our national treasure.

Lending creative support to Director Bobby Garcia are the talented and ever-efficient technical geniuses: Musical Director Ceejay Javier, Vocal Director ManMan Angsico, Choreographer Cecile Martinez, Light Designer Adam Honore, Set Designer Faust Peneyra, Costume Designer Oz Go, Sound Designer Kevin Heard, Projection Designer GA Fallarme and Hair and Make-up Designer Johann dela Fuente. As with other Atlantis shows, the production ran seamlessly with no obvious hitches. We do not really have to go to Broadway to catch these hit shows anymore. (Coming up next year is Cyndi Lauper's "Kinky Boots".)

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There are only five shows remaining of their limited 18 show run: Nov 25 (Fri) 8PM, Nov 26 (Sat) 3PM/8PM and Nov 27 (Sun) 3PM/8PM. On Ticketworld, tickets cost P 4,180 (Orchestra Center), P 3,657.50 (Orchestra Right / Left), P 3,135 (Loge Center / Sides) and P 1,567.50 (Balcony).

December 1, 2016

I had long known about the musical "Annie" because it was well-known that Ms. Lea Salonga broke through local mainstream show business by her precocious portrayal of the title role in the Repertory Philippines production back in 1980. I was not watching plays yet back then.

This current production by Full House at the Resorts World Manila Newport Performing Center is the first major local staging in thirty six years. So this is the first time that I am actually seeing the complete play as written by Thomas Meehan, with music by Charles Strouse and lyrics by Martin Charnin. I knew it had several faithful film adaptations, but I had not seen any version until the modernized remake in 2014 with Quevenzhane Wallis and Jamie Foxx, so I do not think that counts.

This show had been running September 30, 2016 and this week is already its last weekend. It just so happened that this week, we are also having the 60th Jubilee Annual Convention of our professional society (PSOHNS) at the Marriott Hotel and in place of having a Gala Dinner, we were informed that we are all going to watch a special performance of "Annie" instead -- an unprecedented treat for me during a convention.

The year was 1933 in New York City during the Great Depression. Annie was an optimistic 11-year old girl left by her parents in the New York Municipal Orphanage as an infant, under the irresponsible care of the ever-drunk Miss Hannigan. She constantly held on to the belief that they will come back for her, with a broken locket around her neck as their promise. That holiday season, Annie was chosen to spend two weeks with the billionaire Oliver Warbucks, two weeks that will profoundly change Annie's life.

I realized that, aside from the ubiquitous "Tomorrow" and "Hard-Knock Life", I did not really know most of other songs in the show. A few sounded familiar like "Maybe" and "You're Never Fully Dressed Without a Smile", but the others were new to me. The first act felt a bit long and slow. However with Act 2, the plot picked up and is sustained up to the end. I did not expect Act 2 to have that delightfully executed White House scene that I totally, totally loved. James Paolelli as President FDR was so sweet, as if Steve Martin played him.

As with other RWM productions I had seen in the past, sometimes the stage may seem too big for the small number of actors onstage. To make up for that, they create excellent sets and backdrops further enhanced by graphic projections to achieve a realistic 3-dimensional effect. We see the revolving stage in action on the very first scene. The first time we see the interior of the opulent Warbucks mansion, I can almost hear a collective gasp of awe from the audience. When the glittering giant Christmas tree was wheeled in, it was breathtaking. My personal favorite set was the one in the conference room at the White House. Outside the window, we even see the lawn with an American flag proudly waving.

Child actress Krystal Brimner is only 9 years old but she went beyond my expectations with her earnest and touching performance in the title role. I recognize her name as the girl who played John Lloyd Cruz's traumatized daughter in the acclaimed indie film "Honor Thy Father" (2015), which actually won her an award that year. As Annie, there was a danger of her optimism coming across too sassy and annoying, but the winsome Brimner hit the right balance and never crossed that line. Her singing voice was full and strong in its high pitch, especially in her iconic song "Tomorrow". (Isabeli Elizalde alternates as Annie.)

Michael de Mesa was smart and elegant as Daddy Warbucks. He was noted to be straining in some of his tough belting songs in Act 2. Nevertheless, his sincere warmth shone through his gruff exterior. That little waltz he did with Annie was heartwarming to witness. Menchu Lauchengco-Yulo was so funny and nasty in the thankless role of the comically hateful role Miss Hannigan. Her rendition of her featured song "Little Girls" was such a strong show-stopping star moment. Such depth!

Jill Pena was a classy and kind Grace Farrell, while Justine Pena was trashy and unscrupulous Lily St. Regis. But both Pena girls have such beautiful soaring sopranos that pierce the ensemble songs they're singing in. Mako Alonzo was so slimy playing the conniving brother of Miss Hannigan, Rooster. (Red Concepcion alternates as Rooster.) Again, I am going to say that I enjoyed the performances of the actors in the White House scene. Aside from Paolelli as FDR, also outstanding were James Perez and Chino Veguillas as his aides.

Congratulations to director Michael Williams for this difficult achievement of successfully directing children and dogs. (I never knew that Sandy only had two scenes!) Aside from the set design, the costume design by Gino Gonzales also contributed to taking us back to the 1930s New York. The lighting design of Jonjon Villareal was effective in creating drama in various scenes, The live orchestra under the baton of Maestro Rodel Colmenar was a joy to listen to as they accompanied the play. You will go out of the theater singing "Tomorrow" as the Christmas spirit of the play envelops you with cheer.

***********

"Annie" has six more shows at the Newport Performing Arts Center at the Resorts World Manila: December 2, 8pm; December 3, 3pm and 8pm; December 4, 3pm; December 10, 3pm and December 11, 3pm. Tickets are sold at: P3,441.92(SVIP), P3,011.68 (VIP), P 2,366.32 (Gold), P 1,613.40 (Silver), P 860.48 (Bronze).

"Annie" has just won Best Musical Production (Foreign Material) from the 29th Aliw Awards announced last November 30, 2016, while the two girls who played Annie, Brimner and Elizalde, both got cited as Discovery of the Year.

December 2, 2016

The very concept of this modern ballet is very interesting indeed -- combining the grace of ballet with the dance music by the timeless Filipino 70s disco band, VST & Co. The advanced promotions for the show were well-concocted making this show one of the most intriguing and most irresistible shows ever produced by Ballet Philippines.

The story opens set in the present, with two elderly people on opposite sides of the stage. Old Victor was a cripple, while old Teresa was bedridden. Then the scene flashed back into the 70s, during the dark Martial Law era in Manila. There was construction worker Victor and his rich colegiala love Teresa, who was also desired by the haughty rich fellow Gabby, who was desired by Lita,

Teresa's friend. Victor's best friend Arturo also longed for Teresa, but soon fell for the earthy charms of Ester, an older "lady of the night" who in turn longed for Victor's attention. Victor's pre-teen brother Lito, who also had a serious crush on Teresa, rebuffed the attention given him by Betty, a sweet young girl of his age.

With such a synopsis of intersecting love interests (written by Bibeth Orteza), it was not too easy keeping up with the events happening on the stage, especially when there was hardly any dialogue. We had to be astute enough to pick up the relationships as they are presented in dance and songs. I admit that if not for the synopsis in the souvenir program, I honestly would not have known who was who, nor understood what was going on.

One cause of confusion for me was the casting of BP company member Garry Corpuz in the lead role of Victor. While the dancing skills of the tall and lanky Corpuz was undeniable and strong, he felt miscast. There was a part in the beginning when Corpuz was dressed up in a wig and girl's uniform, I thought he would be the comic relief of the show, like he was in other BP shows I had seen before. Then it turned out that he was actually playing the romantic lead vis a vis the lovely Denise Parungao dancing Teresa. I felt no chemistry between them. (The alternate cast with Jean Marc Cordero and Rita Winder sounds like a more promising pairing.)

From the opening scene, I was disappointed that I would not be seeing local ballet royalty (and real-life husband and wife) Nonoy Froilan and Edna Vida as old Victor and Teresa. In Act 2 though, Butch Esperanza and especially ballroom specialist Ednah Ledesma would also charm us with their dance moves. Seeing their sweet scenes together, I felt that the Froilan-Vida pairing should definitely be a more romantically thrilling event to witness.

Among the singers, there was also a sense of miscasting. Karylle was so vivacious and vital in the role of Ester, a character who was supposed to be an old fading beauty. Vocally, Karylle was the strongest performer with a stellar rendition of the ballad "Ikaw ang Aking Mahal," followed by the showstopping "Kiss Kiss" number with Michael Pangilinan (as Arturo), which brought the house down at the end of Act 1. (Cookie Chua alternates as Ester, which is interesting knowing their disparity in singing styles.)

Michael Pangilinan sang the title song right at the start of the show as Arturo, setting the lively pace of the show. He gets to sing lead in most of the big hits, smoothly hitting all those falsettos. He also got to sing a dramatic solo "Ikaw ang Aking Pasko" in Act 2. (Sandino Martin alternates as Arturo, and I am sure the acting intensity would be different.)

Unfortunately throughout the show, the singing was affected by the less than perfect sound system. The starting notes of practically all the songs were not heard well from where I was. This was most evident with the voice of Kyle Echarri in the role of Lito. His notes were dropping, it felt like he was forgetting his lyrics. Echarri looked good on that stage, but I never really got to hear his singing voice too well. (Noel Comia alternates as Lito.)

Markki Stroem attacks his antagonist role as Gabby with over-the-top glee. He was so hammy in his portrayal in all three aspects of singing, dancing and acting, he was actually coming across as delightful and funny, the most entertaining performer on that stage. His most memorable number was the opening song of Act 2, "Rock Baby Rock" where Stroem was sporting short hugging shorts. He did not look as trim as his Leading Man character this time, so it looked really amusing, and he camped it up all the way. (Jef Flores alternates in this role, and it would be interesting to see how differently he'd attack this showy role.)

The vocal group Viva Voce gave a powerful performance as the chorus, in songs like "Ipagpatawad Mo" and "Swing". They never had mic issues it seemed, so their vocals sounded strong and flawless. Members Glenda Liao and Anna Dinnah Migallos were also given the opportunity to do some acting as the mothers of Victor and Teresa, respectively. I wished they had spot solos to sing too.

The ABS-CBN Philharmonic Orchestra under the baton of Maestro Gerard Salonga was faultless in their live accompaniment of the whole show. Those VST & Co. songs were iconic to begin with, and we can really hear why they were hits back then and why their appeal endures up to the present day.

Frankly, it was very surprising to see and hear the anti-Marcos sentiments the show fearlessly professed. There were posters and banners declaring Marcos's sins. There were scenes of the Metrocom cops being harsh, violent and even lethal during activist demonstrations and rallies. There was a strong sense of irony about this whole scenario, since this show was being staged in the Main Theater of the Cultural Center of the Philippines, a legacy of the Marcos regime. If there were any pro-Marcos members of the audience last night, they were polite. No one walked out, or anything.

Since I watched this show on opening night, I felt there were still a lot of issues that they need to settle down. Not only the sound issues as I mentioned earlier, but there seemed to be a some issues with the blocking of the dancers. There were scenes where the multitude of dancers looked messy, seemingly getting into each other's way on stage, at least from the angle where I was seated. However, when the dancers hit it right and all dancing neatly in precise simultaneity in numbers like "Kiss Kiss" and "Rock Baby Rock" (both choreographed by PJ Rebullida), the scene was truly an amazing vision to watch.

All in all though, opening night glitches, curious casting and complex story line aside, the energetic dancing and the catchy music are a cheerful joy to immerse in.

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"Awitin Mo at Isasayaw Ko" is currently running in the Tanghalang Nicanor Abelardo of the Cultural Center of the Philippines, from Dec. 2 to 11, 2016, with 8 pm shows on Fridays, and 2pm and 6pm shows on Saturdays and Sunday. Ticket prices range from P 3,090.00 (Price Zone 1) and P 1,545.00 (Price Zone 2) to P 515.00 (Price Zone 6) and P 309.00 (Price Zone 7) through Ticketworld or at the CCP Box Office.

December 16, 2016

"A Christmas Carol" by Charles Dickens is probably one of the best-known Christmas stories. The name of its lead character Scrooge had become part of the English language to be mean someone who hates Christmas. A musical version of this classic had been written by Alan Menken (of Disney musicals fame) with lyrics and book by Lynn Ahrens (who also wrote "Ragtime", "Once on this Island" and "Anastasia" among others). 9 Works Theatrical, in partnership with Globe Live, brings this 1994 show to life this year at an outdoor amphitheater, Globe Iconic, in the Central Square of Bonifacio Highstreet in Global City.

Ebenezer Scrooge is a busy and bitter money-lender who does not think Christmas is a special day of the year. That Christmas Eve, he was visited by the ghost of his dear departed friend and business partner Jacob Marley to warn Scrooge to change his ways lest he suffer in chains like him. Scrooge was visited by three ghosts who showed him scenes from Christmas Past, Christmas Present and Christmas Yet to Come. Realizing the errors of his ways, Scrooge became a changed man upon waking up Christmas morning and sought to make amends with the people he had been mean to all these years.

At first I thought that this new production was a remake of another "Christmas Carol" musical staged by Repertory Philippines just two years ago. It turned out that I was mistaken. That former show by Rep was entitled "Scrooge" with book, music, and lyrics by Leslie Bricusse. One of the reasons for my confusion was the casting of Miguel Faustmann again here in the lead role of Ebenezer Scrooge. With his looks and age, Mr. Faustmann is really the first local theater actor that comes to mind to play Scrooge, and he knows the role only too well. He attacks his grumpy role with an endearing wit, which enables him to make his audience empathize with Scrooge's scarred "bah humbug" psyche.

The visual spectacle of this show lay in the manner of how they stage and portray the appearances of the four ghosts. Ariel Reonal is really making a name for himself in the local scene with his very energetic performances in the last two 9 Works shows, "American Idiot" and "Tick Tick Boom". As Jacob Marley, Reonal plays him as a manic ringleader, heading an entire ensemble of creepy zombies with various deformities to haunt Scrooge.

The scenes of the Ghost of Christmas Past were very charming , with the portrayal of Young Scrooge by Al Gatmaitan and his lady love Emily by Mitzie Lao. The "Fezziwig's Annual Christmas Ball" scene was a joyous and comic highlight as choreographed by PJ Rebullida and Yek Barlongay. Jun Ofrasio played Mr. Fezziwig with over-the-top glee. However, the rather low-key and genteel portrayal of Norby David of the Ghost of Christmas Past himself felt weak in contrast with all the energy around him.

Ghost of Christmas Present was portrayed with imposing heft by Franz Imperial, with his booming high-range baritone vocals. The scenes in in Bob Cratchit's (Raul Montesa) humble house were very moving especially with the adorable portrayal of Dewayde Dizon as Tiny Tim. My only comment on that segment was that the sexy costumes and dance moves of the ladies in that office party scene were a bit too risque to be child-friendly.

Ela Lisondra again impresses us with her complex yet graceful dance moves as Ghost of Christmas Yet to Come. When she also played Blind Old Hag in other scenes, we hear her beautiful crystal-clear voice. The startlingly frank and dark spooky visions Scrooge sees in this segment can really shock anyone into humility and repentance.

Snowfall and Christmas Tree bring on the holiday spirit!

From the prodigiously creative brain of scenographer Mio Infante, the technical crew of 9 Works was able to recreate a district in old London on that big stage with another impressive multi-tier set, with smoky chimneys to complete the illusion. When the snow fell during the finale, we felt we were actually there in London. The beautiful Victorian age costumes (by Twinkle Zamora and Ian Cataralba) looked very rich and authentic, and these were further enhanced by the hair and makeup by Myrene Santos.

I did have some problems with some blocking decisions, even when I was seated along the center aisle. There were several scenes when Scrooge had his back turned to the audience in the downstage area center, and this blocked the view of the actor he was facing, performing on centerstage. In the finale song number, there was a tall female child standing in the forestage area, and she totally blocked the view of Scrooge carrying Tiny Tim standing on centerstage.

Aside from these minor side comments, director Robbie Guevara once again delivers a very classy world-class production. Also deserving citations were the lighting design of Martin Esteva (so critical for the atmosphere of the ghost scenes) and the sound design of Jaime Godinez and Rards Corpuz (so challenging for an outdoor venue like this). Maestro Daniel Bartolome passionately leads the 9 Works Philharmonic Orchestra in their live performance of the grand musical score that accompanies this show.

Kudos to all the members of cast and crew of this production, which could honestly be an annual holiday event right there at the heart of BGC for years to come.

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

Now on its second week, "A Christmas Carol" still has five shows left, on December 17-18, 21-22 at 8PM and a special show on Christmas Day itself December 25, 2016 at 7PM. Venue is at the Globe Iconic Bonifacio Highstreet Amphitheater, 7th Avenue, Bonifacio Global City. Ticket price is P2,100 for all sections.

December 21, 2016

For the year 2016, I had seen and written about 32 theater productions: 11 musicals, 10 full-length plays, and 14 one-act plays. That may seem to be a lot of shows I had seen. However, I have to confess that I missed a lot of productions especially those in Makati and in Ateneo because of schedule conflicts and especially the terrible traffic in those areas.

I will list here what I feel were the best among those theater shows I have seen and written about for 2016. (My 2015 list was posted HERE.)

I. FILIPINO MUSICALS:

Best:CHANGING PARTNERS
(My Full Review)

Music and Lyrics by: Vincent de Jesus
Directed by: Rem Zamora

This 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.

The explosive climactic confrontation scene with all four actors on the stage at the same time switching roles so fluidly was a triumph in stage direction. Having the composer de Jesus himself up there playing the piano was precious. 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.

Other Notable Productions:

Katips (My Review)
Awitin Mo at Isasayaw Ko (My Review)
Ako si Josephine (My Review)

Notable Performances:

Agot Isidro and Sandino Martin (Changing Partners - Regular Run); Patricia Ismael and Ricky Ibe (Changing Partners - Staged Reading); Vincent Tanada, Adelle Ibarrientos-Lim and Maya Encila (Katips); Sandino Martin, Jef Flores, Noel Comia Jr. Nonoy Froilan and Edna Vida (Awitin Mo) Ricci Chan, Raul Montesa, Joanne Co and Vic Robinson (Josephine); Gold Villar, Raffy Tejada and Che Ramos Cosio (3 Stars and a Sun)

II. NON-FILIPINO MUSICALS:

Best: JERSEY BOYS
(My Full Review)

Book by: Marshall Brickman and Rick Elice
Music and Lyrics by: Bob Gaudio and Bob Crewe
Director: Bobby Garcia

Spring was narrated by Tommy de Vito, as it detailed the unsavory origins of the group, with criminal records and shady connections with the Mob. Summer was narrated by Bob Gaudio, as their entry into pop stardom was described. Fall was narrated by Nick Massi, recounting the band's fall from grace brought about by Tommy's reckless dealings with loan sharks and the IRS, something that eventually led to the group's disbandment. The last section Winter was narrated by Frankie Valli, telling about his strained personal relationships, as well as his emergence as a successful solo artist.

Nyoy Volante was amazing as he delivered his lines and sang his songs in the very distinctly squeaky speaking voice and soaring falsetto singing voice of Frankie Valli. Markki Stroem stood out with his strong stage presence, full of confidence and bravado as he realistically delivered those gangster lines of his, as well as perfect comic timing in those sly humorous zingers he had. Nino Alejandro's rich voice was distinctly heard as he sang the baritone parts of the harmonies, in audible contrast with Volante's falsetto. His sense of comedy was also faultless in his delivery of his funny lines in that realistic Jersey accent.

Other Notable Productions:

Annie (My Review)
A Christmas Carol (My Review)
Fun Home (My Review)
American Idiot (My Review)

*** Foreign Touring Production: Les Miserables (My Review)

Notable Performances:

Nyoy Volante, Markki Stroem and Nino Alejandro (Jersey), Kristal Brimner, Menchu Lauchengco-Yulo and James Paolelli (Annie), Miguel Faustmann, Ariel Reonal, Franz Imperial and Dewayde Dizon (A Christmas Carol), Andee Achacoso, Mikki Bradshaw, Cris Villonco and Lea Salonga (Fun Home); Nel Gomez, Jason Fernandez, Yanah Laurel and Ela Lisondra (American Idiot), Jef Flores (Tick Tick Boom); Christine Flores and Joy Virata (Steppin' Out), Karel Marquez and Bituin Escalante (50 Shades)

III. FILIPINO PLAYS:

A. One-Act:

Best: MULA SA KULIMLIMAN
(My Full Review)

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.

Other Notable Productions:

Lagablab (My Review)
Indigo Child (My Review)
Ang Bata sa Drum (My Review)
Ang Lihim na Kasaysayan....Taxi Driver (My Review)

Notable Performances:

Mayen Estanero, Timothy Castillo and Jonathan Tadioan (Sa Kulimliman), Ira Ruzz, Sheryll Villamor Ceasico and Gilbert Bacolod (Lagablab), Skyzx Labastilla (Indigo Child), Renante Bustamante (Bait), Raven Relavo (Ang Bata sa Drum), Irma Adlawan (Loyalist), Sheenly Vee Gener and Aldo Vencilao (Ang Mga Bisita ni Jean), Adriana Agcaoili (Hapagkainan), Tomas Miranda (Happiness is a Pearl), Lou Veloso and J-Mee Katanyag (Ang Lihim na Kasaysayan....Taxi Driver)

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

Best: ANG KATATAWANAN NG KALITUHAN (My Full Review)

Written/Translated by: Guelan Luarca
Directed by: Alexander Cortez

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.

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.

Other Notable Productions:

Pangarap sa Isang Gabi ng Gitnang Tag-Araw (My Review)
Ang Dressing Room (My Review)
The Tempest Reimagined (My Review)

Notable Performances:

Paul Jake Paule, Gabo Tolentino and Khen del Prado (Katatawanan); Liesl Batucan, Jonathan Tadioan and Lhorvie Nuevo (Pangarap); Roeder Camanag and Andoy Ranay (Dressing Room); CB Garrucho (The Tempest)

IV. NON-FILIPINO PLAYS:

Best: CONSTELLATIONS (My Full Review)

Written by: Nick Payne
Directed by: Rem Zamora

The synopsis is very simple, deceptively so. Marianne is an astrophysicist. Roland is a beekeeper. They meet at a party. They fall in love and live together. They deal with various problems life throws at them, from affairs to mortality. This was told in little episodes, not in chronological order. It will be up to you to figure out what their real personalities are. It will be up to you piece the whole story together.

From the very first scene, you will instantly see how this play was going to be different from anything. The same lines were repeated over and over. However, there would be different responses to the same question. There would be different emotions and voice inflections to accompany the same words. These differences in delivery or words used, small or insignificant as they would seem, lead to different outcomes. In this play, we actually get to see the various "what-if" scenarios and what happens afterwards.

Other Notable Productions:

Tribes (My Review)
Suicide Incorporated (My Review)
Pillowman (My Review)

Notable Performances:

JC Santos and Cris Villonco (Constellations), Kalil Almonte, Angela Padilla, Teroy Guzman and Dolly de Leon (Tribes), Hans Eckstein, Jeremy Domingo and Mako Alonzo (Suicide), Gabs Santos (Pillowman), Reb Atadero (Almost Maine); Pinky Amador (The Game's Afoot)

January 29, 2107

This year, Repertory Philippines is celebrating its 50th founding anniversary and 80th season of shows since Zenaida Amador and Baby Barredo staged their very first production "Miss Julie" in front of an audience of seven back in 1967. It has been an up-and-down roller coaster ride for this company in these recent years. While they still earned critical success with shows like "The Producers" (2013) and "August Osage County" (2014), they have mostly been criticized for staging dated plays or tepid musicals.

However, along with their hip new brand name REP and revitalized logo, the choice for their opening salvo for this season is this Tony-award winning play in 2013 by American satirist playwright Christopher Durang. The four characters in the title were all being played by big-name theater stars. REP is clearly going all out on this their golden year.

The show is set in the country home of miserable bickering middle-aged siblings Vanya and Sonia, whose lives stagnated as they took care of their ill (now deceased) parents. Their sister Masha, who left their home, lived her dream and became a world-famous actress, now owned the house and pays for its upkeep.

One day, Masha came back home to attend a costume party in their neighborhood, bringing home with her a studly but brainless boytoy, aspiring actor Spike. In the midst of their reunion and discussions about what costumes to wear for the party, Masha then drops a bomb that she is planning to sell their house.

The play is full of references to the plays of Anton Chekov. The names of the three siblings, as well as their next door neighbor Nina, are characters of Chekov from the plays "Uncle Vanya", "Three Sisters" and "The Seagull." Lines about cherry trees and selling the ancestral home are from the play "Cherry Orchard." Those who know nothing about Chekov's work will not really get lost in the story, but will miss out on those inside jokes.

The play is basically a family drama about growing older. The gloomy sentiments of midlife crisis are familiar but Durang's humorous treatment with some absurd situations and jokes made the misery lighter to bear. The set design of Miguel Faustmann gave their house a rustic homey feel, you will feel the siblings' sentimental attachment to this place.

Michael Williams was so gentle and kind as Vanya, you really feel his sadness and loneliness. You will understand why young Nina (Mica Pineda) empathized with him the most. Roselyn Perez, I've admired for her intense dramatic skill in "A Normal Heart", but her comic timing here as the bipolar Sonia was so lovable. Her Maggie Smith impression was so charming! The way Cherie Gil played Masha, you cannot imagine another actress playing her, as if she was born to play this ironic role. Masha's bitterness and cattiness rolled off Gil's tongue so naturally.

The Spike character it seems was a stinging criticism of millennial vanity and callousness against the Gen X'ers. He did not really need to be there for the story to work, but the ridiculousness of his character made for effective laughs. Mr. Gold's Gym Philippines 2016 winner Joaquin Valdez seemed to be the natural choice to play his exhibitionistic role, and he played him with naughty glee. He looked very comfortable in wearing only underwear even while cavorting sexually onstage.

The character of the prophetess housekeeper Cassandra was also not entirely necessary for the story, but was nevertheless there to provide some more comic relief. Natalie Everett has been essaying these odd ball weirdo roles in all her plays like "The Game's Afoot" or "Almost Maine" often with mixed results. This Cassandra is the role that I liked her in the most because she is a true eccentric, unlike the others whose weirdness felt forced.

I thought some parts were too long without exactly advancing the story much. Case in point was Vanya's rambling and repetitive soliloquy about his yesteryears in Act 2. In fact, that whole "play within the play" scenario in Act 2 felt awkward and did not really fit too snugly in the narrative, as if Durang was unsure on how to provide his play a proper climax. Then again, maybe I just did not get the "Seagull" reference of this part at all. Overall though, this play was quite entertaining and engaging under the direction of Bart Guingona and thanks to the amazing ensemble of Rep actors who breathed life into its quirkiness.

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"Vanya and Sonia and Masha and Spike" plays at the OnStage in Greenbelt 1 from January 20 to February 12, 2017 at 8 pm on Fridays and Saturdays, with 3:30 pm matinees on Saturdays and Sundays. Tickets at P1045 (Orchestra Center), P 836 (Orchestra Sides) and P627 (Balcony) at Ticketworld or onsite.

February 4, 2017

“Buwan at Baril sa E♭ Major” by Chris Millado was bravely staged in 1985 (the year before the EDSA People Power Revolution) by the Philippine Educational Theater Association (PETA) at the Rajah Sulayman Theater, Fort Santiago in Intramuros, then under the direction of Apo Chua. This year, SUGID Productions Inc. chose this same play as its maiden offering under the direction of Andoy Ranay. This show is produced in collaboration with the Bantayog ng mga Bayani Foundation, whose Center in Quezon Avenue is serving as the play's venue.

The production was divided into five chapters. The first part was about one Peasant who meets his long-estranged younger brother, a Worker, during the historic People’s March in May 1984. In the second part, a Priest presents a female Itawis Refugee (Angeli Bayani) under his care. The next chapter was about a bourgeoisie Socialite (Jackie Lou Blanco) who chats animatedly about her social awakening. The fourth part was about a Wife (Cherry Pie Picache) who speaks to the lifeless body of her NPA guerilla husband. The final episode was about a Police Officer who interrogates a Student Activist that he had arrested from a checkpoint.

Angeli Bayani's character spoke only in the Itawis dialect of Cagayan province. Some of her statements were translated into Filipino for us by the Priest (played by no less than current TV star JC Santos). However, in her raw and searing breakdown scene, we do not actually understand a word she was saying. Yet with only her tears, her scars and her plaintive voice, we still get a vivid picture of the torture her family experienced in the hands of 21 soldiers who broke into their home.

Jackie Lou Blanco was perfectly cast as Monina, an English-speaking mestiza from an upper middle-class family who actively joined protest rallies in the streets, braving tear gas and truncheons. Blanco was so lively and delightful in her monologue with her hilarious oh-so-familiar pronouncements so typical of the bourgeois class. This part was surely a guilty viewing pleasure for many in the audience, who probably actually know someone like her.

Cherry Pie Picache was very restrained in her quietly powerful monologue. The dramatically-charged subject matter of her segment could have been conventionally addressed with hysterics, but there was none of that here. Instead, Picache handled her character with subtlety and dignity as she talks with and about her dead husband. (Mayen Estanero alternates in this role.)

The low key first episode about the brothers basically served as an introduction to the historical setting of the whole play. Crispin Pineda and Reymund Domingo played the Peasant and the Worker respectively. (Danny Mandia alternates as the Worker.) final episode about the police interrogation was so brutal and unsettling, yet it was balanced by a sense of dark humor. Joel Saracho was vicious as the investigating officer, but his flashback to his own youth provided some lighter moments to diffuse the tension. Dulaang UP star Ross Pesigan played the student Arnold Mendoza with his smart-alecky charm.

The musical score (by Tim Cada, Poch Gutierrez and Vincent de Jesus) done live on cello and classical guitar was so elegant in establishing the mood. You will hear some names mentioned and repeated among the episodes to somehow connect the stories in the same general time frame. The stories in this play relive the tense period a year or so before the 1986 EDSA Revolution. For us who lived through that time, it was amazing to even imagine how a show about activism like this actually got staged during that same time.

The stars during the curtain call

(Pesigan, Santos, Picache, Bayani, Blanco Domingo)

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Chris Millado’s “Buwan at Baril sa E♭ Major” runs at the Ambassador Alfonso T. Yuchengco Auditorium of Bantayog ng mga Bayani Center located in Quezon Ave., Diliman, Quezon City. The schedule of performances are as follows: January 26, 27, 28, 29 (3pm and 8 pm), February 2, 3, 4, 5, 9, 10, 11, 12 (3 pm and 8 pm). A special Gala was held on February 3 at 8 pm. For ticket inquiries, please call or text Gian Viatka at 0917 845 6200. The funds raised from the performances aims to bring this production to colleges, universities and local government units in Metro Manila and the provinces.

From its press release: SUGID Productions Inc. is composed of directors, actors, designers and educators, with more than a hundred years of aggregated cultural work experience. It aims to tell the stories of our land and people, of the unheard and untold. It listen to stories of parallel communities with parallel paths – distinct stories that are relevant and responsive to our time. It means to engage peers and audiences alike, and offer spaces of conversation and participation.

February 17, 2017

Living in a strictly Catholic country, we have often seen conflicts between religion and the arts. The Catholic bishops have risen up in protest against moral decadence in films (like Jose Javier Reyes'"Live Show" in 2001) and the visual arts (like the Mideo Cruz'"Poleteismo" at the CCP in 2011). This latest play staged by Twin Bill Theater group tackles this ticklish and touchy subject in the context of a young Jewish artist discovering his artistry. Should artists compromise their art in the face of their religion?

The setting is 1940s Brooklyn, New York. Asher Lev is a visual artist who grew up in a strictly traditional Hasidic Jew family. His father Aryeh is active in his political work, deeply religious and conservative in mindset. His mother Rivkeh is a typical Jewish mother who supported her son's inclination to art but was torn between the rift this art had brought between her son and her husband.

When Asher was 13, he was sent to train under an old Jewish artist of note named Jacob Kahn, who inculcated in Asher a deep and serious love for art. He taught how an artist should only be responsible for his art, and nothing else. An artist should be true to himself, and not be an artistic whore and sell out. As Asher gained fame and prominence in his chosen career, he painted a controversial masterpiece hailed by art critics, but went against his faith and family.

There are only three actors in this play. Nelsito Gomez plays the title role of Asher Lev. He was on stage talking for the whole 90 minute duration (no intermission) of the show, practically a continuous monologue with occasional conversations with other characters. The other two supporting actors play multiple roles. Robie Zialcita plays four characters, while Natalie Everett plays three. Only actors of remarkable acting versatility can portray these multiple roles distinctly, clearly differentiating one from another.

With his high-bridge nose and deep-set eyes, Nelsito Gomez certainly looked like he was born to play the Filipino Asher Lev. The role seemed so right for him, and he embodied Asher so intimately, you cannot imagine another local actor playing the role. He said he eyed the role even before this show was formally conceived. It took him four months to get those kilometric lines down pat. His performance during the press show was absolutely flawless, not a single line nor facial expression out of place. The audience was enraptured in his spirited delivery of Asher's lines at age 6, age 10, age 13 and as a young man.

Robie Zialcita had the unenviable task of bringing to life four different men -- Asher's strict father Aryeh, his liberated art mentor Jacob Kahn, his cheerful uncle Yitzchok and his kindly teacher Rebbe. Two of them even have diametrically opposite views from each other. Since these four men were all Jewish elders, Zialcita had to create four different personalities solely on the basis of their vocal qualities and accents. He impressively nailed these subtle transformations, going on and off stage changing characters in consecutive scenes. Zialcita's chameleon act was nothing short of amazing to witness on that stage so close up.

I see Natalie Everett in many plays of Repertory Philippines portraying various quirky and funny side characters. However, this performance of hers as Asher's mother Rivkeh is the deepest, most riveting one I've seen of her to date. Since this is an intimate theater setting, I can see the sincerity of Everett's eyes up close, seeing her tears actually well up in her eyes during the intensely dramatic scenes. In a few scenes, she transforms into glamorous art patron Anna Schaeffer, with her large glasses and stylish coats. There was a daring scene where she sits as the nude model Rachel, but since my seat was right behind her, I do not know how far she actually went.

The inside look into a conservative Jewish household was precious. Even if I did not understand fully a lot of the religious terminology, the tension and the emotion were genuine and heartfelt. This play was as much about the universality of family values, as it was about art vs. religion and the pursuit of one's dreams.

The words written by playwright Aaron Posner (adapted from the novel of Chaim Patok) were so visual and quotable, especially when it comes to his thoughts about art and artists. That scene of Asher's epiphany in front of Michelangelo's Pieta was staged with such power, thanks to the passion of Nel Gomez and the lights of Joseph Matheu. Even if all the sketch pads and oil canvasses were totally blank, we can see the paintings in our minds. My particular favorite segment was that scene where Asher was describing his controversially heretical painting, we squirm in our seats simply hearing the vivid description alone.

With a bare set (by Virgilio Balanon II), basic costumes, and spare score (by Vince Lim), it was the seamless ensemble work of the three skillful actors which embodies this play with vitality and pathos. Congratulations to director Steven Conde and the rest of the Twin Bill crew for staging this gem. This is simply one of the most powerful plays I had ever seen. In the words of the playwright, this is art that can hurt and can heal.

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MY NAME IS ASHER LEV has the following show schedule: Saturday, Feb. 18 (3pm & 8pm), Sunday, Feb. 19 (3pm), Saturday, Feb. 25 (3pm & 8pm), Sunday, Feb. 26 (3pm), Saturday, Mar. 4 (3pm & 8pm) and Sunday, Mar. 5 (3pm & 8pm). Tickets at P 850, seats at first come first served. The venue is at The Performing Arts Recreation Center (PARC) Manila, # 494 Lt. Artiaga St., San Juan, Metro Manila.

February 18, 2017

Johann Wolfgang von Goethe's "Faust" is a familiar fictional character I had known for years. I only knew he sold his soul to the devil, but I had never actually known his whole story. I had also never watched a play or film about him at all. When Dulaang UP announced that it will be staging a Filipino adaptation of this classic tale by Rodolfo Vera, I welcomed this chance to finally see Faust's story unfold onstage.

In Act 1, the Devil Mephisto makes a bet with God that he can tempt and convert to evil the righteous man Faust. Devil takes advantage of a depressed and frustrated Faust to offer him anything he wants while he is on Earth, if Faust agrees to serve the devil in Hell in death. Faust agrees to the terms and seals the contract with his blood.

In Act 2, Faust fancied a 14-year old lissome maiden named Margarita and asks the devil's help for him to possess her. With two gifts of jewelry and the devil's intervention, Faust successfully seduces the girl. After their tryst though, Margarita would experience one family tragedy after the other that eventually drives her insane.

The acting from the two lead stars -- Neil Ryan Sese as Faust and Paolo O'Hara as Mephisto -- felt oddly wanting. I did not sense energy nor conviction from Sese. Even his sex scene lacked any passion. At least, O'Hara was able to put some humor into his lines to enliven certain scenes, which I suspect were mostly done on the sly. I guess he felt the need to inject some life into the unbearably morose proceedings. That said, I am curious how their alternates Jack Yabut (as Faust) and Mailes Kanapi (as a female Mephisto -- tempting to watch) can give this a different spin.

In the show I caught, it was understudy Ina Azarcon-Bolivar who played the third major character -- the very tragic character of Margarita. The role is very challenging for any actress. You can feel that theater student Ms. Bolivar was giving it her all, despite some awkwardness in the delivery of her lines. However, fortunately for her, she was able to nail a stellar moment in that climactic big soliloquy of hers at the asylum in the end to salvage matters in a way. The main actress playing Margarita is the more experienced Karen Gaerlan, so it should be interesting to see how she would attack this role.

Ed Lacson Jr. did the set, Carlo Pagunaling did the costumes, Barbie Tan-Tiongco did the lights, JM Cabling did the choreography -- all are award-winning artists in their field, yet in this show, these aspects were uncharacteristically not up to their usual par. Case in point where you can judge all of these technicalities together was that truly bizarre scene of wild bacchanalia featuring demons with the oversized deformed breasts and phalluses. I understand that this is supposed to be a demonic vision of sorts, but it looked too dim, disorganized and dismal on that dark bare stage. Even the injection of modern day political parody in that scene lacked impact.

It is difficult for me to say this about a Dulaang UP play, but I felt there was something amiss about this particular production. It strangely felt haphazardly put together, which is unusual for DUP standards. There were three dramaturgists who worked on this play, yet I was still underwhelmed with the way it was staged. Sorry to say, it seemed as if director José Estrella may not have been able to rein in the various elements together tightly enough to tell the story in a more engaging manner. Or then again, maybe I just simply did not get her style.

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These are just my thoughts about this particular staging of "Faust" on Feb. 18 at 3 pm. It does not mean it will always be this way. Don't let my personal opinions dissuade you from catching this show and making your own opinions about it.

"Faust" runs at the Wilfrido Ma. Guerrero Theater at the Palma Hall in UP Diliman. Show schedule is as follows: Feb. 15, 16, 17, 22, 24, 28, Mar. 1, 2, and 3 at 7 pm; and Feb. 18, 19, 25, 26, Mar. 4 and 5 at 10 am and 3 pm. Tickets are at P 500 each. For further inquiries, please contact Arkel Mendoza, DUP’s Marketing Manager, through 0917-967-3616.

February 24, 2017

In Greek mythology, Eurydice is the wife of musician Orpheus who died on their wedding day. Orpheus attempted to save her from the underworld and almost succeeded, until he could not help but look back at her before she reached the surface. In 2001, contemporary American playwright Sarah Ruhl wrote a play retelling this myth from the point of view of Eurydice. Tanghalang Pilipino had chosen to stage a Filipino adaptation of Ruhl's play "Eurydice" translated by Guelan Luarca to close its 30th season.

The first act goes according to the myth. Orpheus and Eurydice get married. However, an Interesting Man tried to seduce Eurydice on her wedding day, which caused her to fall down the stairs and die. In the Underworld though, Eurydice meets her Father, who patiently restored her language and memory. When Orpheus came down to rescue her, Eurydice was torn between going back up to the surface with her husband, or staying down in the underworld with her Father.

This play really had some bizarre scenes with very strange characters, like the tricycle-riding Lord of the Underworld (played by the versatile Jonathan Tadioan, who also played the creepy nasty Interesting Man) and those weirdly manic Stones (small and catty Blanche Buhia, medium and noisy JV Ibesate and big, rotund and jolly Alfritz Blanche). I confess that I did not understand fully what those Stones were supposed to be. I imagined they should be the Greek Chorus of sorts, but they can be cruel and suspiciously psychotic. (Doray Dayao, Aldo Vencilao and Ybes Bagadiong alternate as the Stones.)

Juliene Mendoza, whom I had long admired as an actor for his performances in "Bona" (MY REVIEW), "Lorenzo" (MY REVIEW) and "Rak of Aegis" (MY REVIEW) also gave a riveting performance here as Father. Most of these best scenes in "Eurydice" were silent scenes featuring the Father -- when he imagined walking his daughter down the aisle, when he was building her the house of string, when he dipped himself into the river. (Audie Gemora alternates in this role.)

Marco Viana seems to be the resident romantic leading man among the Tanghalang Pilipino Actors Company. Orpheus was an oddly written character. He is portrayed as a uniquely talented musician, yes. But instead of being the perfect lover, he was so temperamental and moody towards Eurydice. At that climactic moment of his great loss, I felt he was angry more than he was despondent, not exactly the emotion I was expecting.
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I first noticed Lhorvie Nuevo's acting skills when she played Helena in TP's Filipino adaptation of Shakespeare's "A Midsummer Night's Dream" (MY REVIEW) last year. As the title character Eurydice, she will grow on you in this play. She may start off as sort of an awkward and naive in that first scene of the two lovers at the beach. However, two hours later before the play ends, she will certainly astound you with a sincere scene of anguished mourning with very deep emotions and real tears.

I was surprised that the play venue was on the very stage of the CCP Little Theater itself, rearranged as an intimate black box theater with bleachers in front and on both sides. The set by director Loy Arcenas was spare with just a raised platform in the middle, and strange red and shiny plants and flowers made of wire and little rings hung from the ceiling. Later, in one of the play's most magical moments, an elevator where it rains inside opens at the back with Eurydice carrying her suitcase and an umbrella to keep her dry -- a very beautifully executed scene indeed, further enhanced by the lights of Barbara Tan-Tiongco and sounds by Teresa Barozzo.

I cannot pretend that I was not puzzled while watching this play unfold. There were some pretty beautifully-staged, emotionally heart-rending scenes, very true. But there were also some head-scratching scenes that did not seem to make any sense and long silences which may lull you. This whole show was all like one long dream with outlandish imagery and offbeat dialogue. This quirkiness aspect may not easily accessible for all audiences to absorb or appreciate, but definitely the feelings of despair, affection and passion will shine through and reach out to you.

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"Eurydice" runs at the CCP Tanghalang Aurelio Tolentino (CCP Little Theater) from February 17 to March 5, 2017, with shows on Fridays at 8PM, Saturdays at 3PM and 8PM, and Sundays at 3PM.

Tickets cost P1,500 and P1,000, with discounted rates of P750 and P500 for students. For Buy 1 Take 1 tickets this weekend only (Feb 24 8pm, Feb 25 3pm & 8pm, Feb 26 3pm), please call Lei Celestino 0915 6072275 / Alfritz - 0916 5483484 / Phi - 0906 4803330.

February 25, 2017

This is the first time I had seen Artist Playground tackle an English play since their inception two years ago when all the plays they staged were in Filipino. This English play they have chosen to open their third year is no ordinary English play, but one featuring the so-called "heightened text" like that used by Shakespeare. Those facts alone make this play "Prelude to Macbeth" by James Chalmers a must-see for me.

To keep him in loyal service, King Duncan of Scotland offered his best general Macbeth the position of Thane of Glamis. Meanwhile in the forest, poor destitute lass Lorna Stewart was told by three Spirits that she will become the Queen of Scotland. This play tells the story of how Macbeth and his Lady meet and achieved their position prior to the events of Shakespeare's classic tragedy "Macbeth."

Fortunately for me, I just reviewed the story of Macbeth last year when I watched and wrote the review of the 2015 film "Macbeth" (MY REVIEW) starring Michael Fassbender and Marion Cotillard in the lead roles. Therefore being able to connect this prequel with the actual events of the play made watching this very well-plotted "Prelude" with its naughty sense of humor very interesting and engaging.

The opening scene alone with the three Spirits and their multi-purpose cloaks was already one helluva great attention-grabber. From there, the play won't let us go anymore until 40 minutes later when it ends. Granted we all know how it will end, Chalmers kept us enraptured in the witty story rich in prophecies and intrigues en route to that inevitable conclusion. I liked that the cast did not go overboard in trying to sound too authentic British or Scottish. This made the delivery of the verses clear and understandable.

Paul Jake Paule plays the steadfast soldier Macbeth as moody and morose as we know Shakespeare's Macbeth to be. Paule had never been in an English-language play before, and joked that this play had caused him to become anemic due to constant "nosebleed."

The more arresting and fascinating role, however, belonged to Jernice Matunan as Lorna Stewart, the future Lady Macbeth. Matunan confidently attacked her rich role with all her ego, wit and allure -- a true star-making performance for this young lady pilot. Her sweet face and smile makes her malignant ambition even more sinister. Every little smirk was in character. (Cathrine Go alternates as Lorna.)

The three young actresses who played the Spirits (Spirit 1 Tasha Guerrero; Spirit 2 Kia Del Rosario and Spirit 3 Princess Tuazon) were simply fantastic in their haunting portrayal. With their heavily-made up pale and gaunt faces with ugly scars and disheveled hair, they looked eerie and frightful. Their delivery of lines was over-the-top dramatic with moaning, stridor and wheezing after every word, which made their prescient pronouncements sound even more ominous and dangerous. (Jeremy Cabansag alternates as Spirit 3.)

Veteran actor Andre Tiangco struck a regal figure onstage as King Duncan. Among the cast, he was clearly the one most comfortable with the British verse. (Mitoy Sta. Ana alternates as Duncan.) Jarden de Guzman relished his role as palace guard Callum McLeod and played this comic role with glee. His insolent antics had the audience in stitches, especially in that raunchy scene with Lorna.

You have to hand it to Production Designer Reynoso Mercado and Lighting Director Juan Carlo Pacheco for succeeding to create an illusion of width and depth within the limited confines of the Little Room Upstairs. Credit goes to Banaue Miclat-Janssen for her meticulous work as Speech Consultant with the cast, who were non-English speakers in real life. The music of Jesse Lucas enhanced the somber Scottish atmosphere.

Princess Tuazon, Jernice Matunan, Paul Jake Paule

and director Roeder Camanag at the curtain call

Biggest kudos to Director Roeder Camanag for impressively bringing this highly entertaining one-act play to life for us. He has bigger plans for this play to be re-staged a prelude to an actual production of an abridged version of "Macbeth" sometime this July. That should be a most exciting project to look forward to. Artist Playground is undoubtedly headed for bigger things.

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The schedule of performances of "Prelude to Macbeth" are: February 23-26, 2017, Thursday and Friday at 7 pm, Saturday and Sunday at 3 pm and 7 pm. Venue is at 1701 The Little Room Upstairs, Landsdale Tower, Mother Ignacia Ave. near Timog Avenue, Quezon City. For tickets and inquiries, visit Artist Playground's Facebook page or contact 09759193179.

February 26, 2017

A dead baby was found in the wastepaper basket inside the room of young novice Agnes. She does not have any memory about the event. Mother Miriam Ruth, the Mother Superior of the convent, is very protective of her delicate young ward. However, the court-appointed psychiatrist, Dr. Martha Livingstone, is determined to get to the bottom of the crime, using hypnosis and whatever else it took.

I am familiar with this title. There was also a film version of "Agnes of God" in 1985 directed by Norman Jewison. The cast included Anne Bancroft as Mother Miriam Ruth and Jane Fonda as Dr. Livingston, with Meg Tilly as Agnes. Bancroft and Tilly were nominated for Oscars for their performances. Tilly won the Golden Globe as Best Supporting Actress.

Even before that film in 1983, Repertory Philippines staged the original play version. I may have watched it, I am not sure anymore, I was still very young. The cast included the two pillars of Repertory Philippines -- Zenaida Amador as Mother Miriam Ruth and Baby Barredo as Dr. Livingstone --with Pinky Amador as Agnes, for which she won her first Aliw Award for Best Actress in a Play.

Now for the second offering in its 50th season, Repertory Philippines is again staging "Agnes of God." They have pulled no punches in their powerhouse casting for this show. Pinky Amador is back on board again, but this time she is playing Mother Miriam Ruth. Menchu Lauchengco-Yulo is Dr. Livingstone, and the title role of Agnes played by promising ingenue Becca Coates.

Bart Guingona directs this show, and he clearly did not settle for anything less than stark perfection. The stage only had a chair or two on it. Nine big bare panels serve as the backdrop. That was all the set Joey Mendoza needed for this intense acting vehicle. Nothing will distract you from the actresses. There were only three actresses there on that stage yet they filled it up with their powerful presence. The lights behind the panels by John Batalla and the sound and vocal enhancements by Jethro Joaquin create an eerie monastic atmosphere.

All three actresses had their big moments on their own, delivering lengthy soliloquies with such brio and exuberance; and with each other, playing off each other's passion. The script of John Pielmeier gives his actresses ample room to navigate the deepest of emotions from ecstasy to despair, from pity to fury. Amador, Lauchengco-Yulo and Coates never backed off from that formidable challenge, constantly giving us 100% of themselves in their characters.

Amador and Lauchengco-Yulo are already known quantities for their acting talent, but they manage to even exceed my high expectations. Even if Pinky Amador may physically seem too young to play a strict jaded Mother Superior, she convinces us that she was one by the sheer gravelly grit of her voice as she delivered her world-weary lines which dripped with bitterness. Menchu Lauchengco-Yulo never missed a beat as the chain-smoking doctor. Her psychiatrist was frank and straightforward, yet caring and empathetic. That chest-beating scene is simply so potent.

This is my first time to see Becca Coates in action as I missed her mainstream debut as a girl dying with cancer on "Dani Girl". As Agnes, she reminded me of the raw talent exuded by a young Monique Wilson. Her look and her voice were angelic and innocent, yet she made us feel Agnes' fractured psyche. In a riveting performance belying her age (only 19-years old!), Coates' Agnes teetered on the edge of sanity, never really letting us have the satisfaction of knowing what really happened -- no mean feat. She was so realistic, even her stigmata did not seem impossible.

It is only February, but as early as now, I am already expecting all three of them to be vying for Best Actress accolades in the awards season by year's end. If there was an award for Best Ensemble in a Play, I would say that this cast is already the solid favorite to win. Everyone was performing at her absolute best the whole time. The little nuances of each character were all always in full display. The material is no doubt controversial, even offensive for some conservative Catholics. However, as a pure acting showcase, this articulately-written play was a true masterclass.

Pinky Amador, Bella Coates and Menchu Lauchengco at the curtain call

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“Agnes of God” opened last February 17 and will run until March 12, 2017 at Onstage Theater in Greenbelt 1, Makati City, with shows at 8 pm on Fridays and Saturdays, and 3:30 pm matinees on Saturdays and Sundays. Ticket prices range from P1000 to P600.

March 9, 2017

For its final production of its 4th season, the Red Turnips presents Jennifer Haley's 2015 Olivier-nominated play entitled "The Nether." This progressive theater company had always been tackling sensitive topics before like infidelity ("Closer"), homosexuality ("Cock") and depression ("Rabbit Hole") but the topic of "The Nether" absolutely pushes the boundaries of live theater to a most dangerous edge.

In the near future, the internet will have progressed into a vast network called the Nether, realms where people work, study and live out their ultimate desires in virtual anonymity. Detective Morris is investigating Mr. Sims, a wealthy man who created a realm called The Hideaway, a resort where he caters to the sexual fantasies of a most perverse clientele. The disturbing report of her undercover agent Mr. Woodnut provided the basis of her interrogation as she toed the line of ethics and morality between the cyber and real world.

Even as of now, the miracle that is the Internet is an inescapable reality in daily life. We connect to it everyday to know everything happening around us in almost real time. We use it to communicate and brainstorm with our friends and family all over the world. People are already working, studying and finding leisure on various online platforms right now.

On the other hand, we are also very aware that the World Wide Web also has a dark side to it, a world of horrors and vice. More than 10 years ago, the musical "Avenue Q" already declared "The Internet is for Porn" in one of its funniest songs. However, "The Nether" does not use any humor to soften its blows. Jennifer Haley's bold script is brutally creepy as it deals with certain kind of sexual perversion so sick and sinister. I expected sci-fi horror from its teasers, but certainly not this.

The topic aside, as an acting vehicle, this play is a gold mine. The entire cast delivered memorable performances.

Bernardo Bernardo is a veteran actor I have seen in several movies and TV shows. However this is the first time I am seeing him act on stage. His Mr. Sims was so arrogant and his online character of Papa was so slimy. The way he was portrayed by Bernardo, we were able to see where he is coming from, yet we still hate him as he made our blood boil in both roles. Bodjie Pascua, I had seen in several plays before, but this is the first time I am seeing him perform in English. His Doyle, a teacher relegated by circumstance to becoming the anonymous voice behind a sexual fantasy, is a very pathetic character, and Pascua just inhabits him so well. Just seeing these two acting giants together is already worth the price of admission.

Jenny Jamora is fierce and fearless as Morris. Her petite, waif-like stature was quite a contrast against the formidable heights and bulks of Bernardo and Pascua. But in her slinky black leather outfit, Jamora stood her ground during her bold confrontation scenes with those two big men. TJ Trinidad played agent Woodnut with delicacy and care, we can feel his palpable discomfort from afar. His was not an easy role to play as he was the one actually playing out the sick fantasy albeit under the guise of investigation, very very discomfiting to watch.

The presence of an actual young girl in the center of all of this depravity more than doubled the discomfort factor of this play. Cherubic child actress Junyka Santarin played little Iris so innocently, delightfully and vibrantly (hard to believe this is only her first play!), such that the disturbing nature of the situation was even made more reprehensible. Delicate-looking child actress Alba Berenguer-Testa (from "Annie" and other musicals, in her first straight play) alternates as Iris. I trust that these children have been guided accordingly by their parents and director Ana Abad-Santos about the sensitive nature of their roles.

Congratulations to director Ms. Abad Santos for a very brave undertaking achieved with remarkable sensitivity. The eerie lights of John Batalla, the airy soundscape of Teresa Barrozo and the opulent Victorian set (with its stone steps and gargoyles) of Ed Lacson all contributed essential sci-fi elements to complete the illusion of a decadent virtual world of the Nether.

Director Ana Abad-Santos and the cast

during the Q&A after the Press Preview

We have seen this taboo topic in question tackled in various films and tv shows, even on tv news, and it undeniably disturbs us. Honestly, seeing this perversity unfold live onstage was an unnerving experience. There is no skin exposed, mind you, but the actual touching and hugging we saw up there certainly made my skin crawl and sent uncomfortable shivers up and down my spine. This play is art which will provoke all sorts of agitated emotions. This is NOT an easy play to watch. You can't just sit back and relax. Are you up for this? Is "conservative" Manila ready for this?

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THE NETHER opens March 10 and runs all weekends until April 9. March 17 (Fri) 9pm, March 18 (Sat) 8pm, March 19 (Sun) 4pm, March 24 (Fri) 9pm, March 25 (Sat) 8pm, March 26 (Sun) 4pm, March 31 (Fri) 9pm, April 1 (Sat) 4pm, April 1 (Sat) 8pm, April 2 (Sun) 4pm, April 7 (Fri) 9pm, April 8 (Sat) 4pm, April 8 (Sat) 8pm, April 9 (Sun) 4pm and April 9 (Sun) 8pm.

Tickets (at P2000 and P1500) at Ticketworld.Venue: The Power Mac Center Spotlight Theater at the Circuit, Makati (Level 2, Circuit Lane, A.P. Reyes Avenue, Makati City).

April 1, 2017

Because of the resurgence of a certain family back into the political limelight, there had been a slew of plays about Martial Law and its atrocities that had been staged by various local theater groups in an effort to educate millennials about that turbulent time in recent Philippine history. These theater artists have been showing vigilant passion for stemming the unsettling tide of historical revisionism that seems to be steadily being foisted on the new online generation.

The PhilStagers led by Atty. Vince Tanada first had a daring musical called "Katips" (MY REVIEW). In response to a certain controversial burial, a festival of nine one-act plays about Martial Law called "Never Again" (MY REVIEW). Even Ballet Philippines had a unexpected go at it in "Awitin Mo, Isasayaw Ko" (MY REVIEW). Sugid restaged "Buwan at Baril sa E♭ Major" (MY REVIEW) just earlier this year. PETA, presently on its 50th year of cutting-edge Filipino theater, certainly did not pass on the chance to make its own statement.

Hector is an internet troll whose job was to heckle netizens who were posting against Martial Law. It turns out that he had abandonment issues against his mother Tere who was a deeply-involved activist during the Martial Law days. One night, he gets vivid nightmarish visits from several Martial Law victims. Their stories of torture and injustice shakes Hector up from his political and personal apathy.

Myke Salomon, who has long proven his mettle in both acting and singing, proficiently takes on the lead role of Hector. He does look more mature than the other guys in the troll center and those in his apartment, making him stand out. I was really drawn to the character of Nanay Tere, played by senior PETA artist Upeng Galang Fernandez. It was difficult not to be moved by her simple yet absorbing performance, especially in that moving confessional monologue about her painful past.

The actors playing the Ghosts of Martial Law Past (Gie Onida as Bobby de la Paz, Norbs Portales as Edgar Jopson, John Moran as Eman Lacaba, Roi Calilong as Macli-ing Dulag and Ada Marie Tayao as Sister Mariani Dimaranan) all gave haunting performances full of depth and respect. Lea Espallardo and Icee Po played multiple supporting roles, and were most remarkable as the game show hosts and the simple folk victims of Martial Law.

As the main antagonist, Vince Lim was really annoying and slimy as Bimbam, the chief troll and Apo loyalist employer of Hector. His wife in real life, Gold Villar plays Cons, friend-zoned flatmate of Hector and front man of her band the Bugambilyas. This girl can really sing so well, I wished her solo song number lasted longer than it did during the show. Kiki Baento, Jose Lemuel Silvestre, Jason Barcial, Daniel Cabrera and Justin Castillo play the other millennial characters in the ensemble.

The cast takes their curtain call

"A Game of Trolls" is created by the same two ladies behind the PETA megahit "Rak of Aegis" -- writer Liza Magtoto and director Maribel Legarda. Instead of being a jukebox musical, this new show brought to fore its serious socio-political issues with original songs written by Vincent de Jesus. As before, they told their story with just the right balance between drama and humor, with a bit of romance to spice things up for audiences, especially for the younger ones.

Using the "A Christmas Carol" device of visiting ghosts was an ingenious way to incorporate the disturbing stories of Bobby de la Paz, Eman Lacaba, Edgar Jopson, Macli-ing Dulag, Sr. Mariani and other unnamed Martial Law victims. That "game show" device for depicting forms of torture employed by the authorities back then was innovative, and the resulting presentation was no less horrifying, as they should. Also a key feature of this play is the interplay of video (by Ellen Ramos and Joee Mejias) with the live action.

That this show is presented in cooperation with the National Historical Commission of the Philippines says a lot about its authenticity as a drama about actual events in history. Meant to tour in colleges and universities around the country, "A Game of Trolls" works not only as a tool of historical instruction, but more so as an impetus for discussion and enlightenment.

The cast members meet their fans in the lobby after the show.

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"A Game of Trolls" is currently on a limited sneak preview run of four shows this weekend of April 1 and 2, 2017, with two shows on each day at 3 pm and 8 pm. Its main run will be during the whole month of September 2017. Venue is at the PETA-Phinma Theater in Quezon City.

This show is available for mobile performances around the country from May to August and October to December 2017. Interested schools can call Yesh Burce at 0977-8425525.

Review of NEVER AGAIN: VOICES OF MARTIAL LAW Set C: Steamy, Silly, Searing

Review of TP's PANGARAP SA ISANG GABI NG GITNANG TAG-ARAW: Fanciful Farce with Fairies

Review of Atlantis' JERSEY BOYS: Volante is Valli!

Review of Trumpets Playhouse' ALWAYS UPON A TIME: Learning Life Lessons

Recap of VIENNA BOYS CHOIR Live in Manila 2016: History and Harmony

Review of PETA's THE TEMPEST REIMAGINED: Intricate Integration

Review of Atlantis' FUN HOME: Fathoming Frailties of a Father

Review of Full House/RWM's ANNIE: Triumphant Tomorrow!

Review of Ballet Phils' AWITIN MO AT ISASAYAW KO: Fancy and Frenetic

Review of 9 Works' A CHRISTMAS CAROL: Holiday Heart and Humility

My Yearend Roundup: The BEST of PHILIPPINE THEATER 2016

Review of Repertory Phils VANYA AND SONIA AND MASHA AND SPIKE: Gleeful Gloom

Review of Sugid's BUWAN AT BARIL SA E♭ MAJOR: Activism and Anguish

Review of Twin Bill's MY NAME IS ASHER LEV: Creativity and Conflict

Review of Dulaang UP's FAUST: Deals with the Devil

Review of TP'S EURYDICE: Weird, Wistful, Whimsical

Review of Artist Playground's PRELUDE TO MACBETH: Prescience and Powerplay

Review of Repertory Phils AGNES OF GOD: Powerhouse Performances

Review of Red Turnip's THE NETHER: Controversial Chilling Cyberspace

Review of PETA's A GAME OF TROLLS: Awakening from Apathy