Fred Said: THEATER, CONCERTS, EVENTS

April 2, 2017

Repertory Philippines is on its 50th anniversary this year. So far, with the two plays that already came and went this season -- "Vanya and Sonia and Masha and Spike" and "Agnes of God" -- Rep is on a roll as these productions have received critical acclaim. For its third offering this year, they chose Sarah Ruhl's 2009 Broadway-debut play "In the Next Room, or The Vibrator Play". The catchy yet controversial title alone can surely generate social media buzz and interest potential audiences.

It is the late 19th century somewhere in America. Dr. Givings (Joshua Spafford) is a medical doctor who is known for treating patients, especially ladies, who were afflicted with so-called Hysteria. This was a term used to diagnose any form of inexplicable emotional distress. Since this condition was thought to have been caused by the congestion of "fluids" in the womb, the treatment prescribed involved being stimulated genitally with a vibrator in order to release this pent-up fluid in order to make the patient feel better.

While the good doctor was treating a frigid Mrs. Sabrina Daldry (Caisa Borromeo) and a stressed-out Bohemian painter Leo Irving (Jef Flores) with his new electrical contraption, Givings' own gregarious wife Catherine (Giannina Ocampo) is experiencing depression and insecurity for having to hire another woman Elizabeth (Cara Barredo) to nurse her newborn daughter. As she meets and interacts with these patients, Catherine begins to get curious about what actually goes on in the next room and wants to try her husband's miracle treatment out herself.

I had already seen a movie before that tackled this very same controversial topic. It was entitled "Hysteria" (2011), starring Hugh Dancy and Maggie Gyllenhaal. Because of the sexual nature of the hysteria therapy shown here, the movie could be uncomfortable to watch. However, the interesting depiction of Victorian society mores and genteel execution of the screenplay rose above the potentially raunchy topic. That said though, I still could not believe that this movie was actually based on true events. But then again "Hysteria" was just still just a movie on a screen, "In the Next Room" is a live play -- a big difference!

The beautiful set of Mio Infante

Director Chris Millado told this multi-layered story well. This is the second play by Sarah Ruhl that I have seen this year. Tanghalang Pilipino had just staged a Filipino version of Ruhl's 2003 play "Eurydice". I can see that feminism and female empowerment is an important running theme in both plays. She always told the story in the female point of view. "In the Next Room" was so vibrant in the first act because the shock factor while the shock factor was still fresh. The second act tended to meander and feel long as various issues of the minor characters were being addressed.

The set designed by Mio Infante was beautiful on its own, with all the Victorian-style furniture and home decor of that period. On the other side of the stage, we see the sterile doctor's clinic with an examination bed, a washing area and an elaborate electrical set-up that includes the titular vibrator. When the characters came out, we see gorgeous Victorian-era costumes by Bonsai Cielo. During the various undressing and dressing scenes, we see just how elaborate they really are. As the script also plays up the advent of electricity, the lights of Katsch Katoy were also essential to the story.

Tami Monsod, Jef Flores, Joshua Spafford, Gianina Ocampo

during the curtain call

I commend the cast for their boldness and commitment to their respective roles. I never would have expected Rep ingenues like the energetic Giannina Ocampo, the endearing Caisa Borromeo and the elegant Cara Barredo all grown-up and being so daring to enact those "sensitive" scenes in front of a live audience. Tami Monsod's deadpan delivery was simply on point as Givings' efficient midwife Annie, whose expertise was giving "manual therapy."

Ever-flamboyant Jef Flores looked like he was having a lot of fun up there. Mustachioed Hans Eckstein gave just the right nuance of a stuck-up husband. Joshua Spafford's epiphany moment is the show's biggest and most meaningful surprise. The comedy somehow diffuses the discomfort of these situations, but this does not detract from the difficulty and challenge of these characters.

Caisa Borromeo, Cara Barredo and Hans Eckstein

during the curtain call

While I was watching this play, it was interesting to note that the women seated around me, both old and young, were in stitches during the therapy scenes. They also gave an audible gasp during that liberating final scene in the snow. Ladies were clearly enjoying this show! The men though, including me, were generally silent. We were all probably trying to figure out in our heads the underlying messages this play wanted to tell us about the desires and frustrations of our dear wives.

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"In the Next Room, or the Vibrator Play" runs weekends at Onstage Theater at Greenbelt 1 in Makati City until Sunday, April 23 with a Holy Week break in between. 8 pm shows on Fridays and Saturdays, and 3:30 pm matinees for Saturdays and Sundays. For tickets, call TicketWorld at (632) 891 9999 or visit the website of TicketWorld. Ticket prices: ₱1,045 for Orchestra Center (reserved), ₱836 for Orchestra Sides (reserved) and ₱627 for Balcony (free seating).

April 7, 2017

The acronym PETA stands for Philippine Educational Theater Association. Established on April 7, 1967 through the pioneering efforts of Ms. Cecilia Guidote Alvarez, the PETA is a theater company that not only focused to staging plays, but it also has an advocacy for teaching theater arts to all Filipinos, as well as to impart social awareness and raise questions that need to be asked.

Soxie Topacio, Meann Espinosa, Dessa Quesada-Palm

Cris Gonzales, Mae Paner, Joel Lamangan

Today on its 50th anniversary, PETA celebrates its milestone by staging a special invitational concert that aims to remind everyone about how PETA came about, how it developed and survived to this day. It aimed to showcase the various social advocacies that PETA undertakes, apart from its well-known quality stage shows. This stories and ideals were told throughout the show via animated narrations and recollections by PETA stalwarts and mentors: Soxie Topacio, Joel Lamangan, Mae Paner, Dessa Quesada-Palm, Cris Gonzales, and Meann Espinosa.

There were 17 musical numbers that comprise the two hour concert, showcasing the best songs from among the 400 or so plays PETA has produced in the past 50 years. The musical directors of the show were Jeff Hernandez and Myke Salomon, with Jed Balsamo on the piano and Tim Cada and Dodjie Fernandez on guitar.

Pilipinas Suite Singers

The first song number was the PILIPINAS CIRCA SUITE with Joel Lamangan singing about the colonial mentality in theater back in the 60s and 70s. He was given humorous support by Upeng Galang-Fernandez, Avic Ilagan, Glecy Atienza, She Maala, and Neomi Gonzales. Direk Lamangan sang with much gusto despite his very hoarse voice, echoing the old theater sentiment, "The show must go on."

This was followed by a very elegant KUNDIMAN SUITE, including "Sa Loob at Labas" ("Halimaw", 1971, with lyrics by Francisco Balagtas, music by Lutgardo Labad).
The songs were rendered by Upeng Galang-Fernandez, Michael Odeomene, and finally a glorious duet by husband and wife team, Cynthia and Lionel Guico. In this suite, PETA founder Ms. Cecile Guidote-Alvarez was escorted onstage to be serenaded in an early emotional moment of the show.

CB Garrucho and Cecile Guidote-Alvarez

There were also some solo and duet numbers. "Awit ng Karnabal" (from "Ang Buhay ni Galileo") was sung with masculine vigor by Rody Vera. Mr. Vera would then join the beautiful Ms. Dessa Quesada-Palm in a so-called SECTORAL SUITE, including the song "Awit ng Magsasaka" (from "Ang Panunuluyan ni Birheng Maria at San Juan sa Cubao, Ayala, Plaza Miranda, atbp. sa Loob at Labas ng Metro" 1982), and which also featured an exciting rap by Myke Salomon.

Michael Odeomene and Neomi Gonzales

"Paghahanap ni Oryang" (from "1896", 1995) was dramatically rendered by a most glamorous Cynthia Guico dressed in a voluminous scarlet gown. “Pagsapit ng Dilim” (“Kahapon, Ngayon at Bukas”, 1990, by Aurelio Tolentino) was sung by Michael Odeomene and Neomi Gonzales. The wedding song "Sa Hirap at sa Ginhawa" (from "Canuplin" 1980) was sung by Noel Cabangon and Aicelle Santos.

The GENDER SUITE had the songs "Ako Ito" (from ASL Please", 2004) given a powerful rendition by Jet Barun-Concepcion, "Hanggang Dito Na Lang Ba" (from "Hanggang Dito na Lang at Maraming Salamat" 1997) in a poignant performance by Paeng Sudayan, and "Buhayin ang mga Sana" (from "Libby Manaoag Files" 2000) by the PETA Choir. This suite was capped by "Saan Ka Man Dalhin" (from "Care Divas", 2011) featuring star/musical director Vincent de Jesus along with Ricci Chan, Buddy Caramat and Gio Gahol in their big top hats and fishnet stockings.

Care Divas Vincent de Jesus, Gio Gahol and Ricci Chan

An ETHNIC SUITE showcased the intense dance prowess of Carlon Matobato, Gold Villar-Lim, Gerhard Pagunsan and JP Basco interpreting the songs being sung by guest choir, the UP Singing Ambassadors, including "Iligtas ang Sanggol" and "Sinimulan ang Laban" (both from "Diablos", 1989).

There was suites from more recent audience favorites, both jukebox musicals. The 3 STARS AND A SUN SUITE featuring songs by Francis Magalona was led by Mark Salomon. Of course, a PETA reunion would be incomplete without highlighting the megahit RAK OF AEGIS in its own suite, led by the original Aileen and Tolits -- Aicelle Santos and Jerald Napoles, with its musical director/original Kenny, also Myke Salomon.

The PETA choir was so hardworking tonight. My apologies, but offhand I can only name Gold Villar and Neomi Gonzales among the ladies, Gio Gahol and John Moran among the guys. Aside from participating in other suites, they had their own suites. From the upbeat title tune "Padayon" (2014), they then sang the GOOD VIBES SUITE, which included the songs "Kalikasan" (from "Ang Alamat ng Limbaswang" 1992) and "Bakit Ka Pa Maghihintay" (from "Juan Tamad, ang Diablo at ang Limang Milyong Boto" 2010). They also sang the song "Pag-asa ng Bayan" (from "Batang Rizal", 2007) and "Awit ng Haraya" (from "Mga Kuwento ni Lola Basyang", 2005), as well as the closing song, "Alay ng Lumikha."

The best and most memorable moment of the whole show ago for me was the climactic MAKABAYAN SUITE which began and ended with stirring "Sulo ng Kapatiran" (from "1896", 1995) lyrics by the late Charley de la Paz and music by Lucien Letaba. This penultimate number had the entire ensemble of the night's performers -- from narrators, the singers and the choirs -- all singing together on that stage in one spectacularly inspirational number which ended in a colorful shower of confetti.

Kudos to all the incredibly multi-talented people behind this uniquely Filipino artistic and educational institution called PETA, past and present, in its first of many 50 years!

The Multi-Talented People of PETA!

April 8, 2017

Honestly I am not sure I had ever seen a production of Ateneo Blue Repertory (or blueREP for short). (I recall watching a production of "Suessical" in Ateneo many years back, but unsure if that was blueREP or not.) Anyhow, because this theater company is celebrating its 25th anniversary this year via a reunion concert, I thought it would be very interesting to go watch, in order to see how they put up a show and who among the current crop of actors were blueREP members once upon a time.

Two anniversary concerts were supposed to have been staged today, April 8, 2017 at the Cine Adarna, UP Film Institute in UP Diliman. However, yesterday after, there was an announcement that the 3 pm show had been cancelled due to "unforeseen circumstances and technical difficulties." There will only be one show left, the 8 pm show, which I could not watch. However, I found out from a friend that they are opening the technical dress rehearsal (or TDR) that afternoon to the public. Thankful for this chance, I rushed over after work and reached the venue before the TDR started about 4 pm.

AM, Mia and future AM

The show proper had a unifying story (script by GabbiCampomanes and her team) upon which the retrospective of past productions will be organized around. It involved AM and Mia, a couple of blueREP staff members who only had a few minutes before open house for their 25th Anniversary. They stumbled upon a magical production book which sang songs from old blueREP shows when you flip its pages. When they fight over the book, this causes all the pages inside to fall and scatter out and disappear.

An mysterious bald man in black appears before AM and Mia and told them that he had come back from the future to help save the history of blueREP from being forgotten and lost. In order to do this, the three of them had to time travel into the past to pick up all the missing pages about each and every past blueREP productions. The three need to work fast because if they do not succeed, every memory about blueREP will fade forever.

We first heard present blueREP members sing the song "Magic to Do" from their maiden production "Pippin". As I learned from a video shown, blueREP was founded in 1991 by Dennis Temporal. For its initial show, Temporal chose "Pippin," which he was able to produce with a grand amount of P2,000. From such a humble and challenging beginning, blueREP had now grown to be the only musical theater group in the Ateneo de Manila University, and the premier college-based musical theater group in the whole country.

"High School Musical"

These present members were practically in every suite throughout the show. They definitely got their hearty fill of physical and artistic challenges doing this show, either by themselves or supporting the visiting guest alumni performers. The frenetic and colorful suites for "High School Musical" ("Stick to the Status Quo") and "25th Annual Putnam County Spelling Bee" ("Pandemonium") were particularly fun and entertaining.

Then we see a series of blueREP alumni to perform their respective solo spots. I first recognized Red Concepcion with a song from "Freakshow."Vic Robinson III sang "Lost in the Wilderness" from "Children of Eden."Mako Alonso performed the title song from "Footloose". Derrick Fuentes sang "Giants in the Sky" from "Into the Woods."Tanya Manalang had a smashing rendition of "Come to Your Senses" from "Tick...Tick...Boom!" It was a pleasant surprise to hear pianist/musical director Ejay Yatco burst into song, singing "Not a Day Goes By' from "Merrily We Go Along."Cassie Manalastas soulfully sang final song of Act 1 which was "Home" from "The Wiz."

"Hair"

After a 15 minute intermission, Act 2 began with a suite from "Once on this Island" from the "Prologue" to "We Dance" and "Waiting for Life." Then the scene shifted to the coffee shop setting of the show "Stages of Love" and the ensemble sang "Ale (Na Sa Langit Na Ako)" in counterpoint with "Limang Dipang Tao."

Maronne Cruz led off the suite from the dark musical "Spring Awakening," singing Wendla's song "Mama Who Bore Me." The boys then followed by singing "The Bitch of Living."Gab Medina took on the role of Melchior to lead the group in the singing of "Totally F**ked."Bibo Reyes took on the big stage by himself for the song "Role of a Lifetime" from "Bare." An suite from "A Little Shop of Horrors" included the song "Feed Me." The psychedelic suite for "Hair" featuring a moving rendition of "Let the Sunshine In." The hip-hop suite for "In the Heights" included the lively rap of "96,000."

A special suite was dedicated to the first original musical of blueREP, "Toilet the Musical"written and composed by Ejay Yatco. The storyline was about painful experiences high school students go through in high school. The dramatic songs were rendered by the ensemble led by Vic Robinson III, Cassie Manalastas, Boo Gabunada, Gabriela Pangilinan and Nel Gomez.

Since this was only a TDR I am watching, the flow is still rather rough, with uneven transitions from scene to scene with video and sound glitches. The acting and singing was occasionally stilted or awkward, but I am thinking that they were just getting used to the stage set up and blocking. This, after all, is still just a rehearsal.

I am sure directors Toff de Venecia and Andrei Pamintuan all of these kinks will be ironed out by time the 8 pm concert proper begins -- barely an hour after the rehearsal ended just before 7 pm. I can imagine how awesome the actual show will be. There is no denying the power of youthful zest and energy in this show. Happy 25th blueREP!

Grand Finale

April 19, 2017

I thought it was an astute decision of Twin Bill Theater to stage this particular play in the Mandel Hall on the second floor of their Main Library building in the Trinity University of Asia campus. The flagship course of TUA is Nursing, and this 1999 Pulitzer Prize-winning play by Margaret Edson could not have been staged in a more appropriate venue.

Dr. Vivian Bearing PhD, a stern 50-year old university professor specializing in 17th century English poetry, particularly those by John Donne, had been diagnosed of having Stage IV metastatic ovarian cancer. Her oncologist, Dr Harvey Kelekian is giving her an experimental chemotherapeutic treatment regimen consisting of eight rounds at full dosage.

Having no family nor friends, she did not have any visitors at the hospital except for the callow Dr. Jason Posner, the fellow who coldly treated Vivian as simply a subject of his research. Fortunately, her nurse Susie Monahan still showed Vivian the compassion she so longed for. This made Vivian realize her own faults as she faced mortality.

Tami Monsod as Vivian Bearing

As a medical professional myself, I was totally riveted to the subject matter of the play --cancer. In my field, I encounter cancer patients frequently, and the years that pass do not make it any easier to deal with them as individuals. It is always difficult to break the news of their dire diagnosis to them. I always take my time when I speak with a cancer patient on their initial consult, every follow up thereafter, sometimes up to their death bed. I have to find the balance between explaining the gravity of the condition but at the same time still be encouraging and positive. I hope I never come across the way Jason did to Vivian.

This play gives me a view from the cancer patient's side -- what the patient thinks as we attend on him, as we discussed his case during Grand Rounds. While I always strive to establish rapport with my patients, but it can't be helped to keep a certain distance for the sake of professional objectivity. In clinical practice, most patients simply do not open up as much as Vivian does in this play, so her frank and incisive commentary about her illness, her doctors and her therapy are important to me as a cancer surgeon.

Secondarily, as a lover of the English language, I enjoyed this play's wit as Vivian related her present state with her opinions about English vocabulary, poetry, syntax and grammar. That scene where college-age Vivian and her mentor Prof. Ashford argued about the difference of punctuation marks in a famous John Donne poem and that scene where the five-year old Vivian discovered the word "soporific" from reading a Beatrix Potter book with her father were both fascinatingly executed.

Concepcion, Bradshaw, Monsod and Reyes

Bald and gaunt, Tami Monsod played Vivian Bearing very realistically -- so realistically that it was disturbing and astounding at the same time. Her complex lines all delivered perfectly -- at first with the prideful confident elocution of a university English professor who lived and breathed John Donne, progressively fading into the weak halting phrasing of a dying terminal patient. She literally deteriorated in front of our eyes, it was chilling. She was so committed to her role, it was as if she was not acting. I witnessed method-acting live right there on that stage, and it is unforgettable.

With his facial hair and deep voice, Raymund Concepcion projected authority in the three characters he played: as Vivian's attending Dr. Kelekian, as Vivian's logophile father, and as Vivian's only friend Prof. Ashford (a role originally played by a female). Bibo Reyes, all bright-eyed and preppy, effectively played the callous Jason to be a model of how a doctor should NOT act or speak in front of a patient. Mikkie Bradshaw, with her sweet face and voice, played Nurse Susie, Vivian's sole ray of sunshine in her confinement.

The other actors who played the various med students, lab technicians and Vivian's college students were Jillian Ita-as (in a non-singing role this time) and Twin Bill co-founder Francis Mattheu (along with twin brother of ace lighting director Joseph Mattheu). To add authenticity, two actual Trinity nursing students, namely Annika Estrada and John de Lima, were also cast in these minor roles.

I extend my sincere congratulations to the director Steve Conde and his whole Twin Bill Theater crew for choosing yet another well-written, topically significant play to produce. Like "Suicide Incorporated" and "My Name is Asher Lev" before it, this new play "W;t" is again so ideally cast and so inventively staged with the minimum of props. Bravo!

The cast and crew of "W;t"

I wholeheartedly recommend this play as required viewing for medical students, residents and especially Oncology fellows and even consultants. Watching how insensitively the doctors were portrayed in this play is very eye-opening. Doctors should honestly reflect upon themselves if the behavior they see onstage mirrored their own. All the medical knowledge and skill we possess cannot make up for atrocious bedside manner. Kindness is a key virtue for doctors, as it is for everyone.

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"W;t" only has a very limited run of only 4 shows: April 29, 3pm and 8pm, April 30, 3pm and May 2, 8pm. Tickets at ₱ 1,000 and ₱ 800 via Ticketworld. You can call 09274604652 for further inquiries.

Trinity University is very accessible to public transport as several jeepneys pass through E. Rodriguez Ave. The venue proper is Mandel Hall, about 100m walk from the gate. Bring an ID to show the guard as per university rules.

April 30, 2017

UP Playwright's Theater (UPPT) is an arm of Dulaang UP started in 1986 by Antonio Mabesa to exclusively stage original plays by Filipino playwrights. As I reviewed the list of plays produced by UPPT, I realized that the only play of theirs I had seen before was "Death in the Form of a Rose" by Anton Juan, and that was back in their 5th season (1991-92), staged at the Teatro Hermogenes Ylagan in the Faculty Center.

The first Floy Quintos play I had seen was "Collection" staged by Dulaang UP in 2013 (MY REVIEW), directed by Dexter M. Santos. I had seen two other Quintos - Santos collaborations since then, both by Dulaang UP -- "Ang Nawalang Kapatid" (MY REVIEW) and "Ang Huling Lagda ni Apolinario Mabini" (MY REVIEW)-- both excellent shows as well.

This new Quintos - Santos collaboration is inspired by the real life story of Alfonso Ossorio, a Filipino artist who painted on a wall in the sanctuary of a chapel in Victorias, Negros Occidental in 1950. The creation of this mural, called "Angry Christ," was the source of much turmoil and controversy for Ossorio, but it eventually became a high point of his career as an artist, and the work he will be remembered for in the land of his birth.

I did not know that this play was based on a real person or events. I confess that I had never heard of Alfonso Ossorio the artist, or about this bold church mural of his before watching this play. As the play unfolded, I recalled Quintos' other play about art that I had seen before -- "Fluid." (MY REVIEW). I was swept with the feeling of how this story of artistic angst was perfect for Floy Quintos to weave his dramaturgical magic.

Quintos built up dramatic tension of Ossorio's internal and external struggles with such eloquent impact. While he admits literary license with the inclusion of a Christmas manger scene and Holy Week penitential rites, but these were very vividly effective in making the audience understand Ossorio's fascination with the Christ figure. Quintos credits art consultant Liliane 'Tats' Manahan for keeping his script loyal to artistic temperament of his subject and assuring accuracy in the production design of Gino Gonzales. He uses the device of Lecturer, smartly played by Micaela Pineda (alternating with Arya Herrera), to deliver the expository details.

For a second consecutive time this year, Nelsito Gomez is playing an artist with a controversial painting about Jesus Christ against popular conventions of religious art. In "My Name is Asher Lev" (MY REVIEW), Gomez played a Jewish artist who faced controversy with his avant garde painting of a crucifixion scene.

As Alfonso Ossorio, Gomez here faced similar artistic dilemmas but with more complex conflicts. Instead of mere canvas, his painting will be on a wall to be seen by simple farmers every time they hear Mass that in that chapel. Artistic conceits aside, Ossorio was a wealthy man whom the whole community kowtowed to and called "señorito". On top of all that, Ossorio was also a homosexual, feared and derided by society. To his credit, Gomez was able to delineate one conflicted artist character from the other, which is no mean feat. This was definitely not just a case of Asher Lev transported to 1950s Negros.

Playing the innocent farmhand Anselmo in perfect contrast against Alfonso's worldly gay artist is Kalil Almonte. As with his past plays that I had seen like "Games People Play" and "Fluid", Almonte can convincingly play a country bumpkin ripe for corruption with his wide-eyed quizzical look and his heavily-accented line delivery.

Adelaide de Bethune was a Belgian-born American artist who did the mosaics of the chapel's outer walls. Banaue Miclat-Jannsen gave her such a charming and delightful disposition, especially when she was able to pick up the native language. There was a scene there when Ade had to shout, and I feared for Ms. Banaue's precious vocal folds for a while. (Stella Cañete-Mendoza alternates in this role.)

Padre Nunelucio was the local parish priest who represented the Church's resistance against Ossorio's progressive artistry. He was played with studied wariness by ever-reliable Juliene Mendoza. (Jojo Cayabyab alternates in this role.) Jose Nava was a Communist rebel who used to be an artist, actor and writer. He was played with powerful dignity by Greg de Leon. (Neil Tolentino alternates in this role.) Alexander Cortez, Randy Villarama, Felipe Ronnie Martinez and Jomari Jose complete the primary cast.

Jose, Mendoza, Miclat, Gomez, Almonte Villarama, Pineda, and Valdez

at the Curtain Call

The lighting design of veteran Monino Duque was on point throughout. The musical score of Krina Cayabyab consisted of traditional folk songs, classical tunes (Verdi, Chopin) and jazz classics (by Gershwin, Holiday). I had never seen video designs so critical in the success of a production than the work of Steven Tansiongco here.

Dexter M. Santos translated Quintos' ideas so well on that stage with such vibrancy of vision, with his own distinctive brand of fluid stage choreography. The two and half hours (with 10 minute intermission) of the play never became dull even if it had several scenes of deep wordy internal dialogue. The climactic reveal of the final mural at the end was so enthralling and magical that the whole audience was in absolute awe.

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"Angry Christ" runs from April 26 - May 14, 2017 at the Wilfrido Ma. Guerrero Theater, 2F, Palma Hall, UP Diliman. Show times are at 7:00 p.m.for Wednesdays to Fridays; with 10:00 a.m and 3:00 p.m. matinees on Saturdays and Sundays. For further inquiries, please contact Arkel Mendoza, DUP’s Marketing Manager, through 0917-967-3616.

May 6, 2017

This is already the 11th year of the Theater Festival held every summer by the Philippine Stagers Foundation. This is only the first time I had ever attended one of their sessions, held for four consecutive Saturdays each summer. Each Saturday there would be at least six original one-act plays -- two amateur, from their summer workshop participants: two from collegiate theater organizations, and two by members of PSF themselves. This was held in the intimate setting of the PSF home theater along G. Tuazon St. in Sampaloc, Manila.

This is a competition to be judged by a distinguished panel of judges, this year including award-winning writers Atty. Nicholas Pichay and Moira Lang, and actors Patricia Javier and Mike Lloren. Listening to the funny, meaty and instructive commentary of this panel of experts was very eye-opening as they spoke from their own trove of experiences in the world of theater. Their notes and suggestions were indeed very rich lessons in theater craft for the cast and crew, and in theater appreciation for us theater fans.

Trisha and her tutor Daniel in "Puppy Love"

I came in about 4 pm already, but I was still able to catch the two amateur plays about children written by the same playwright Jomar Bautista. The first play "Puppy Love" was about a 10 year old girl Trisha and her crush on her 23 year old tutor Daniel. The topic was not exactly too comfortable to watch for a parent like me. However, the simple premise of seeing puppy love in the child's point of view was quite cute, especially since the spirited young aspiring actress from Cagayan de Oro Chill Paloma Albasin portraying Trisha is really 10 years old. This was directed by Rotsen Etolle.

Francis' poster boy Tony comes to life in "Fan"

The second play "Fan" was about a 10 year old boy Francis who was secretly gay. That night, he had his friend Trisha (played by different actress now) over for a sleepover. I am not sure why Trisha was allowed to sleep in Francis' room if the parents were not aware he was gay. I would not know if this is really how gay boys behave in their bedrooms as they fantasize over a poster of their favorite male singer, but I guess the current over-the-top standards set by Awra (in turn influenced by Vice Ganda) prevailed in this characterization. The huge guy playing Francis' mom attacked his character the same exaggerated way, with hilarious results. This was directed by Gerald Magallanes.

Tara listens to Nathan's woes in "Kolorete"

The next play "Kolorete" was competing in the collegiate category, and was from the Colegio de San Juan de Letran. This play was about a day in the life of a gay make-up artist named Tara who worked in the salon of Madame X. His customers that day include a pressured student who failed in school, a hero cop, a battered wife, an abused child and finally, his own mother. The progression of the play was quite puzzling and long-winded, but when you realize what's going on, you will understand why it went on that way. Adjustments could still be made to improve on what is already a solid story concept.

After a 15 minute break, it was the turn of the plays written by Stagers to be presented. Both were directed by Atty. Vince Tanada himself. According to both writers, they only submitted their final scripts earlier this week and their casts barely had time to get their acts ready. In fact, both of these shows only had their first and only general rehearsal last night. This fact made the actual performances we saw tonight all the more impressive. Also amazing was the fact that the writers were also actors in other plays in this same set.

Rizal (Patrick Libao) hams it up in "Posisyon"

The first Stagers play was "Posisyon" written by Kierwin Larena. It was about an opening for one certain unspecified position where the applicants were various Filipinos throughout Philippine history, including Rizal, Bonifacio, Aguinaldo, Mabini, Juan Luna, Marcelo H. del Pilar, Tandang Sora, Gabriela Silang and Sultan Kudarat. The concept is quite iconoclastic as it pits one hero against another using scandalous bits of information known about them. This resulted in an irreverent yet very entertaining play. The ending was a big question mark for me though. I don't think I understood why it ended that way.

The second Stagers play was "Loob" by Patrick Adrian Libao. There were only two characters -- Mika, a male ballet dancer who was brought up thinking he was female by his mother, a prima ballerina of the Bolshoi Ballet; and Mika, his favorite doll, a silent witness to everything happening in that damaged household. How Libao was able to come up with such a psychologically exhausting script in two days is a miracle of writing talent.

Mika and Mika (Magallanes and Golondrina) in "Loob"

The performance of Gerald Magallanes, the Stagers resident choreographer, as the ballet boy Mika was bold and graceful in the course of his painful self-discovery, literally baring himself body and soul on that stage (and for a significantly long time). His intensity was matched stroke for stroke, step by step by Arian Golondrina, who amazed everyone with her fluid versatility as she seamlessly transitioned from sympathetic doll Mika, to invalid father to dominating mother, even dropping a few lines in Russian. A thunderous standing ovation greeted this mesmerizing play when it ended, all truly deserved!

Benjo (Lim) and Emil (Larena) in "Dilaw o Pula"

As a bonus for this night, Vince Tanada presented one more play not in competition. It was a performance of his own two-hander play, "Dilaw o Pula," starring Kierwin Larena and Chris Lim as two political inmates, the Marcos-loyalist Emil and the Aquino-loyalist Benjo respectively. They were awaiting the announcement if they would be among those pardoned and released by the president that Easter Sunday which was the usual custom. This was one heavy play with both politically, emotionally and visually vexing moments. This play is truly signature Vince Tanada in its script and execution.

It was already 9 pm when that day's activities wound down. Three Saturdays down and one more Saturday to go before this year's PSF Theater Festival concludes its run. Even if I just watched this week, I think I may have already seen the winners for best play and best acting. In any case, win or lose, the intensive exposure of these aspiring theater artists to all aspects of theater production during this festival is an invaluable enough reward.

May 11, 2017

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

The Gawad Buhay Awards for the productions of 2016 were given out last night May 10, 2017 in ceremonies held at the CCP Little Theater, with Jon Santos hosting the show. There was a segment of the show that honored the 50th anniversary of two Philstage members -- PETA and Repertory Philippines -- bringing together on stage two institutions of Philippine theater -- Cecile Guidote-Alvarez and Baby Barredo.

2016 is my second year to have served on the Gawad Buhay jury, an independent panel of critics, scholars, artists and theater enthusiasts who cite, nominate and vote for the winners for the awards. We have voted on the final list of nominees last January 28, 2017, which was a holiday Chinese New Year so most of us jurors were able to attend. Since the final vote was by secret balloting, some of these winners came as a surprise for me when announced last night.

Gawad Buhay Jury Deliberations

Robinsons Magnolia Residences, Tower B Function Room

January 28, 2917

**********

COMPLETE LIST OF 2016 NOMINEES AND WINNERS (in bold) IN ALL CATEGORIES:

OUTSTANDING ORIGINAL SCRIPT
No nomination

OUTSTANDING ORIGINAL LIBRETTO
Mixkaela Villalon and Rody Vera, “3 Stars and a Sun” (Peta) (MY REVIEW)

OUTSTANDING TRANSLATION OR ADAPTATION
Rolando Tinio, “Pangarap sa Isang Gabi ng Gitnang Tag-araw” (Tanghalang Pilipino)
(MY REVIEW)

OUTSTANDING MUSICAL DIRECTION
Myke Salomon, “3 Stars and a Sun” (Peta)
Daniel Bartolome and Onyl Torres, “American Idiot” (9 Works Theatrical)
Gerard Salonga, “Rebel” (Ballet Manila)
Rodel Colmenar, “Annie” (Full House Theater Company)
Jed Balsamo, “Awitin Mo at Isasayaw Ko” (Ballet Philippines)

OUTSTANDING ORIGINAL MUSICAL COMPOSITION
Malek Lopez, “Opera” (Ballet Philippines)

OUTSTANDING CHOREOGRAPHY FOR A DANCE PRODUCTION
Redha, “Opera” (Ballet Philippines)
George Birkadze, “Firebird” from “Firebird and Other Ballets” (Ballet Philippines)
Carlo Pacis, “Weighted Whispers” from “Firebird and Other Ballets” (Ballet Philippines)
James Laforteza, Patrick John Rebullida, Carissa Adea, Paul Alexander Morales and Gia Gequinto, “Awitin Mo at Isasayaw Ko” (Ballet Philippines)

OUTSTANDING CHOREOGRAPHY FOR A PLAY OR MUSICAL
PJ Rebullida, “American Idiot” (9 Works Theatrical) (MY REVIEW)
Rose Borromeo, “Stepping Out” (Repertory Philippines) (MY REVIEW)
Nancy Crowe, “Annie” (Full House Theater Company)
Dexter Santos, “A Little Princess” (Repertory Philippines)
Patrick John Rebullida and Yek Barlongay, “A Christmas Carol” (9 Works Theatrical) (MY REVIEW)

OUTSTANDING COSTUME DESIGN
Gino Gonzales, “3 Stars and a Sun” (Peta)
Mickey Hirai, “American Idiot” (9 Works Theatrical)
Mark Higgins, “Firebird and Other Ballets” (Ballet Philippines)
Gino Gonzales, “Annie” (Full House Theater Company)
Marsha Roddy, “The Tempest Reimagined” (Peta) (MY REVIEW)

OUTSTANDING LIGHTING DESIGN
John Batalla, “Constellations” (Red Turnip Theater)
John Batalla, “Almost, Maine” (Repertory Philippines) (MY REVIEW)
Ian Torqueza, “3 Stars and a Sun” (Peta)
John Batalla, “Opera” (Ballet Philippines)
Tsuguo Izumi, “The Tempest Reimagined” (Peta)

OUTSTANDING SOUND DESIGN
Teresa Barrozo, “Constellations” (Red Turnip Theater)
Teresa Barrozo, “3 Stars and a Sun” (PETA)
Teresa Barrozo, “Tribes” (Red Turnip Theater) (MY REVIEW)
Rards Corpus, “Annie” (Full House Theater Company)
Rards Corpus and Jaime Godinez, “A Christmas Carol” (9 Works Theatrical)

OUTSTANDING SET DESIGN
Coco Anne and Baby Imperial, “Almost, Maine” (Repertory Philippines)
Gino Gonzales, “3 Stars and a Sun” (Peta)
Mio Infante, “American Idiot” (9 Works Theatrical)
Ed Lacson Jr., “Tribes” (Red Turnip Theater)
Marsha Roddy, “The Tempest Reimagined” (Peta)

FEMALE LEAD PERFORMANCE IN A PLAY
Cris Villonco, “Constellations” (Red Turnip Theater) (MY REVIEW)
Natalie Everett, “Almost, Maine” (Repertory Philippines)
Caisa Borromeo, “Almost, Maine” (Repertory Philippines)
Blanche Buhia, “The Wong Kids in the Secret of the Space Chupacabra Go!” (Tanghalang Pilipino)
Liesl Batucan, “Pangarap sa Isang Gabi ng Gitnang Tag-araw” (Tanghalang Pilipino)

MALE LEAD PERFORMANCE IN A PLAY
JC Santos, “Constellations” (Red Turnip Theater)
Reb Atadero, “Almost, Maine” (Repertory Philippines)
Jamie Wilson, “Almost, Maine” (Repertory Philippines)
Kalil Almonte, “Tribes” (Red Turnip Theater)
Aldo Vencilao, “The Wong Kids in the Secret of the Space Chupacabra Go!” (Tanghalang Pilipino)

FEMALE FEATURED PERFORMANCE IN A PLAY
Pinky Amador, “The Game’s Afoot” (Repertory Philippines) (MY REVIEW)
Angela Padilla, “Tribes” (Red Turnip Theater)
Dolly de Leon, “Tribes” (Red Turnip Theater)
Thea Yrastorza, “Tribes” (Red Turnip Theater)
Antonette Go, “Pangarap sa Isang Gabi ng Gitnang Tag-araw” (Tanghalang Pilipino)

MALE FEATURED PERFORMANCE IN A PLAY
Teroy Guzman, “Tribes” (Red Turnip Theater)
Jonathan Tadioan, “Pangarap sa Isang Gabi ng Gitnang Tag-araw” (Tanghalang Pilipino)
Marco Viana, “Pangarap sa Isang Gabi ng Gitnang Tag-araw” (Tanghalang Pilipino)
Bodjie Pascua, “The Tempest Reimagined” (Peta)
Norbs Portales, “The Tempest Reimagined” (Peta)

FEMALE LEAD PERFORMANCE IN A MUSICAL
Angela Padilla, “Stepping Out” (Repertory Philippines)
Krystal Brimner, “Annie” (Full House Theater Company) (MY REVIEW)
Isabeli Elizalde, “Annie” (Full House Theater Company)

MALE LEAD PERFORMANCE IN A MUSICAL
Nicco Manalo, “3 Stars and a Sun” (Peta)
Nel Gomez, “American Idiot” (9 Works Theatrical)
Jef Flores, “Tick, Tick…Boom” (9 Works Theatrical) (MY REVIEW)
Miguel Faustmann, “A Christmas Carol” (9 Works Theatrical)

FEMALE FEATURED PERFORMANCE IN A MUSICAL
Carla Guevara-Laforteza, “3 Stars and a Sun” (Peta)
Joy Virata, “Stepping Out” (Repertory Philippines)
Ela Lisondra, “American Idiot” (9 Works Theatrical)
Menchu Lauchengco-Yulo, “Annie” (Full House Theater Company)
Tanya Manalang, “Tick, Tick…Boom” (9 Works Theatrical)

MALE FEATURED PERFORMANCE IN A MUSICAL
Nar Cabico, “3 Stars and a Sun” (Peta)
Bodjie Pascua, “3 Stars and a Sun” (Peta)
Ariel Reonal, “Tick, Tick…Boom” (9 Works Theatrical)
Jef Flores, “Awitin Mo at Isasayaw Ko” (Ballet Philippines)
Sandino Martin, “Awitin Mo at Isasayaw Ko” (Ballet Philippines)

FEMALE LEAD PERFORMANCE IN MODERN DANCE
Rita Winder, “Awitin Mo at Isasayaw Ko” (Ballet Philippines) (MY REVIEW)

MALE LEAD PERFORMANCE IN MODERN DANCE
JM Cordero, “Simoun” (Ballet Philippines)
JM Cordero, “Awitin Mo at Isasayaw Ko” (Ballet Philippines)
Garry Corpuz, “Awitin Mo at Isasayaw Ko” (Ballet Philippines)

FEMALE FEATURED PERFORMANCE IN MODERN DANCE
Denise Parungao, “Opera” (Ballet Philippines)
Gia Gequinto, “Simoun” (Ballet Philippines)
Denise Parungao, “Simoun” (Ballet Philippines)
Rita Winder, “Simoun” (Ballet Philippines)
Edna Vida, “Awitin Mo at Isasayaw Ko” (Ballet Philippines)

MALE FEATURED PERFORMANCE IN MODERN DANCE
Erl Sorilla, “Simoun” (Ballet Philippines)
Nonoy Froilan, “Awitin Mo at Isasayaw Ko” (Ballet Philippines)

FEMALE LEAD PERFORMANCE IN CLASSICAL DANCE
Rita Winder, “Firebird” from “Firebird and Other Ballets” (Ballet Philippines)
Irene Kim Abrojena, “The Great Classics” (Philippine Ballet Theatre)
Regina Magbitang, “The Great Classics” (Philippine Ballet Theatre)
Dawna Mangahas, “Cinderella” (Ballet Manila)
Abigail Oliveiro “The Swan, The Fairy, and the Princess” (Ballet Manila)

MALE LEAD PERFORMANCE IN CLASSICAL DANCE
Garry Corpuz, “Firebird” from “Firebird and Other Ballets” (Ballet Philippines)
Jimmy Lumba, “The Great Classics” (Philippine Ballet Theater)
Rudy de Dios, “Cinderella” (Ballet Manila)

FEMALE FEATURED PERFORMANCE IN CLASSICAL DANCE
Monica Gana, “Firebird” from “Firebird and Other Ballets” (Ballet Philippines)
Denise Parungao, “Firebird” from “Firebird and Other Ballets” (Ballet Philippines)
Tiffany Chan, “Cinderella” (Ballet Manila)
Violet Hong, “Cinderella” (Ballet Manila)

MALE FEATURED PERFORMANCE IN CLASSICAL DANCE
Cyril Fallar, “Firebird” from “Firebird and Other Ballets” (Ballet Philippines)
Victor Maguad, “Firebird” from “Firebird and Other Ballets” (Ballet Philippines)

OUTSTANDING MODERN DANCE PRODUCTION
“Weighted Whispers” from “Firebird and Other Ballets” (Ballet Philippines)
“Simoun” (Ballet Philippines)
“Awitin Mo at Isasayaw Ko” (Ballet Philippines)

OUTSTANDING CLASSICAL DANCE PRODUCTION
“Firebird” from “Firebird and Other Ballets” (Ballet Philippines)

OUTSTANDING STAGE DIRECTION FOR A PLAY
Rem Zamora, “Constellations” (Red Turnip Theater)
Bart Guingona, “Almost, Maine” (Repertory Philippines)
Topper Fabregas, “Tribes” (Red Turnip Theater)
Ralph Peña, “The Wong Kids in the Secret of the Space Chupacabra Go!” (Tanghalang Pilipino)

OUTSTANDING STAGE DIRECTION FOR A MUSICAL
Nor Domingo, “3 Stars and a Sun” (Peta)
Robbie Guevara, “American Idiot” (9 Works Theatrical)
Michael Williams, “Annie” (Full House Theater Company)
Robbie Guevara, “Tick, Tick…Boom” (9 Works Theatrical)

OUTSTANDING ENSEMBLE PERFORMANCE FOR A PLAY
“Almost, Maine” (Repertory Philippines)
“Tribes” (Red Turnip Theater)
“The Wong Kids in the Secret of the Space Chupacabra Go!” (Tanghalang Pilipino)
“The Tempest Reimagined” (Peta)

OUTSTANDING ENSEMBLE PERFORMANCE FOR A MUSICAL
“3 Stars and a Sun” (Peta)
“American Idiot” (9 Works Theatrical)
“Annie” (Full House Theater Company)
“Tick, Tick…Boom” (9 Works Theatrical)

OUTSTANDING ENSEMBLE PERFORMANCE FOR MODERN DANCE
“Weighted Whispers” from “Firebird and Other Ballets” (Ballet Philippines)
“Awitin Mo at Isasayaw Ko” (Ballet Philippines)

OUTSTANDING ENSEMBLE PERFORMANCE FOR CLASSICAL DANCE
No nomination

OUTSTANDING PRODUCTION OF EXISTING MATERIAL FOR A PLAY
“Constellations” (Red Turnip Theater)
“Almost, Maine” (Repertory Philippines)
“Tribes” (Red Turnip Theater)
“The Wong Kids in the Secret of the Space Chupacabra Go!” (Tanghalang Pilipino)

OUTSTANDING PRODUCTION OF EXISTING MATERIAL FOR A MUSICAL
“American Idiot” (9 Works Theatrical)
“Annie” (Full House Theater Company)
“Tick, Tick…Boom” (9 Works Theatrical)

OUTSTANDING PLAY -- ORIGINAL OR TRANSLATION/ADAPTATION
No nomination

OUTSTANDING MUSICAL -- ORIGINAL OR TRANSLATION/ADAPTATION
“3 Stars and a Sun” (Peta)

NATATANGING GAWAD BUHAY
Joy Virata (Repertory Philippines)
Soxie Topacio (Peta)

June 11, 2017

Tonight, Repertory Philippines (REP) staged a musical gala show in celebration of their 50th anniversary of existence. I had been a long time fan and supporter of REP since their days at the William J. Shaw Theater at the Shangri-La Mall in the 1990s. More recently, I watched and reviewed almost all their shows in the last five years at least when they were already playing in Onstage in Greenbelt 1 Makati.

I had a personal close encounter with REP a few years back when our department availed of a Rep Showstoppers package to celebrate World Voice Day back maybe 10 years ago. I got to sing a duet of "Lily's Eyes" (from "The Secret Garden") with then Rep actor, now Red Turnip pioneer Rem Zamora. Because of this, I also actually had a chance to sing in front of Ms. Baby Barredo herself! The other Rep members I met and interacted with that time were Karla Gutierrez, Cathy Asanza, Felix Rivera, Jack Salud, JM Rodriguez, Liesl Batucan and Menchu Lauchengco-Yulo.

I knew I had to be there to witness this historic event so I promptly purchased a couple of tickets for me and my wife to ensure that we will be there at the Theater at Solaire for this occasion. Last month, I tried my luck on an online promo by Theater Fans of Manila who asked to post four three favorite Rep shows on FB. Luckily, I was one of the winners, so I was able to bring a couple of our kids with us to watch this special show. The FB post that won me those two tickets was the following:

The three the most memorable Rep shows that I had seen were:
1. Les Miserables (1993) - It was the grandest local production of a Broadway hit show that I had ever seen, with an amazing all-Filipino cast (including Cocoy Laurel and Menchu Lauchengco) That majestic revolving barricade scene was unforgettable.
2. Portrait of the Artist as Filipino (2009) - Old pre-war Manila charmingly came alive on stage in this nostalgic piece by Nick Joaquin about the Marasigan sisters (played by Ana Abad Santos and Liesl Batucan).
3. The Producers (2013) - Perfectly encapsulated Rep's impeccable mastery of the musical comedy genre. This was a hilariously outrageous show featuring the triple threat talents of Topper Fabregas and Audie L Gemora.

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

The concert began promptly at 8 pm with a welcome speech by REP President and CEO, Mindy Barredo-Perez Rubio. She proudly shared that this show is the 444th production ever staged by REP. She confessed that she was disappointed when REP only won one award during the last Gawad Buhay awards last May. However, her sister Baby Barredo and Joy Virata quickly cheered her up by making her realize that all the other winners were actually from Rep, and they were right.

The show began with a Prologue, dubbed "50 Years of Telling Stories" directed by Jaime del Mundo and choreographed by Dexter Santos. With the song "Why We Tell the Story" (from "Once on this Island") behind them, Rep veterans Joy Virata, Noel Trinidad, EJ Villacorta, Enchang Kaimo and Celia Diaz Laurel tell the audience about the mission of Repetory Philippines to tell stories via stage performance.

REP pioneers Leo Martinez and Baby Barredo

Suite 1 was entitled "The Dreamers," directed by Miguel Faustmann. Of the five founders of REP, Baby Barredo and Leo Martinez took the stage last night to recount their early stories. They, and other Rep veterans like Jorge Ortoll and Anton Juan, took us back to the very beginning in 1967 when REP staged a production of Strinberg's "Miss Julie" in Filipino in front of an audience of seven, with cast and crew unpaid. Songs sung during this segment were "The Impossible Dream" (sung by Audie Gemora and Michael Williams), and a grand production number of "Tradition" (from Bibot Amador's favorite musical, "Fiddler on the Roof").

Suite 2 was entitled "The Tellers," directed by Audie Gemora. This was about the actors, how they should not only be able to act, but also sing and dance, or a least act like they know how to sing and dance. Several song and dance numbers were featured here, like "I Hope I Get It" (from "A Chorus Line"), "America" (from "West Side Story"), "Camp Rock" (with Morissette and Markki Stroem) and an elegant ballet pas de deux to the tune of "If I Loved You" (from "Carousel"). This concluded with a catchy jazzy production number "One" (also from "A Chorus Line"). (CLICK TO WATCH VIDEO)

"Magic to Do" with Menchu Lauchengo-Yulo and the ensemble

After a 15-minute intermission, Suite 3 began, entitled "The Artisans: The Creatives" directed by Raymond Lauchengco. Ms. Menchu Lauchengco-Yulo paid tribute to all the Lighting Designers, Costume Designers and Set Designers who have worked with Rep, and their invaluable contributions in making the magic come alive on stage with their artistry. Ms. Menchu then led the ensemble in singing the song that permeated through this whole segment of the show -- "Magic to Do" (from "Pippin"). (CLICK TO WATCH VIDEO)

Suite 4 was entitled "The Hands: The Unsung Heroes", directed, written and directed by Freddie Santos. This part paid tribute to the unseen stage manager and the rest of backstage crew, the original men in black. Pinky Amador and Jeremy Domingo led a team to act out what happens backstage during a stage production. There was a recurrent joke about an annoying sound while the show was going on. Later, Santos confessed that he was once guilty of ripping paper for confetti for a show and it was heard throughout the auditorium. The segment ended with Mitch Valdez singing and dancing "Comedy Tonight" (from "A Funny Thing Happened on the Way to the Forum") with four guys.

"Comedy Tonight" with Mitch Valdez and her escorts

Suite 5 was entitled "The Interpreters: The Directors" directed by Michael Williams. This segment was narrated by Bart Guingona, swathed in a sea of rays of golden light. The tribute to the past and present directors of REP was punctuated by a moving rendition of "Finishing the Hat" (from "Sunday in the Park with George") sung by Guingona, with snippets of other dramatic songs sung in counterpoint by six ladies all wearing elegant gowns in bright primary colors. Carla Guevara Laforteza (in yellow) and Caisa Borromeo (in red) sang "I Wanna Make Magic" (from "Fame"), Cathy Azanza-Dy (in periwinkle) and Sheila Francisco (in teal) sang "I Can See It" (from "Fantastiks"), while Pinky Amador (in fuchsia) and Morissette Amon (in green) sang "This Is The Moment" (from "Jekyll & Hyde")..

This was followed by an "In Memoriam" segment introduced by Topper Fabregas, and accompanied by a haunting duet entitled "Some Things are Meant to Be"(from "Little Women") sung beautifully by Liesl Batucan and Becca Coates. The tribute list began with Ms. Zeneida "Bibot" Amador, followed by personalities both on and behind the stage. It ended with the recent departures of beloved Rep messenger Danilo Mirasol and singer/actor Eugene Villaluz. (CLICK TO PLAY VIDEO)

Joy Virata and the colorful RTYA gang of characters

Suite 6 was entitled "Storytelling Realized" about the Repertory Theater for Young Audiences, directed by Menchu Lauchengco-Yulo. This segment was lovingly narrated by none other than the indefatigable founder, heart and soul of RTYA, Ms. Joy Virata. She then led an animated ensemble dressed in colorful costumes from past RTYA shows for the song "Oh, the Thinks You Can Think!" (from "Seussical").

The seventh and final suite was entitled "REP Rising". This segment began with a stirring solo number by long-missed Rep favorite Monique Wilson, singing "The Story Goes On" (from "Baby"). Young Jillian Ita-as joined Ms. Wilson in the second verse to bring the song on a high note. (CLICK TO WATCH VIDEO).

Then all the performers from the whole show gathered on centerstage to render the ever-show-stopping "One Day More" (from "Les Miserables"). It was great to see the original cast led by Cocoy Laurel, Gemora, Wilson, Williams, Zamora, Faustmann and Virata sing the first verses, then symbolically giving way to a newer generation of performers including Joaquin Valdez, Red Nuestro, Becca Coates, Caisa Borromeo, and Myke Salomon. The audience was up on their feet with a deservedly long and rousing ovation to congratulate cast and crew for a show well done. (CLICK TO WATCH VIDEO)

The whole evening concluded with a rendition of the new REP Anthem "Come Home to Rep" written by EJ Yatco. This song was sung by all the directors of the show Santos, del Mundo, Faustmann, Gemora, the Lauchengco siblings and Williams. I was very happy to have seen Repertory Philippines bask in their golden glory tonight. Kudos to overall stage director Guingona, head writer Luna Grino Inocian, musical director Yatco, all the segment directors and stage manager, the entire cast of talents and crew. I look forward to seeing them tell more stories in the years to come.

June 16, 2017

During the late 1990s, a couple of girl Mouseketeers from the Mickey Mouse Club graduated into full-fledged pop stars. One was more known for her strong voice -- Christina Aguilera. We have seen Christina live in concert in Manila before and were indeed bowled over with her amazing vocal range. The other one is more known for her controversial image -- Britney Spears. She had never been to Manila ever, until this year. Therefore, this "Piece of Me" concert tour of hers (her Las Vegas residency concert) at the MOA Arena was all sold out within the first day of ticket sales.

When I bought our tickets in the second week, the Gen Ad seats were almost sold out except for sections 504 and 515. I bought them even though I was told that this was already beside the stage. When we went to the MOA Arena, it turns out both 515 and 516 on one side (and 504 and 505 across it) were really not good because the view of the stage was significantly obstructed by the lights and sound systems. We also could not see the LED backdrop properly, nor the big screens beside the stage. Next time, if there was a choice, I would probably pass on watching a show in those sections, unless of course, I desperately want to see the artist.

Our terrible view of the stage

Should they really sell these seats at regular price?

The concert began very energetically, with the song "Work Bitch" (#12, 2013) in which Britney Spears (in her big blond shaggy hairdo and gold and glittery costume) and her dancers set the pace for the rest of the show. This was followed by one of her Number 1 songs "Womanizer" (#1, 2008) then quickly followed by "Piece of Me" (#18, 2007, the title song of the tour in which she famously mentioned the Philippines in the lyrics.)

The next segment began with the dancers wearing black capes and waving them like wings, with the backdrop of bats flying. Then Britney appeared in red, unexpectedly singing her very first Number 1 song, "...Baby One More Time" (#1, 1998)! She then followed this with another one of her early hits "Ooops! I Did It Again" (#9, 2000). Actually, for me, these were the songs I most wanted to hear, so I was already very happy even at that point. (CLICK TO WATCH VIDEO)

Britney in fit fine form!

The rest of the concert would be a blurred series of a fit and sexy Britney dancing with her fit and sexy dancers -- "Gimme More"(#3, 2007), "Scream & Shout"(#3, 2012, with will.i.am on the big screen), "Boys", "Do Somethin'" (with some neat choreography with chairs), "Circus" (#3, 2008, with circus props of course), "Touch of My Hand" (danced up front the catwalk with two male dancers, CLICK TO WATCH VIDEO), the controversially titled "If You Seek Amy" (#19, 2009), and other breathy, writhy songs that only Britney can deliver. (CLICK TO WATCH VIDEO)

For "I'm a Slave 4 U" (#27, 2001), she had a pole onstage, but she just walked and sashayed around it, and did not really get up on it. (CLICK TO WATCH VIDEO) For "Freakshow", they got someone from the audience to be walked on all fours by Britney, but they picked some Caucasian guy from Hawaii for this part, not a Filipino guy. She displayed some of her hiphop moves to some Missy Elliot hits like "Work It" and "Get Ur Freak On."

Throughout all of this strenuous dancing, I don't remember hearing Britney gasping for breath when she "sang". I guess it is most probably true that she was lip-syncing her songs. However that did not really matter that much to her hardcore fans because her dance showmanship was absolutely riveting. Anyhow, we did hear her real voice. When she greeted the audience once in a while, her voice was unexpectedly shrill and high-pitched.

Britney and her circus props

In the final suite, Britney began to sing a slowed down version of "Toxic" (#9, 2004) to the excitement of the crowd, which eventually sped up to the upbeat version we were all familiar with. This was followed by "Stronger" (#11, 2000) then "(You Drive Me) Crazy" (#10, 1999), a sequence which got everyone up on their feet. (CLICK TO WATCH VIDEO) She acknowledged her dancers and her band, took her bows and left the stage to loud clamors of an encore.

Of course, she came back out again to the engage the crowd one last time with "Till the World Ends" (#3, 2011, CLICK TO WATCH VIDEO). After she danced through the confetti and said her goodbyes, the house lights were turned on and the concert was over. Because of our terrible seats, we could not fully enjoy the show as we would have in better located seats. The sound quality in our area was also not good. There were some songs I was waiting for, but did not hear, like "Sometimes,""Everytime" and "Lucky" (which a group of fans sang in the lobby after the show, probably in disappointment).

June 18, 2017

Just last February, Artist Playground presented a 40-minute one-act play by James Chalmers entitled "Prelude to Macbeth." This play laid out the possible scenario that occurred before the events of William Shakespeare's classic play "Macbeth." Since I was already familiar with "Macbeth," I was thoroughly entertained with the imaginative story about how one poor but ambitious girl Lorna Stewart manipulated her way (upon the prescient prodding of three witches) into the ruling royal house of Scotland, eventually winding up as the Lady Macbeth we all know and hate. (MY FULL REVIEW HERE)

At the end of that show, director Roeder Camanag excitedly told us that he was cooking up a bigger project tentatively middle of this year to merge "Prelude to Macbeth" back-to-back with an abridged version of "Macbeth" itself. That formidable project now comes to fruition even ahead of his initial plan of a July schedule. This is the longest Artist Playground production ever, running at 2 hours and 10 minutes, with a 10 minute intermission.

The new Artist Playground II

(photo from their FB page)

In addition, Artist Playground had collaborated with St. Vincent's School to form Arts Above with a vision to establish a School for the Arts. As an offshoot of this collaboration, a new Artist Playground II is located in the penthouse of the BIR Building along West Avenue in Quezon City (right across St. Vincent's School) to provide a much bigger staging venue for this bigger project. The auditorium and its spacious anteroom / cafe is remarkable because of its elegant narra paneling on its ceiling, walls and floor which had been obtained and reassembled from an actual old ancestral house.

Act I "Prelude to Macbeth" played like how I remembered it from five months ago, with basically the same cast I saw back then. I liked it all over again. However, with the transfer to a much bigger room than its original venue in Little Room Upstairs came some noticeable challenges when it comes to voice projection. This was most notable in the case of the charming actress playing Lorna Stewart herself, Jernice Matunan. She had the vixen-like character of this central role down pat, however, there were some lines she delivered which could not be heard where we were seated.

In the Little Room Upstairs before, every little unsettling wheeze of the Witches could be heard, but here in the bigger room, they were softer and less ominous-sounding. By the end of Act II, actors were noted to hoarse in trying to project their voice louder without a lapel mic, sometimes competing with the loud musical score. To his credit, Andre Tiangco, who played King Duncan (as well as the Doctor in Act II), enunciated his lines clearly and projected his voice effortlessly and effectively.

Paule and Matunan

as Macbeth and pre-Lady Lorna Stewart

After the intermission is Act II, "Macbeth" itself, condensed into a supposedly more practical and digestible one hour and a half with no break. You can immediately feel the difference in the language used. Even if "Prelude to Macbeth" was in "heightened English," it was still far more accessible and understandable than the original Bard's English when it came to those complex verses the characters were saying. As the actors were all more used to doing Filipino plays, they were more obviously having difficulty with Shakespeare's tongue-twisting lines of Act II than Act I. As this only the first weekend, surely this will improve further as the run progresses.

A person who did not know anything about Macbeth would probably get lost within Act II. There were simply too many events going on, too many things being said and too many characters to distinguish from each other. I do not know if I just did not hear certain important story details or they were lost in the abridgment process.

For one thing, I don't recall it being explained why was it Macbeth became the King upon Duncan's death. I know that this was foretold by the witches, but what happened to Prince Malcolm, the king's son? This part was not clear. Also, was it explained why Macduff was able to kill Macbeth even as the witches advised that Macbeth no one "born of a woman" could harm him? Of course I know the explanation, but I did not hear it during the cacophonous din of the final fight scene that drowned out the dialogue.

Paule and Kanapi

as Macbeth and his Lady

Another confusing aspect in Act II was the casting of the wonderfully quirky Mailes Kanapi as Lady Macbeth. Ordinarily, this casting choice would be genius, and indeed Ms. Kanapi came up with an outstandingly subtle performance. That sleepwalking scene of hers is faultless! However, side by side with a Macbeth played by still young-looking Paul Jake Paule, with only facial fair painted on to make him look older, there is a very obvious age discrepancy. This was made more puzzling since this Act II followed an Act I where Lorna was played by a very young Ms. Matunan. Not to discredit Mr. Paule's efforts, but maybe Ms. Kanapi should have been paired with a more senior actor as Macbeth. Or Mr. Paule with a younger Lady Macbeth.

For those who know Macbeth by heart though, the staging of Act II was very imaginatively staged by director Roeder Camanag despite logistical limitations. The audience is haunted with genuinely creepy "ghost" scenes happening on and around the main stage. The omnipresent witches were a continuation of how these characters were developed in Act I Prelude and three actresses playing them (Tasha Guerrero, Princess Tucson and Jeremy Cabansag) all deserve commendation. The climactic sword fight between Macbeth and Macduff (debonair tenor Al Gatmaitan) was very energized and exhilarating as staged. Kudos to choreographer Myra Beltran for the dynamism of these scenes which kept the audience up and interested throughout despite the challenging text.

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"M Episode" will run at Artist Playground II Arts Above located at the 4th floor of the West Venue Bldg. (a green and white building housing the BIR Office beside Mc Donald's, with the St. Vincent's School across the street), 112 West Avenue, Quezon City.

Show dates are: June 16 , 23, 30 & July 1 - 7 pm; June 17, 18, 24, 25 & July 1 - 3 pm. Tickets are at P500 each, with discounts for students, available on Ticketworld or on site. For more information, visit Artist Playground’s website at https://www.artistplayground.ph/ or contact 09759193179.

June 23, 2017

Cirque du Soleil is an artistic organization based in Quebec staging grand shows of acrobatic excellence to countries all over the world since its inception in 1984. The first Cirque show ever staged in Manila was back in June 2011 with "Varekai" which was held in a special tent set-up in Rizal Park. After that, the next Cirque show was "Saltimbanco" in August 2012, which was held in the then brand new SM Mall of Asia Arena.

This year, Cirque du Soleil once again returns to the MOA Arena with their latest successful touring show called "Toruk - the First Flight" which was inspired by one of the biggest box-office hit movies of all time, "Avatar" by James Cameron. Cirque developed this show (their 37th production) in 2015, and it has been touring the USA and the world ever since. This Manila run from June 23 to July 2 is the Asian premiere of this show.

Frenetic Trampoline Stunts

"Toruk" is set in the planet of Pandora, inhabited by the blue, tailed beings called the Na'vi. It tells the tale of two Na'vi boys Ralu and Entu, brothers in heart, who bravely go on a dangerous quest all over the planet to gather five essential talismans needed to tame and ride the much-feared giant flying dragon called the Toruk, a creature which can save the planet Pandora from being totally destroyed by an impending cataclysmic disaster.

In the MOA Arena, the whole orchestra section had been covered in black, with twinkling lights playing like fireflies. The audience area bathed in blue light. By the start of the show, this huge black covering will be peeled off to reveal the more vibrant world underneath. This is one of those shows where the higher rows of seats on either right and left sides may have a better panoramic bird's eye view of the whole performance area. Where we were seated in the front rows of the center section, there were obstructed views to certain scenes.

Illusion of a Flowing River

Act I boasts of spectacular acrobatic numbers involving trampolines, ropes, and hammocks of cloth on which the performers would execute stunts of remarkable strength and agility. There are inventively executed full-sized animal puppets, gardens of vividly colorful plants, various land forms (like cliffs and volcanoes) and water forms (like waterfalls and rivers) underneath, thanks to the realistic illusion of lights and graphic projections.

My most favorite sequence of all is the most elegant performance atop a skeleton of a massive beast where the acrobats did their breathtaking stunts with utmost grace and balance. This whole segment about the third talisman (right before the 20 minute intermission) was a beautiful non-stop series of one photogenic scene after the other. I was in complete awe while watching this incredibly riveting number.

Balancing on a Rotating "Skeleton"

Act 2 began with some thunder rumbling, with the lightning flashes coming from the cellphones of people in the audience who had downloaded the Toruk interactive app. Compared to Act 1, Act 2 seemed to have less spectacular stunts, with climbing poles, throwing boomerangs, flying kites, crossing a net bridge. The main highlight of Act 2 of course is the actual grand appearance of titular Toruk itself in all its bright orange glory. How they gave the giant dragon-like creature Toruk the illusion of flight was very imaginative, especially as it even had one Na'vi boy riding on it.

Because of the strange Na'vi names and the unintelligible invented language the characters spoke, you'd have to rely on the English narration to fully understand the flow of the story. Some may feel that the slow pace of story development, along with the unfamiliar instrumental musical score and ethereal songs (by the Shaman character), may lull them at times. But not to worry about falling asleep though, as there is a new death-defying stunt would immediately snap you back to attention at every turn.

Lead Characters Pose in the Lobby

This is the very first Cirque du Soleil show I had ever watched live. I can see why these shows are very popular. The art design of the whole spread of the stage is a lavish visual feast. You could hardly keep your eyes on one thing as there were so many interesting things happening at the same time at different sections of the expansive performance area. There is enough hyper and psychedelic multi-sensory stimulation here to keep everyone, young and old, fascinated, happy and entertained.

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"TORUK: The First Flight" runs from June 23 to July 2, 2017 at the MOA Arena. Only 10 shows: Fridays at 8pm, Saturdays 4pm and 8pm, Sundays 1pm and 5pm. For tickets, call SM Ticketnet 4702222. Ticket prices: P7368, P5990 for lower box, P4770 for Gen Ad, P3498 and P1500 for seats with obstructed view.

June 30, 2017

This is the fourth year in a row that I am catching some of the fresh one-act plays chosen for this year's 13th edition of the Virgin Labfest at the CCP. This year, 192 scripts were submitted and the top 12 were chosen to be staged. Because of my work schedule, I had never been able to catch all 12, but I am hoping I could finally do so this year. VLF XIII opened yesterday with Set A. Today, I attended the premiere staging of the Set B plays. This year, the plays are being shown in the stage area of the CCP Little Theater Aurelio Tolentino, converted into an intimate venue. The previous venue in Huseng Batute was reserved for the Revisited Set E performances.

1. BOSES NG MASA
Written by: Joshua Lim So
Directed by: Guelan Luarca

It is 2004. Ricardo Corrado (Jonel Mojica, on video) is running for Senate against his long time rival, Mayor Pugon, and is losing ground. Chris (Jerome Dawis), a junior member of RC's publicity team, gets his hands on a CD of a video showing Pugon's son and his friends sexually assaulting a poor girl. His senior partner Hector (Renan Bustamante) sees no problem with leaking the sex video on the internet for the benefit of their candidate. However, Chris, who had taken time to find out more about the victim, argues against it.

The sticky ethical dilemma is thoroughly discussed in and out. With a lengthy exchange about taxi drivers, they tell us that the first impression makes the most lasting impression. With a video about the Kennedy vs. Nixon TV debate, they tell us the image can make you win elections. But should a desperate election campaign employ tactics that would further ruin the already damaged life of an innocent victim and her family?

Renan Bustamante, whom I had seen last year in Guelan Luarca's "Bait," is really one intimidating actor with his narrow piercing look and authoritative delivery of lines. Jerome Dawis shone in that part where he pleaded the case against the release of the video by talking about his meeting with the victim's family, his internal struggle clearly evident. Seeing video monitors around the room, one question hung from the beginning, will they show ever us the contentious video, or not? You will have to stick to the end of the play to find out.

2. ANG MGA PUYONG
Written by: Ryan Machado
Directed by: Ricardo Magno

Setting is a remote town in Romblon, where two boys in their early teens were guarding rice grains being dried under the sun from being eaten up by birds. Andoy is an effeminate boy who loved listening to romantic radio dramas and writing down stories in a notebook. His best friend Pido is a more regular guy-next-door type of teenager. One day, Pido was trying to convince his cowardly friend to go with him so they could both get circumcised already. In the course of their conversation though, they reopen festering issues that had put a deep-seated strain in their friendship.

This started as a very charming slice of rural life, with the two boys talking exhaustively about all the folk beliefs about circumcision with frank anatomic terminology. "Puyong" in the title meant "uncircumcised" as far as I can surmise. Like Dominique La Victoria's "Ang Bata sa Drum" last year (Set E Revisited this year), the language used here was Visayan, but there was enough Tagalog in there for us to fully get into the drift. The conversations later unexpectedly turn into topics of a much darker nature about sexual predators preying on the innocence of children.

The playwright Machado skillfully revealed the delicate sickening topics in a subtle roundabout way. We were kept wondering what really happened as the conversations tended to shift focus from one subject to another, as we can note in real life banter of normal kids. All the various threads do fall into place by the play's end.

I was surprised to learn after the show that Reynald Santos, the baby-faced actor playing Andoy is already 19-year old. He certainly convinced me that he was only 14! Ahmed Maulana, who played the more mature Pido, was in reality even younger, at only 17 years old. Despite their young ages and probably limited theater experience, the two boys were impressively able to carry this heavy play, with all its complexities that run the whole range of emotions from glee to rage, on their young shoulders.

3. HINDI AKO SI DARNA
Written by: U.Z. Eliserio and Maynard Manansala
Directed by: Andoy Ranay

The iconic Pinay superheroine Darna is now in her sixties and past her prime physically. One day, while she was in a restaurant, she had various encounters with various people. The perky waitress was a huge fan and wanted to be her apprentice. A grey-haired but buff 60-year old Kapitan Barbell comes to propose marriage. An drug pusher, shot by a couple of vigilantes riding motorcycle, asks for her help. Darna's old nemesis, Valentina, drops by for a nostalgic chat and of course, a fight.

It had a rough start for me, with seemingly pointless conversations between the old Darna (Tetchie Agbayani) and her waitress (Kim Molina) about her missing "bato". Things picked up slightly when the narcissistic Kapitan Barbell (Jay Gonzaga) showed off his abs and quoted a senator's "na-ano" line.

However the true big laughs only came when Ricci Chan came in playing the petulant younger brother, Ding. Ekis Jimenez, really looking like a drug addict here, was able to keep up the momentum of laughs despite the seemingly off-tangent nature of his segment. Count on John Lapus to really bring the house down with his flamboyance as Valentina. In fact, it was only in this very well-written part, that Ms. Agbayani really got to show off her comic chops, even putting in a reference to her 1982 Playboy centerfold.

This play had the most visible and audible audience impact because of its loud, colorful, and well-loved cast of characters. The smooth flow of this play is limited by its episodic nature, with new characters coming in and out randomly, with tenuous transitions. Being the very first public performance of this play, Ms. Agbayani looked very nervous and tentative, especially with that white nightgown she was made to wear even when the scene was in a restaurant! With all the audience love she got after this show, I am very sure Ms. Agbayani will give more confident performances in the next two weeks of this run.

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The other performances of SET B are on July 2, 8 and 13 at 3 pm, and on July 7, 12 and 16 at 8 pm. Tickets to the Virgin Labfest are at P400 each.

June 30, 2017

Sister Act is a musical based on the hit 1992 film of the same name, with music by Alan Menken, lyrics by Glenn Slater, and book by Bill and Cheri Steinkellner. It was first staged in Pasadena, California in 2006, before its original West End production opened on June 2, 2009 produced by star Whoopi Goldberg herself. The show has since been staged in Broadway and other cities, and is now making its debut here in Manila.

The plot of the musical is almost exactly like the film, so there are no surprises when you have already seen the movie. Frustrated show girl Deloris van Cartier (Dene Hill) witnessed her gangster boyfriend Curtis Shank (Brandon Godfrey) shoot someone dead. So, with the help of her old friend now cop Eddie (Will T. Travis), Deloris was brought to the Holy Angels Church to seek refuge disguised as a nun.

Mother Superior (Rebecca Mason-Wygall) reluctantly obeyed the instructions of Monsignor Howard (Kevin D. O'Neill). She introduced Deloris to the other nuns as Sister Mary Clarence, and assigns her to help improve their terrible-sounding choir. Of course, Deloris infected all the sisters, including the dour Sr. Mary Lazarus (Nancy Evans), the vivacious Sr. Mary Patrick (Emma Brock) and the painfully shy postulant Sr. Mary Robert (Sophie Kim), with all her showtime pizzazz to make the choir a big hit, attracting the congregation back into the church.

The singing is very good from all the cast, with with their amazingly strong voices. Dene Hill has a good singing voice, but she does not exactly have the strong presence of Ms. Goldberg, really big shoes for her to fill. Rebecca Mason-Wygall has excellent comic timing, and all her hilarious one-liner zingers all hit their mark. She also has a solid singing voice. I love her Mother Superior as I loved Maggie Smith in the movie. Nancy Kim had the innocent charm that made Wendy Makkena a darling in the movie as Sr. Mary Robert. But unlike the movie actress whose singing voice was dubbed, Kim's powerful voice was all hers.

The story and the stars are not the main reason we are watching this show though, it is the songs we are expecting. Unfortunately, we do not hear any of the well-loved songs from the movie that we were waiting to hear. It turns out that this show had all original songs. So do not expect to hear "Hail Holy Queen,""My God" or "I Will Follow Him," they're not in here, folks. It is better that you know this essential fact before going to watch, lest you have deflated expectations. That said, the original songs can be quite catchy, especially the choir songs like "Take Me to Heaven,""Spread the Love Around" and "Raise Your Voice". The solo songs are not too remarkable, but the performers try their best to liven them up.

Forgive my conservative nature, but I thought they took a lot of irreverent potshots at the Catholic Church here, all in the name of fun, mind you. The movie felt more careful in this aspect than this live musical version. I guess they really have to heighten the visual appeal of the stage production, hence we see the sisters wearing shiny colorful decorations on their habits, the altar boys doing wild dance moves or the statue of St. Mary adorned with silvery ribbons. Admittedly though, the grand finale number with all the glittery costumes was very cute and gloriously triumphant. This is a really feel-good show, and a smile is definitely guaranteed to be on your face as you leave the theater.

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"Sister Act" runs at the Theater at Solaire from June 27 to July 9, 2017. Remaining show schedules are: Fri Jun 30 2017 - 8:00 PM, Sat Jul 1 2017 - 2:00 PM and 8:00 PM, Sun Jul 2 2017 - 2:00 PM and 8:00 PM, Thu Jul 6 2017 - 8:00 PM, Fri Jul 7 2017 - 8:00 PM, Sat Jul 8 2017 - 2:00 PM and 8:00 PM, Sun Jul 9 2017 - 2:00 PM and 8:00 PM.

Tickets prices: ₱6,883.50 (VIP), ₱5,824.50 (A Reserve), ₱4,765.50 (B Reserve), ₱3,706.50 (C Reserve) and ₱1,588.50 (D Reserve) at Ticketworld.

July 5, 2017

The three one-act plays in Set C of this year's Virgin Labfest XIII all involve characters looking inside one's self while facing questions of integrity.

1. SI DR. DOLLY DALISAY AT ANG MGA LADYBUGS
Written by: Layeta Bucoy
Directed by: Jonathan Tadioan

Dr. Dolly Dalisay has a PhD in Entomology and has been researching about the agricultural value of ladybugs since her college days. She is on the verge of a big breakthrough discovery about the use of modified ladybugs in the control of the deadly tungro virus killing rice crops. Before she can get on with her project within the limited schedule set by her sponsor, she needs the approval of a contractual technician as soon as possible.

Unfortunately for Dolly, the contractual technician whose signature she needed on her report is her own mother Leticia with whom she had never been close to. Despite her very humble beginnings, Leticia is a stickler for small details of each project before she signs any report. However, on the day Dolly desperately needs her signature, Leticia was more focused on practicing a winning routine for the dancing contest she joined scheduled that night.

Ms. Celeste Legaspi looked so elegant as Leticia, I could not believe I'm hearing all the "jologs" things she was saying during this play. Her delivery of her Filipino lines was flawless, clear and crisp, it sounded so musical, despite the occasional dirty words. Her comic timing was on point the whole time, so delightful.

Dolly de Leon played the straight man in this two-handed dark comedy. It was remarkable how she had that sense of overconfident ambition, patronizing cynicism and wry sarcasm dripping from her every line. I loved how she enumerated her list of credentials and how she spoke against the BT Pechay project of her rival.

As a man of science myself, I was amazed at how playwright Layeta Bucoy came to write so frankly about disturbing issues of intellectual honesty and integrity in the field of science and technology, yet imbue it with a healthy sense of humor. I guess her being based in UP Los Banos gave her the necessary inspiration and resources she needed to knowledgably develop her story with sufficient scientific veracity.

There was a pool of water right there on the stage, about which I wondered about while the play was going on. When its turn in the story came up, what a big moment! It was definitely well worth the effort spent for that essential set piece. The execution of that multi-layered final scene was a triumph by director Tadioan and his stars.

2. ANG BATA SA BUS STOP
Written by: Sari Saysay
Directed by: Topper Fabregas

It is late in the afternoon and a 50-year old man (called Matanda) is waiting for the bus which is scheduled to arrive at that bus stop in 30 minutes. The man turned out to be a priest who had decided to tap out of the priestly life. Later, he was joined by a 7-year old little boy (called Bata) came along at this same bus stop and struck a conversation with him. As the boy shares about his ambitions in life, the man shares his pressing reasons why he wanted out of his sacerdotal duties.

Of the plays I had seen in the VLF so far, this one is the one with the smallest scope and focus. My own interpretation was that this whole piece was an introspective meditation of the priest within in himself, looking back at the reasons why he became a priest in the first place and justifying his drastic decision to leave his vocation.

Jojo Cayabyab (as Matanda) and young Omar Uddin (as Bata) both delivered their lines with depth and sincerity of feeling. Always impressive to see a child actor deliver such a big important role. Sari Saysay wrote the script with such simplicity that it needed a director's creative vision to execute it vibrantly for the stage. Topper Fabregas certainly rose to that challenge in his directorial debut at the VLF.

3. DEAR AND UNHAPPY
Written by: Carlo Vergara
Directed by: Ricky Villabona

A scared young woman with a dirty face and unkempt hair wearing a disheveled kimona ran across the stage. Suddenly she addressed the audience in straight English with a snooty British accent. She longed for her recently lost love Joe, and bemoaned her sorry lot in life following a stillbirth, a revolutionary war and a firing squad.

While wandering lost in the deep dark woods, she met a mysterious magical man who calls himself the "Alpha Babaylan" who seemed to be able to unlock wonderful powers of her own. However, it turned out in exchange for the development of her magical talents, she had to fulfill a mission which ran against the very things her husband lost his life for.

Being written by Carlo Vergara, I was expecting a wacky comedy, like "Kung Paano Ako Naging Leading Lady" and "Mula sa Kulimliman" from VLF's past. This time though, the title and the poster of this new play sounded and looked serious. When Cris Villonco first ran across the stage looking like a terrified madwoman in the first scene, I braced myself for a different Carlo Vergara product.

Then she opened her mouth to speak her lines in that cute British accent, and I realized this was still a comedy after all! The appearance of a flamboyant Bernardo Bernardo as the Alpha Babaylan shifted the comedy gears further up a notch. That this play was almost entirely written in Queen's English was remarkable. The wry British wit was impressively written by Vergara and fluidly delivered by both actors.

The twist in the plot in the latter half of the play when it revealed the underlying message of play came from right out of nowhere. I won't reveal it here, but let's just say that it was ironic to hear it right after Fil-Am Friendship Day. For me, it sort of threw off the momentum of the first twenty minutes of the play.

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The remaining performances of SET C are on July 9 and 14 at 3 pm, and on July 8 and 13 at 8 pm. Tickets to the Virgin Labfest are at P400 each.

July 5, 2017

When I planned to watch Set C at 3 pm today, I did not know that there would be a staged reading of National Artist Wilfrido Ma. Guerrero's "The Forsaken House" (1937), translated into Filipino (with several Spanish lines as is) as "Ulilang Tahanan" by Ony de Leon. It was to be held at the Tanghalang Amado Hernandez at 6 pm. It was not written on the program booklet but I saw the poster on social media. Since I was already there at the CCP, I decided I should not let it pass.

Sr. Ramon and his wife Encarna have seven children, three girls and four boys, and they lived in material comfort. However, because of the extremely tightfisted overprotective way Sr. Ramon controlled their lives (no guests in the house, no attending parties, etc), the children began to rebel against him. One son Antonio suddenly took off to the USA, while daughter Adeling eloped with her boyfriend, and so on. Can Sr. Ramon realize the error of his ways before the other children leave him?

Sr. Ramon was played by the patriarch of Tanghalang Pilipino, Tatang himself, Nanding Josef. As he proved in productions like "Pahimakas sa Isang Ahente," father roles come very naturally to him. He was terrifying as the terror strict dad. His mere presence on that stage felt stifling. His elegant wife Encarna was played by Liesl Batucan, who definitely exuded a warm maternal vibe. She too though lived in fear of her husband.

Dennis Marasigan was the director of this staged reading, and he also played close family friend Tio Carlos. He was the one the kids could vent their frustrations on and the only one who can possibly talk sense to Ramon. Tami Monsod takes on Tagalog material for the first time playing the kind and solicitous Tia Pelagia. She still has very short hair following her having to go bald in her last role as a cancer patient in "Wit".

The children were played by JB Ibesate (as Jorge), Antonette Go (as Teresita), Aldo Vencilao (as Flavio), Eunice Pacia (as Adeling), Blanche Buhia (as Clemencia), and Joshua Tayco (as Gonzalo). Even if they were all holding the script in their hands, these young actors still attacked their roles with so much heart and emotion. There were real tears that fell during their respective scenes with their father.

As a staged reading, there were some scenes that were not too clear as set up. Clemencia had a scene with a suitcase that came out of nowhere and was never referred to again. The fate of Clemencia seemed to have been left out, and it was up to the audience to assume what happened to her. Tio Carlos seemed to just enter in and out of scenes at will towards the end to join in the conversations.

The material may have been dated in terms of pop culture references (like one character watched "Gone with the Wind" in the movie house), but the message is still pertinent up to now. Despite being written in the 1930s, this kind of family melodrama is still the stuff Filipinos seem to relish masochistically in all those telenovelas to this day.

Since Ramon had six problematic children, this soap opera can feel long and repetitive at times. The ending scenes sort of felt rushed, maybe because they needed to wrap up before the 8 pm shows begin (?). However overall, the on-point acting of the cast was still the key aspect that carried the day for this project -- an excellent ensemble effort indeed!

July 6, 2017

The three one-act plays in Set A of this year's Virgin Labfest XIII all involve characters questioning sticky dilemmas about their current careers in which the final decisions seem to be very difficult, if not totally impossible, to arrive at.

1. BIRDCAGE
Written by: Rick Patriarca
Directed by: Ian Segarra

Art and Ed had been working as copywriters in the same firm for several years already. One day, Peter, a much younger colleagues, announced that he had decided to quit his job and take up his Masters in Sociology, with no clear career path in mind. After 30 years in his job, Art is very much contented that he is in this easy yet high-paying job. However, Ed is having nightmares about not knowing what he had actually been doing in his whole life.

It was impressive how young writer Rick Patriarca expanded this seemingly mundane topic into an evocative and provocative drama. I guess his background as a content writer in a BPO company came in handy here. The pithy discussions between Art and Ed can get you thinking about your own satisfaction about your current life and career. Is your career something you derive genuine happiness from? Or is it just a repetitive monotony you are trapped to keep doing just for the money?

Gie Onida played the practical elder colleague Art, the older man who loves his job as it provides very well for his family. He was pretty convincing in delivering his arguments, and was a delight to watch when he gets all hot and passionate about the topic on hand. As Ed, the father whose son just turned one year old, Aldo Vencilao effectively enunciated onstage the frustrations of many young people caught in dead-end jobs.

2. PILIPINAS KONG MAHAL WITH ALL THE OVERCOAT
Written by: Eljay Castro Deldoc
Directed by: Roobak Valle and Tuxqs Rutaquio

Ambet and Nato run dikosure.com, a website that serves up historical fiction. However, just when their site and its articles are gaining in popularity, Ambet gets hit by a sense of guilt that they are spreading false information that majority are actually accepting as the truth. Nato reminds him that they are up to their necks in contracts with various showbiz, religious and political groups, and they cannot quit just that easily.

Eljay Castro Deldoc can really whip up the most outrageous situational comedy. We saw this talent in his previous VLF hit "Ang Goldfish ni Prof. Dimaandal," and we definitely see it in this one now. The potshots at showbiz personalities or religious charlatans, however sharp and irreverent, brought the house down in laughter. After all the fun though, an important timely message against historical revisionism was still delivered at the end. The first half of the title gives a clue about the serious topic this play sought to address.

Paul Jake Paule brought over some of his Macbeth brooding as the guilt-stricken Ambet. I guess this character's name is a reference to noted historian Ambeth Ocampo, who wrote popular history books like "Rizal Without the Overcoat" which was referred to in the second half of the title. Fitz Bitana was a comic riot as the more carefree techie Nato, who did not mind about the potential dangerous effects of their creative writing, as long as they become viral on social media and bring in the big money contracts.

The absurd comedy factor that made the show a riot was care of Chunchi Cabasaan and Anthony Falcon who played up the caricatures of various popular celebrities. These two guys were loud, colorful, scene-stealing and no-holds-barred in their comic delivery to the rollicking delight of everyone in the audience.

3. LOVE TEAM
Written by: Oggie Arcenas
Directed by: Michael Williams

Allen is an actor who was desperate to resuscitate his flagging career. He visits an art exhibit of his old friend and co-actor Rainier, who has now shifted careers to painting. Allen proposes to Rainier if he would agree to reviving their once very popular, albeit homosexual, telenovela love team "All-Rain" for one movie. However, Rainier cannot seem decide easily because of various issues that face him now and bothered him before.

The whole play seemed to just go around in circles about the same basic problem, all in the aim of gaining enough momentum for one smashing climax. Judging from the anticipatory sighs and stifled gasps of the girls in the audience, it seems they knew exactly what was about to happen. I guess the poster was not too subtle. When that big moment actually happened, the girls all screamed with utmost thrill.

As Allen, Andrei Vegas gamely played up his rough macho appeal in stark contrast with the more refined gentlemanly appeal of Alex Yasuda as Rainier. Electric chemistry was actually there between these two actors. With the words of playwright Oggie Arcenas to work on, director Michael Williams patiently built up the "kilig" tension between the two characters and, based on the excited girls in the audience, it definitely worked.

July 6, 2017

The three one-act plays in Set D of this year's Virgin Labfest XIII all involve characters that cause undue alarm, therefore aggravating the current situation they are in. As a result the plays of this set were not exactly comfortable to watch.

1. SINCERITY BIKERS CLUB
Written by: Adrian Ho
Directed by: Jenny Jamora

The Sincerity Bikers Club is a small group of neighbors who went on biking trips together. There were only five members: a separated teacher Cynthia and her son Tom, her spinster co-teacher Marife, a bachelor narcissist Rocky, and an old man Dudz.

One day, a new neighbor Louella, a bank teller who described herself as newly single, joins them on a ride. Marife, wary about the security of their group, did a background check on their new member, and discovered some disturbing information about Louella's husband. When Marife confronts Louella about these sordid details of her past life, the neat dynamics of their group was thrown into disarray.

Frances Makil-Ignacio played the wet blanket Marife, so aggressively frank with all her alarming projections. On the other hand, Japo Parcero played Louella in all simplicity and humility. Soliman Cruz played Dudz as the group's (and the play's) voice of wisdom and reason. Chrome Cosio (as Rocky) was there mainly for comic relief. Ring Antonio, as the president Cynthia, could have been more decisive or assertive. Jerome Dawis, who played Tom here, was also the same young actor who played co-lead in Set B's "Boses ng Masa."

The whole hullabaloo of this play was all just based on some unfounded selfish speculations of one unreasonably suspicious woman. Despite its rustic outdoor setting, the atmosphere was stifling and discomfiting. It was the effective ensemble performance of the actors as directed by Jenny Jamora that made all this uncomfortable paranoia worth watching.

2. ANG BAHAY SA GITNA NG KAWALAN
Written by: Eliza Victoria
Directed by: George de Jesus III

Isabel went to an old house to see the witch who lived there. This was the same witch visited by Isa's philandering father before, which resulted her mother to get seriously ill and suffer until she died. Because of the extreme jealousy, Isabel asked the witch to do some black magic so Miguel would love her, not her best friend Kat. But for that happiness, Isabel had to pay a big price.

Angeli Bayani, what an entrance and first line! As the Witch, she projected a spooky vibe that can give you goosebumps. Delphine Buencamino had all the angst of betrayed daughter, frustrated caregiver and unrequited lover going on in her Isabel. Mara Paulina Marasigan needed to be bold to play Kat, in costume and in action. Kevin Posadas was the smiling, clueless pretty boy the whole time as Miguel.

Horror is not an easy genre to pull off on a stage and director George de Jesus surely had his hands full with this richly convoluted one-act play by Eliza Victoria. There were so many things going on in the plot, I am not really sure if I got the whole story correctly or not. I do not know which scenes were figments of Isa's fantasy or which were actually happening to her. Impressive how they were able to effectively execute these creepy surreal scenes in that limited space of that small stage.

3. NOTHING BUT DREAMS
Written by: Dingdong Novenario
Directed by: Carlos Siguion-Reyna

Tatay and Nanay are both very excited about the return home of their daughter Gracia from her studies in the US. They are doubly excited about the American guest whom she will be bringing over to visit. When Gracia came and introduced her boyfriend Richard to her parents, they were very shocked to see that the guy was an African-American.

After seeing him speak perfect English is Rep plays, Audie Gemora would be the last actor you'd expect to play the heavily-accented, brutal bully Tatay. I had never seen veteran actress Madeleine Nicolas on stage before, and she was a delightful riot on her own as her wine-inebriated Nanay delivered the play's funniest one-liners.

Lhorvie Ann Nuevo had the most difficult role having to strike a balance between her father and her boyfriend. I don't think I had ever heard her speak straight English in a play before. New Care Diva Thou Reyes played it serious this time as the harassed guest Richard. He may look calm and cool, but you can feel him seethe under his collar.

This is a very familiar story tackled in film like "Guess Who's Coming to Dinner" (1967) and just this year, "Get Out (2016) -- what happens when a daughter brings home a black boyfriend, without any telling her parents beforehand. Bringing this story into the Filipino setting opens the floodgates to all sorts of racial references, jokes and insults as crisp as only Filipinos could deliver them. Writer Novenario is relentless with these zingers! It may be funny for us, yes, but it can also make you cringe and squirm.

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The remaining performances of SET D are on July 11 and 15 at 3 pm, and on July 9 and 14 at 8 pm. Tickets to the Virgin Labfest are at P400 each.

July 9, 2017

Drag queens and musical theater seem to be a natural fit. The colorful costumes, the elaborate song and dance numbers, the human drama behind the make up all make these shows fun and evocative. They just need a gimmick to make it stand out. "La Cage aux Folles" had a wedding. "Priscilla Queen of the Desert" had a bus. "The Producers" had Hitler! The title of this new show clearly tells us what its unlikely gimmick is -- SHOES!.

The plot of "Kinky Boots" the musical was based on a 2005 British film with the same title, that starred actors Joel Edgerton (as Charlie) and Chiwetel Ejiofor (as Lola). Producer Daryl Roth acquired the rights to turn the film into a musical. He got Harvey Fienstein (who also wrote other shows about drag queens like "La Cage" and "Torch Song Trilogy") to write the book, and 1980s pop star Cyndi Lauper to write the music and songs.

The show was a hit on Broadway in 2013. It earned 13 Tony nominations, and won 6 including Best Musical, Best Score for Cyndi Lauper (the first win ever for a solo woman), and Best Actor for Billy Porter (as Lola). Jerry Mitchell lost his bid for Best Director, but won for Best Choreography. The West End production in 2016 won 4 Olivier Awards, including Best New Musical, Best Actor in a Musical (Matt Henry as Lola) and Best Costume Design.

Price & Son has been making shoes in Northampton for four generations. Charlie Price was not interested, but he inherited the business anyway, but unfortunately, the whole shoe industry was on a down trend. After meeting Lola, a flamboyant drag queen nightclub entertainer in London who needed stronger stiletto heels for her outrageous boots, Charlie came up with a bright idea of a unique niche market their company can focus on to save the family business.

Nyoy Volante never fails in all the lead roles given to him by Atlantis in the past. He was amazing in "In the Heights" and absolutely fantastic in "Jersey Boys." Volante hits it out of the park again as the fabulous Lola. For every show-stopping production number like "Land of Lola" and "Sex is in the Heel," he also shows his mellow side in ballads like "Not My Father's Son" and "Hold Me in Your Heart." I felt Volante was a bit hoarse last night but he still gave it all his soul in this challenging role.

Fil-Kiwi singer-actor Laurence Mossman, who made his local stage debut playing multiple small roles in "Fun Home" also from Atlantis last year, makes the big jump this year to play the co-lead character Charlie Price. Lauper made Charlie some pretty tough belting songs to sing (like "Soul of a Man"), with high notes to sustain at the end. Notes may not have been perfectly hit all the time, but Mossman definitely had the wide vocal range for the role. Mossman had the winning aww-shucks charm to make his Charlie work.

I first recognized Yanah Laurel as a solid singer as Sue Snell in "Carrie" back in 2013. Her vocal power was fully affirmed in her performance last year as Whatsername in "American Idiot." As Lauren here in "Kinky Boots," she had a most delightful role as the factory employee who was thrilled to be working closely with her handsome new boss Charlie. She was so disarming and cute in her one featured song "The History of Wrong Guys."

Tricia Canilao plays Charlie's fiancee Nicola. Too bad we only get to hear a hint of her strong "Ms. Saigon" singing pipes in the very end. Nel Gomez plays Charlie's friend Harry, gets to sing a solo "Take What You Got." Jaime Wilson plays chauvinistic bearish factory worker Don, sang mainly in the chorus but he stunned us with a solid rock wail at the end.

Steven Conde played George, a senior employee who supports Charlie. Rhenwyn Gabalonzo briefly played Charlie's father at the beginning. The others in the factory workers ensemble are played by Christine Flores, Sarah Facuri, Jill Pena, Japs Treopaldo, Juancho Escoto and Ron Gohel.

Playing as Lola's troupe, the Angels are Ritz Beltan, Jorge Jahnke, Michael Jahnke, Jazztin Cacayan, Mark Pineda, and Gerhard Krysstopher. These "ladies" blew the audience away with daring fashion sense, and even more daring acrobatic dance moves all done on stiletto heels! They steal the scene whenever they are onstage. Splits, cartwheels, and moving conveyor belts do not faze them at all.

The choreography by Cecile Martinez is funky and athletic. The set design of the Price and Son factory by Faust Peneyra is huge and impressive. Lola and the Angels were outrageously dressed in wild finery designed by Raven Ong, while their wigs and makeup design are by Johann dela Fuente. Musical director Molinder Cadiz led the live band. Putting it all together is Bobby Garcia, whose name is already a brand of excellence in terms of quality of show production, and he certainly lives up to that reputation with "Kinky Boots." Everybody will definitely say Yeah!

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"Kinky Boots" runs at the Carlos P. Romulo Auditorium, RCBC Plaza, Makati City from June 30 - July 23, 2017, with shows on Fridays at 8 pm, Saturdays, at 2 pm & 8 pm, and Sundays at 2 pm. Ticket prices at Ticketworld range from ₱4,180 for Orchestra Center, ₱3,135 for Orchestra Sides and Loge, and ₱2,090 in the Balcony. Last night's show was totally sold out, so don't delay if you want to catch this show.

July 16, 2017

The journey of "Newsies" began as a musical film in 1992, inspired by the true story of the Newsboy Strike of 1899. It featured music and songs by Alan Menken and Jason Feldman, directed by Kenny Ortega. It starred an 18-year old Christian Bale in the lead role of Jack Kelly. The film was panned by critics and bombed at the box-office, winding up as one of the lowest-grossing Disney films of all time. Ortega, along with supporting actors Robert Duvall and Ann-Margret were nominated for Razzies.

Disney was still confident about its material though. It got Broadway master Harvey Fierstein to write the book for a theater musical play based on the movie. The show still contained most of the Menken-Feldman songs from the film, with the notable exception of "High Times, Hard Times" which actually won the Razzie for Worst Song.

When it debuted on Broadway in 2012, "Newsies" had a complete reversal of fortunes. The musical show was a critical success and box-office smash. It went on to be nominated for 8 Tony Awards including Best Musical, Best Book (for Fierstein) and Best Lead Actor in a Musical (for Jeremy Jordan), winning two for Best Choreography (Christopher Gatelli) and Best Musical Score (Alan Menken).

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Jack Kelly is the leader of a group of poor orphan newsboys in New York City. One day, the owner of the New York World, Joseph Pulitzer, suddenly decided to raise the cost of the newspaper for the newsboys, in order to get more profit for himself. Jack, as helped by his smart new friend Davey and female reporter Katherine Plumber from rival newspaper The Sun, rallied his other newsie friends to rise up and strike against the newspaper mogul.

Like its last two shows "American Idiot" and "A Christmas Carol," 9 Works Theatrical stages "Newsies" at the Globe Iconic Store Amphitheater at the Bonifacio High Street in Taguig. Unlike the last two shows, the outdoor venue was enclosed with walls perhaps in preparation for rainy July weather. When we watched last night, we can hear that it was raining cats and dogs in BGC, but we were kept completely dry inside the venue.

As designed by Ed Lacson, the stage looked more compact than the one used for the two previous shows. It had five huge metallic-looking, movable, multi-tiered sub-stages on which the story will unfold. The center area converts to the Pulitzer's office, Ms. Medda's burlesque theater, or Jacobi's deli, with the use of appropriate furniture. The lights were designed by Martin Esteva. The turn of the century costumes were designed by Eric Pineda. The live orchestra was led by musical director Daniel Bartolome.

(photo from the 9 Works FB page)

The dancers get you energized from the get-go up to the grand finale. Choreographer PJ Rebullida had to create original dance moves because the rights to the Tony-award winning choreography was not included. The performers cast as the Newsies are mostly seriously trained dancers of different disciplines of dance -- ballet, jazz, folk, hiphop, cheerdance. All those powerfully muscular jumps, jetes, splits, tumbles, cartwheels, front and back flips, spins and pirouettes by the Newsies had the girls in the audience shrieking with delight.

My personal favorite number of the whole show was the amazing and exhilarating "King of New York" tap dancing exhibition that opened Act 2. There is something about tap dancing that is so clean, so elegant and so happy, I simply enjoy watching a good tap routine. This scene happened just after the defeated Newsies were cheered up by having their photo and story on the front page above the fold, hence the exuberant uplifting joy. The additional choreography for tap in this number is by Yek Barlongay.

The main dancing Newsies are: Alex Diaz, Jon Abella, MC dela Cruz, Kendrick Ibasco, Anton Posadas, Ian Ocampo, Erick Arenas, Jim Ferrer, Stephen Vinas, Ronelson Yadao (from Ballet Philippines), Mark Anthony Granatos (from Ballet Manila), Vyen Villanueva (from Company of Ateneo Dancers), Clark de la Riva (from UST Salinggawi), Jourdan Bartolome (from UP Filipiniana Dance Group) and Jan Mayo (from UP Pep Squad). Since they also acted and sang, these boys are now all certified triple threats.

(cast photo from the 9 Works FB page)

Gian Magdangal took a long leave from the local theater scene by working abroad in HK Disneyland. He may be already too old to be 17-year old Jack Kelly, but his wide-eyed idealism in his face and boundless energy in his feet convinces us otherwise. He was required to sing soaring ballads which he definitely nailed in both notes and emotion. His best numbers were the painful "Santa Fe (Reprise)" that closed Act 1, and the romantic "Something to Believe In," a duet with Katherine.

Jack Kelly's love interest in this play Katherine is played by Danielle Chopin. Although her name is not familiar to us, this winning Fil-Am soprano grabbed the audience attention from her first time we see her pretty face. Katherine is ambitious, independent and resourceful. She is definitely not the typical damsel-in-distress trope. In fact, she even helped get Jack out of messes he got himself into. Chopin captured Katherine's pluck in her performance. She was very charming in her solo number "Watch What Happens."

Busy and popular stage actor Jef Flores plays Davey. With the clean-scurbbed look of his character, he stood apart from the other unkempt, dirtied-up Newsies. He sings mostly in group songs without a specific featured number on his own, but his voice was best heard when he took the lead in singing "Seize the Day." Davey's precocious 10-year old brother Les was played last night by very confident Daniel Drilon. This child actor has an impressive stage credits for his age and should be someone to watch in the future. (Tory Cortez alternates in that role.)

A major supporting role was given to theater newcomer Luis Marcelo as Jack's crippled friend Crutchie. He has an emotional featured song solo as he wrote an impassioned "Letter from the Refuge." The main antagonist role of Joseph Pulitzer is played by American actor Greg Dulcie who really embodied that rich, cunning yet heartless, abusive character with his imposing physical heft and stage presence.

Most of the actors shift different roles within the show, some playing up to four different characters with just a quick costume change. Ariel Reonal gets to play paper dispatcher Wiesel, deli owner Jacobi, the Mayor of New York, Medda's stage manager, and a Newsie. Chesko Rodriguez gets to play a Pulitzer staff guy, a photographer, a policeman and a Newsie. Melissa Bell gets to play Pulitzer's secretary Hannah, one of Medda's Bowery Beauties, a nun, a goon and a Newsie.

Raymund Concepcion gets to play the barber Nunzio, a policeman and Gov. Teddy Roosevelt. Joni Galeste plays a Bowery Beauty, a nun and a Newsie. Pinky Marquez not only plays Ms. Medda Larkin (with her own solo song "That's Rich"), she also plays her diametrical opposite, a nun. Even Shrek actor big guy Franz Imperial, who plays the shady bad guy Snyder, gets to dance as a Newsie! Talk about versatility indeed.

(cast photo from 9 Works FB page)

Truly I never thought I would enjoy a play about such a dry stuffy topic as a newsboy strike at the turn of the previous century. But all the goodwill, energy and talent seen onstage last night changed that initial impression. Director Robbie Guevara said in his notes that Dance is less prioritized form of stage artistry, compared to acting and singing. With this new show "Newsies," 9 Works aimed to change all that, and set out to set a high bar for dance. It is a given that Filipinos are excellent actors and singers, this show wants to showcase Filipino dancing prowess as well. -- AND IT DEFINITELY DID! Kudos to all the cast and crew!

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"Newsies" opened last July 7, 2017 and will run all Fridays to Sundays of July, up to July 30, all 8 pm shows only, no matinees. Venue is at the Globe Iconic Store, Bonifacio High Street Amphitheater, Bonifacio Global City, Taguig. Tickets at one price only, P2090, via Ticketworld.

Based on our experience last night, this is one show where it might be better to sit a little further back so you can take in the whole stage all at once. We were seated at the second row yesterday. While we can clearly see the faces of all the actors, it can be difficult to see everything happening simultaneously all over the stage. Neck can also get tired looking up a lot, especially those scenes set on the top tiers.

July 29, 2017

Monty Python were a British comedy group composed of British comedians Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin. They shot to fame because of their sketch comedy show Monty Python's Flying Circus, which was broadcast by the BBC from 1969-74. After the TV show folded, they had films as well. Their first "proper" film with all-original material was a spoof of Arthurian legends called "Monty Python and the Holy Grail" (1975).

"Spamalot" is musical stage version of "Monty Python and the Holy Grail" with book and lyrics by Eric Idle and music by John Du Prez, which made its Broadway debut in 2005. There were a couple of songs from the source film itself, "Knights of the Round Table" and "Brave Sir Robin", both by Neil Innes. The show's most familiar-sounding song "Always Look on the Bright Side of Life" was also by Idle, but it was for the film "Monty Python's Life of Brian" (1979).

The original 2005 Broadway production was a commercial and critical success. It won three of its 14 Tony nominations, including Best Musical, Best Direction for a Musical (for Mike Nichols) and Best Featured Actress in a Musical (for Sara Ramirez, who played The Lady in the Lake). The show ran for more than 1,500 performances, closing in 2009. A West End production ran from 2006-2009, and had multiple Olivier nominations as well (no wins).

Arthur, King of the Britons, armed and guided by the Lady of the Lake, is riding around the British countryside gathering a group of brave men to be his Knights of the Round Table. God spoke to Arthur to tell him and his men to go on a quest for the Holy Grail. Along the way, the King and his knights encounter a great many adventures, like the one with taunting French soldiers, the persistent Black Knight, the demanding Knights Who Say Ni, the effeminate Prince Herbert, the suspended Tim the Enchanter and the deadly Killer Rabbit.

When you first see how King Arthur "rides" his horse Patsy, you'd think that this was just a silly technique to save the production from having to have a real horse on stage. Actually, though this was really the way Monty Python portrayed the horse in the film, a man galloping behind the king clip-clopping a pair of coconut shells for the hoof beats. In a later number, the Knights slyly inserted a "maglalatik" segment with their coconut shells, just one of many ad libs in this show.

In fact, that whole conversion with the guards about the coconuts and the migrating swallows was actually straight out of the film. Incredibly, a lot of the outrageous scenes and dialog of the play were likewise directly lifted from the film: like the man collecting corpses, Arthur's first meeting with Dennis Galahad and his mother, Arthur being told by God about the quest, the bloody fight with the Black Knight, the French soldiers throwing a cow off the ramparts, the stupid Trojan Rabbit incident, the loopy exchange between Herbert's father and his guard, the search for the shrubbery, the Holy Hand Grenade of Antioch, among others.

Knights and Horse take a bow (Rayos, Schulze, Rosen, Reyes and Espejo)

Lorenz Martinez is ever so comically hammy as King Arthur, like he did playing Mandy Patinkin in "Forbidden Broadway" (MY REVIEW) and Christian Gray in "50 Shades the Musical" (MY REVIEW). Martinez was no slouch in the singing department as we know very well. Domileo Espejo plays the loyal horse Patsy, and in that role, he got to sing the bright and cheerful show tune "Always Look on the Bright Side of Life."

Noel Rayos (as Sir Lancelot, the French Taunter, Tim the Enchanter, the Head Knight of Ni on stilts) is really very much at home in these loud and florid roles, as we had seen him from in past shows. Reb Atadero gave it his all in all those little roles he did, like never-say-die Not Dead Fred, the boot-licking minstrel of Sir Robin (singing the funny "Brave Sir Robin"), and the damsel-in-distress Prince Herbert.

With their long locks, facial hair and Caucasian looks, actors George Schulze (as the cowardly Sir Robin), Bibo Reyes (as the flatulent Sir Bevedere) and Dean Rosen (as the dashing Sir Galahad) looked like real British knights. In my opinion though, they still came across a wee bit awkward with the comedy routines they had to do. Nevertheless, they were clearly having fun up there.

Chino Veguillas, Roxy Aldiosa, Rachel Coates and Edrei Tan complete the wacky ensemble.

A totally new character not in the film gets to sing the most showstopping numbers, the Lady of the Lake. A couple of her songs actually talks directly to the audience, "The Song That Goes Like This" in Act 1 spoofing overwrought musical theater love songs, and the totally hilarious "The Diva's Lament" in Act 2, where she whines about her short role in the play.

The fabulous Carla Guevara-Laforteza was radiant every time she stepped out on that stage solidly belting out those killer notes. As the Lady of the Lake, she also gets to wear glamorous gowns designed by Francis Libiran, channeling divas from Cher and Norma Desmond. Laforteza clearly enjoyed every high-fashion moment as she sashayed with aplomb in all her flowy and glittery get-ups.

The jokes fly fast and furious here. Some may fly above your heads. Some don't fly at all. Some are drowned by the heavy British accents. Some are corny and groan-inducing. But a lot are still really very funny, especially all the references to musical theater and all those crazy puns (symbol, arms), hilarious pop references (like Justin Bieber, Village People) and Pinoy-centric ad libs (RCBC Theater, Lea Salonga). The unrefined set (by Ed Lacson, Jr) and silly props fit right into the absurdness of the whole show.

This is simply one very rollicking happy show. A smile on your face is guaranteed, with several chuckles and guffaws along the way for the especially ticklish, like me. Kudos to director Joel Trinidad, co-director Nicky Trivino, musical director Onyl Torres, the live band, and the rest of the cast and crew!

The Whole Cast Takes a Bow

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"MONTY PYTHON'S SPAMALOT" has a very short run of 9 shows: Fri. Jul 28 (9pm), Sat. Jul 29 (3pm), Sun. Jul 30 (3pm), Fri. Aug 4 (9pm), Sat. Aug 5 (3pm & 8pm), Sun. Aug 6 (3pm), Fri. Aug 11 (9pm) and Sat. Aug 12 (8pm).

Venue is at the Carlos P. Romulo Auditorium (4th Floor, RCBC Plaza, Ayala Ave., cor. Gil Puyat Ave. Makati City). Ticket prices are: ₱2,090(Orchestra Center), ₱1,881 (Orchestra Sides), ₱1,567.50 (Loge) and ₱1,045 (Balcony) from Ticketworld.

I need to comment about the price of parking at the RCBC which increased effective this month. I arrived and parked at a little before 2:30 pm and left around 5:30 pm, and paid P110, which I found exorbitant for the time I spent there. I wish there would be special consideration for people watching a play there.

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Review of Twin Bill's W;T: Compassion for Cancer

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Recap of PSF THEATER FESTIVAL 2017 (Week 3): POSISYON, LOOB, DILAW O PULA

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Recap of REP: 50 YEARS OF TELLING STORIES: Golden Glory

Recap of BRITNEY SPEARS: PIECE OF ME TOUR Live in Manila

Review of Artist Playground's M EPISODE: Manifesting Macbeth

Review of Cirque du Soleil's TORUK - THE FIRST FLIGHT in Manila: Frenetic, Fascinating, Fantastic

Review of VIRGIN LABFEST XIII - SET B: Abuse, Adolescence and Aging

Review of SISTER ACT: Crazy Convent Capers

Review of VIRGIN LABFEST XIII - SET C: Integrity and Introspection

Review of VLF XIII: Staged Reading of ULILANG TAHANAN: Melancholic Melodrama

Review of VIRGIN LABFEST XIII - SET A: Career Catch-22s

Review of VIRGIN LABFEST XIII - SET D: Alarm and Aggravation

Review of Atlantis' KINKY BOOTS: Fabulous Footwear and Fun!

Review of 9 Works' NEWSIES: Explosive, Energetic, Entertaining

Review of Upstart's MONTY PYTHON'S SPAMALOT: A Cheery and Chuckly Camelot