Quantcast
Channel: Fred Said: THEATER, CONCERTS, EVENTS
Viewing all 447 articles
Browse latest View live

BILLBOARD HOT 100 HITS OF 2017!

$
0
0
December 14, 2017



Here are the Hot 100 Singles of 2017 as ranked by Billboard Magazine. This year-end recap is based on Billboard Hot 100 chart performance during between the weeks from Dec 2016 and Nov 2017-dated charts. This is a list of last year's most popular songs across all genres, ranked by radio airplay audience impressions and sales data as measured and compiled by Nielsen Music, and streaming activity data provided by online music sources.



1   Shape Of You     Ed Sheeran (#1 for 12 weeks, Jan to Apr)

     - Debuted at number one on the Billboard Hot 100, Sheeran's first number one song in the US. Sheeran also became the first artist to debut two songs in the top 10 the same week in the history of the Hot 100, with "Castle on the Hill" also debuting at number six.
     - On the issue date, 2 September 2017, "Shape of You" spent its 32nd week in the top ten of Hot 100, tying the record for most week on that chart with LeAnn Rimes'"How Do I Live" and "Closer" by The Chainsmokers featuring Halsey.[31] The following week, "Shape of You" spent its 33rd consecutive week in the top 10, breaking the 20-year-old record.

2   Despacito     Luis Fonsi & Daddy Yankee Featuring Justin Bieber (#1 for 16 weeks)

     - It is the first song primarily in Spanish to top the Billboard Hot 100 since "Macarena" (Bayside Boys Mix) in 1996. 
     - On August 4, 2017, the official music video for "Despacito" became the most viewed YouTube video of all time after receiving its 3 billionth view, making it the first video on the site to reach the milestone. It later became the first YouTube video to hit 4 billion views on October 11, 2017.
     - Reached number one on the US Hot Latin Songs chart on February 18, 2017 and remained there for 35 consecutive weeks until October 14, 2017.
     - Topped the Hot 100 for 16 consecutive weeks, tying with "One Sweet Day" by Mariah Carey and Boyz II Men as the longest-reigning number-one single in the chart's history

3   That's What I Like     Bruno Mars (#1 for 1 week, May)
4   Humble.     Kendrick Lamar (#1 for 1 week, May)
5   Something Just Like This     The Chainsmokers & Coldplay
6   Bad And Boujee     Migos Featuring Lil Uzi Vert (#1 for 3 weeks, Jan to Feb)
7   Closer     The Chainsmokers Featuring Halsey
8   Body Like A Back Road     Sam Hunt
9   Believer     Imagine Dragons
10   Congratulations     Post Malone Featuring Quavo



11   Say You Won't Let Go     James Arthur

12   I'm The One     DJ Khaled Featuring Justin Bieber, Quavo, Chance The Rapper & Lil Wayne (#1 for 2 weeks, May)
13   XO TOUR Llif3     Lil Uzi Vert
14   Mask Off     Future
15   Unforgettable     French Montana Featuring Swae Lee
16   24K Magic     Bruno Mars
17   Stay     Zedd & Alessia Cara
18   Wild Thoughts     DJ Khaled Featuring Rihanna & Bryson Tiller
19   Black Beatles     Rae Sremmurd Featuring Gucci Mane (#1 for 1 week, Jan, + 6 more weeks Nov to Dec 2016)
20   Starboy     The Weeknd Featuring Daft Punk (#1 for 1 week, Jan)



21   Location     Khalid

22   Attention     Charlie Puth
23   There's Nothing Holdin' Me Back     Shawn Mendes
24   Bodak Yellow (Money Moves)     Cardi B (#1 for 3 weeks, Oct)
25   Redbone     Childish Gambino
26   I Don't Wanna Live Forever (Fifty Shades Darker)     Zayn / Taylor Swift
27   It Ain't Me     Kygo x Selena Gomez
28   iSpy     KYLE Featuring Lil Yachty
29   Issues     Julia Michaels
30   Scars To Your Beautiful     Alessia Cara



31   1-800-273-8255     Logic Featuring Alessia Cara & Khalid

32   Slow Hands     Niall Horan
33   Love On The Brain     Rihanna
34   I Feel It Coming     The Weeknd Featuring Daft Punk
35   Bounce Back     Big Sean
36   Strip That Down     Liam Payne Featuring Quavo
37   Fake Love     Drake
38   Don't Wanna Know     Maroon 5 Featuring Kendrick Lamar
39   Look What You Made Me Do     Taylor Swift (#1 for 3 weeks, Sept)
40   Castle On The Hill     Ed Sheeran



41   Bad Things     Machine Gun Kelly x Camila Cabello

42   Paris     The Chainsmokers
43   Side To Side     Ariana Grande Featuring Nicki Minaj
44   Rockabye     Clean Bandit Featuring Sean Paul & Anne-Marie
45   Feel It Still     Portugal. The Man
46   Let Me Love You     DJ Snake Featuring Justin Bieber
47   Sorry Not Sorry     Demi Lovato
48   Bank Account     21 Savage
49   Can't Stop The Feeling!     Justin Timberlake
50   Mi Gente     J Balvin & Willy William Featuring Beyonce



51   Thunder     Imagine Dragons

52   T-Shirt     Migos
53   Rake It Up     Yo Gotti Featuring Nicki Minaj
54   Mercy     Shawn Mendes
55   Tunnel Vision     Kodak Black
56   Rockstar     Post Malone Featuring 21 Savage (#1 for 8 weeks, Oct to Dec)
57   In Case You Didn't Know     Brett Young
58   Heathens     twenty one pilots
59   Now Or Never     Halsey
60   Caroline     Amine



61   Rolex     Ayo & Teo

62   DNA.     Kendrick Lamar
63   Juju On That Beat (TZ Anthem)     Zay Hilfigerrr & Zayion McCall
64   Swang     Rae Sremmurd
65   Passionfruit     Drake
66   Loyalty.     Kendrick Lamar Featuring Rihanna
67   Praying     Kesha
68   Goosebumps     Travis Scott
69   Cold     Maroon 5 Featuring Future
70   Broccoli     D.R.A.M. Featuring Lil Yachty



71   Slide     Calvin Harris Featuring Frank Ocean & Migos

72   What Ifs     Kane Brown Featuring Lauren Alaina
73   Chained To The Rhythm     Katy Perry Featuring Skip Marley
74   Feels     Calvin Harris Featuring Pharrell Williams, Katy Perry & Big Sean
75   All Time Low     Jon Bellion
76   Hurricane     Luke Combs
77   Too Good At Goodbyes     Sam Smith
78   Young Dumb & Broke     Khalid
79   Magnolia     Playboi Carti
80   Love Galore     SZA Featuring Travis Scott




81   Drowning     A Boogie Wit da Hoodie Featuring Kodak Black
82   Starving     Hailee Steinfeld & Grey Featuring Zedd
83   Both     Gucci Mane Featuring Drake
84   What About Us     P!nk
85   Swalla     Jason Derulo Featuring Nicki Minaj & Ty Dolla $ign
86   Slippery     Migos Featuring Gucci Mane
87   Sign Of The Times     Harry Styles
88   Water Under The Bridge     Adele
89   Malibu     Miley Cyrus
90   Down     Marian Hill



91   No Promises     Cheat Codes Featuring Demi Lovato

92   Treat You Better     Shawn Mendes
93   I Get The Bag     Gucci Mane Featuring Migos
94   Small Town Boy     Dustin Lynch
95   Everyday We Lit     YFN Lucci Featuring PnB Rock
96   Havana     Camila Cabello Featuring Young Thug
97   What Lovers Do     Maroon 5 Featuring SZA
98   Do Re Mi     Blackbear
99   Look At Me!     XXXTentacion
100   The Fighter     Keith Urban Featuring Carrie Underwood




******


PAST YEAR-END HOT 100 LISTS:

2016 -- 2015 -- 2014 -- 2013 -- 2012



Recap of THE MUSIC OF JOSE MARI CHAN: Treasure Trove of Timeless Tunes

$
0
0
December 17, 2017



I had known about Jose Mari Chan and his music since I was a child. I had seen him sing a song or two at some special occasions before, notably our silver high school homecoming back in 2008, but never a full-length concert. This year he is celebrating 50 years of an evergreen music career. This concert, written and directed by Mickey Munoz and held two times yesterday at the Theater at Solaire, is a tribute of the ABS-CBN Philharmonic Orchestra for his unique signature style of OPM, unmatched from then till now. 

The concert began with an Overture played by the orchestra, led by MaestroLouie Ocampo. The legend himself came onstage to sing "Can We Stop and Talk Awhile". After cracking some pretty funny jokes, he announced that he was going down to the audience to enjoy the rest of the show. I was surprised by this development and I am sure everyone else was too. So, it turned out this was really going to be a tribute by other singers to his songs, not by himself. An introductory video by Gerard Salonga brought us back to the beginning of Mr. Chan's 50 year journey.

First up were Mr. Chan's own sons Franco and Joe Chan, who sang "Mr. Songwriter." This was the same tune used for "Mamang Sorbetero" by Celeste Legaspi (who was in the audience herself last night). The two guys proudly talked about how their father, then working in the family sugar business in Iloilo, started his entertainment career as a host and singer on the ABS-CBN TV show "9 Teeners" in 1965. This later led to his first single, a hit entitled"Afterglow" in 1967, which the two also sang together as a duet. Their set ended with their version of "Deep in My Heart."


Markki Stroem and Juris sing a duet

Markki Stroem came onstage to sing the modern classic "Beautiful Girl". He then introduced Juris who sang a song Mr. Chan wrote for his 7th wedding anniversary -- "A Love to Last a Lifetime". Markki then came back to join Juris to sing "My Girl, My Woman, My Friend." Upcoming singer and guitarist Migz Haleco then sang his own versions of "Can't We Start Over Again" and a song I never knew was a JMC composition till now -- "I Remember the Girl" ("I Remember the Boy" as originally recorded by Joey Albert). 

After the orchestra then played an instrumental version of "Stay My Love". The young vocal group Acapeliago came onstage for a poppy rendition of "Afraid for Love to Fade".  They were joined onstage by Jona, and they sang a beautiful acapella version of "Minsan Pa," in what I thought was the best vocal performance of the night. This song had lyrics written by National Artist Rolando Tinio, and was originally by Janet Basco in 1978 as one of the finalist of the first Metro Pop Festival. The vocal arrangements in this segment were by Moy Ortiz of The Company. 


Acapeliago and Jona sing "Minsan Pa"

The next number was a very entertaining medley of commercial jingles composed by Mr. Chan by another young vocal group, Vocal Synergy. We heard very familiar ads of  Alaska Milk ("Wala Pa Ring Tatalo"), Sunquick ("Over Twenty Glasses"), Mr. Clean ("Kuskos Piga"), Hallmark Cards ("No One Throws Away Memories"). One particularly funny one was that for Knorr Real Chinese Soup, where Louie Ocampo joined in. He later shared that he was actually the original singer of that jingle. The orchestra concluded the set with instrumental versions of "Big Beautiful Country" (the official theme music of the Banahaw Broadcasting Corporation BBC Channel 2) and "Love at 30,000 Feet" (Philippine Airlines). 

Bituin Escalante came onstage to sing another song I never knew was composed by Mr. Chan -- "Hahanapin Ko." This song had lyrics written by Jimmy Santiago, and was one of the finalists of the Third Metro Pop Festival in 1980, interpreted by Anthony Castelo. After an emotional spiel, Ms. Escalante sang a very different, very jazzy (with scatting!) version of "Thank You Love" as arranged by JD Villanueva. 


Mr. Chan jokes around with Jona before their duet

The orchestra proceeded to play an instrumental version of "Please Be Careful with My Heart". Gerard Salonga came back on video to invite Mr. Chan back onstage to sing this same song as a duet with Jona. We were so glad to see Mr. Chan back onstage to sing some more. Before the song, Chan greeted old friends in the audience (some Fookienese greetings in there) and then went on to crack another series of jokes (a few green ones in there, haha!) I did not know he was such a joker in his spiels. The audience lapped it all up with glee. 

After the beautiful duet, Mr. Chan stayed on to sing "Tell Me Your Name" (a song with lyrics by Cristina Tabora) and "Refrain" (a sad song written when Ms. Mary Ann was abroad). Then all the guest artists Stroem, Juris, Migz, Jona and Escalante returned onstage to join Mr. Chan sing "Constant Change." 

Mr. Chan and his guests take their bows

As a finale, Mr. Chan ended his concert with his Christmas carols, beginning with "A Wish on a Christmas Night" (sung by Vocal Synergy & Acapeliago), "A Perfect Christmas" and finally his classic "Christmas in Our Hearts" where he was joined by his children Joe, Franco and his original duet partner Liza. He invited the audience to buy his latest collection of all-new Christmas songs and he will be outside to sign autographs and take pictures. The long lines for this after-show activity was proof that the legacy of the indefatigable Mr. Jose Mari Chan is as vital now as it was back then.


Review of TP's LUKOT-LUKOT, BILOG-BILOG: Figuring Finances

$
0
0
December 17, 2017


Gwyneth just received P1,200 from her godparents as an early Christmas present. She decides to use this to pay her college application fee. On her way to St. Anne's University though, she gets tempted to buy a very popular special spaghetti dish in the cafe, a cute green polka dot dress on sale at the boutique, a discounted bus trip to Bicol -- all of which she desired a lot. Will she have enough money to apply at the college of her dreams?

For Tanghalang Pilipino's Christmas offering, they chose to stage a play Eljay Castro Deldoc for young people about managing finances. I have seen three plays written by Deldoc all at the Virgin Labfest. These were the unforgettable "Si Maria Isabella at ang Guryon ng mga Tala" (MY REVIEW), the hilarious "Ang Goldfish ni Professor Dimaandal" (MY REVIEW), and the outrageous "Pilipinas Kong Mahal with All the Overcoat" (MY REVIEW). I know for a fact that this guy can really communicate with the young people. 

The core of the play is very simple, something school children may in fact whip up themselves when given a topic about saving money. However, in the hands of a Palanca-winning wordsmith like Deldoc, together with the ideas of director Abner Delina, Jr., the plot was elaborated into an engaging full-length play with a lot of millennial humor and imaginative storytelling devices to liven things up. The production design of James Reyes was deceptively simple, but delivered several surprises in the course of the show. 

Blanche Buhia was a cheerful and naive Gwyneth. She may not be able to control her spending, but you know she had a kind heart in her. Eunice Pacia was a loyal and concerned best friend in Jing-jing. Being the younger members of the TP Actor Company, I have seen these two girls mostly in supporting roles. (I missed Buhia's Gawad Buhay nominated lead role in last year's "The Wong Kids in the Secret of the Space Chupacabra Go" also by TP.) Here in "Lukot," the two carried the show ably with their verve and charm. 

Antonette Go and JV Ibesate played Egay and Blessie, Gwyneth's busy, harassed but loving parents. Jonathan Tadioan played Gwyneth's Lolo Sally as an endearing teddy bear. Lhorvie Nuevo played Blessie's BFF, Jing-jing's mother and Gwyneth's godmother Mayet. Go, Ibesate, Nuevo and especially Tadioan would also be seen playing some other roles in the ensemble.

Playing various other roles in the ensemble were Doray Dayao (who played a persistent travel agent and Mayon Volcano), Aldo Vencilao (who played a sleepy cashier and Andres Bonifacio), Ybes Bagadiong (who played various sidekick characters, including one in drag) and Joshua Tayco (who played a desperate thief and Jose Rizal). Child actor JM Canlas played the beggar boy Nico. Canlas gets to sing the beautiful wartime carol by Felipe de Leon "Payapang Daigdig." Aside from this song, other Filipino carols were also sung with some lyrics altered to fit the theme. 


The cast take their bows after the show

It was refreshing to see the Tanghalang Pilipino actors all smiling in very light-hearted roles after their very intensely serious turns in their last two shows "Ulilang Tahanan" (MY REVIEW) and "Ang Pag-uusig." (MY REVIEW). Their acting performances here were all so exaggeratedly giddy and happy; delightful, not corny. When the characters broke the fourth wall to personally engage random members of the audience, the big surprise worked to get the viewers alert and involved. The whole play proceeded so infectiously catchy and lively, just as juvenile audiences will surely like it.

Recap of UPMAS Homecoming 2017: UPCM 1992 WALAN9 KA2LAD: Emotional and Exuberant!

$
0
0
December 23, 2017

Our UP College of Medicine Class 1992 had been beset with unity problems within our five years in the college, and perhaps even afterwards.  Planning for this year's UP Medical Alumni Homecoming as Silver Jubilarians was certainly a formidable task for our fractured class to undertake. Fortunately, our class (and UPMAS) had our President, Dr. Mary Rose Pe-Yan (Mayos to us), who had the drive, determination and passion to make sure our Class will unite and will deliver our very best in this important yearly UPMAS activity.

GETTING THERE

Together with her trusted friends and co-chairs Maybelle Ongkiko-Cagayan and Alnette Tan, Mayos organized the team who would help her realize her grand vision for the homecoming. Alnette and Jojo Lo for the Finance Committee; Cherry Bello-Bucu for Publicity; Rosanna Leveriza for the Registration; Jubert Benedicto, Teresa Gloria-Cruz, Anna Ong-Lim for the Scientific Post-Grad; Paul Pasco for the Webinars; Saldy Villanueva for the UPMAS Golf Open; Cecilia Lim for the Mass and Parade; JJ Cruz for the Physical Arrangements; Maybelle and Alnette for the Homecoming Ball; Jun Ruiz for the Yearbook and Magazine; Raymund Millan for the Class Directory and Guada Natividad-Villanueva for the Class 92 Family Day. I still do not know how she did it, but Mayos was really actively involved in ALL of these committees. Aileen Apolinario-Dualan is Mayos' VP in UPMAS and was our vital liaison with the Golden Jubilarians, especially since her father Dr. Napoleon Apolinario is the President of Class 1967.


Second Official Class Meeting July 20, 2014
(photo credit: Mayos P-Y)

The first call for our homecoming came five years ago when we hosted the Pabidahan talent show for UPCM 87 during their homecoming. There had been organizational meetings held as early as 2014 usually held in the house of Lia Cruz, getting more and more regular as D-Day drew nearer. The Class Viber group began on August 26, 2015 by Marlo Nievera during the benefit Lea Salonga concert for the building of a new BSLR. This Viber group, together with the older FB group, definitely sparked more excitement for the reunion in all of us. The very catchy theme "Walang Katulad" (stylized as "Walan9 Ka2lad") was a brainchild of (now Atty.) Hans Cagayan and was rendered in its final form by Ernest Caritativo


Formal Photoshoot for Magazine: October 1, 2017
(photo credit: Jun R)

I can only talk about the Yearbook Committee since I was part of that group of obsessive-compulsive individuals (like me, haha!) The first call for formal photos with Sablay was issued on May 2016. Our own Viber group for the Yearbook Committee began in July 19, 2016, when things were already getting more serious and hectic with all the pictures and articles coming in. Our first actual meeting as a committee was at Mayos' residence in New Manila last February 3, 2017. The contract with Yearbook Philippines (c/o Randolph Lamzon) was signed by Mayos and witnessed by our editor-in-chief Jun Ruiz last June 16, 2017. The formal photoshoot for the Health and Lifestyle Magazine was held last October 1, 2017 at the UP College of Medicine building. As is typical with us med students, the finalization of this yearbook also went down the wire in terms of deadlines with some classmates submitting photos as late as November.


Classmates Reunion in Virginia Beach: May 29, 2016
(photo credit: James A)

This year, our US batchmates got a headstart on us local folk in terms of reunions. They had a reunion at Felix Tiongco's residence in Virginia Beach on Memorial Day weekend May 29, 2016, where many had their sablay pictures taken.  There was a more formal reunion in Albany, NY for the UPMASA Annual Grand Convention from July 11-14, 2017 which had 22 UPCM 92 attendees including five speakers: Mike Nolledo, Chat Dizon-Baron, Dodo Banzon, Pip Padilla and Mayos Pe-Yan. This occasion was also the world-premiere of the very catchy class homecoming song "Walang Katulad" written by Liza Ilag-Alviar, and first recorded by our "choir" last March 2017.


Classmates Attend UPMASA AGC 2017 in Albany: July 2017
(photo credit: Philip P)

The formal Launch of the Homecoming 2017 happened last January 18, 2017 at the beautiful Museum of History of Ideas along Padre Faura. Attending this event made me realize more than ever that this reunion was going to be something big, special and worthwhile. After the Launch ceremony was held the first free Webinar with the topic about HPV Infection. By the end of 2017, there would be 51 Webinars, which were streamed online once, twice or three times a week every week through out the year. Many Class 92 batch mates served as speakers, reactors or moderators in this impressive series of various interesting topics in almost all medical specialties. 


At the Launch: January 18, 2017
(photo credit: Melflor A)

There had been several dance practices patiently conducted by Maybelle, Alnette and our professional choreographers (the three founders of Whiplash -- sisters Lisa Chingcuanco, Tintin Limhap and Cecille Martinez) for a series of Sunday afternoons since September 2017 at the Sunshine Place, a recreation center for senior citizens (not that we are) along Jupiter St. The theme of our dance was "Sexy ang 92!" with songs like "Sexy Back,""I'm Too Sexy,""Kiss,""Sex Bomb" and "Sexy and I Know It". I think today was the first day we really saw as close to the real number of people who were going to dance. Many people were only learning the steps for the very first time and it was exciting.


First Dance Practice at Sunshine Place: September 24, 2017 
(photo credit: Alnette T)


DECEMBER 15, 2017


Homecoming Week started last December 15, 2017 with the Golf Tournament held at the Ayala Greenfield Gold and Leisure Club in Calamba, Laguna. This event also included a Meet and Greet with our fellow celebrators this year, the Golden Jubilarians Class 1967. I was not able to attend this event so I could not say more about it aside from it being well-attended and successful. I did learn later that a 17-year old female golfer won the big prize.

DECEMBER 19, 2017


The next major activity was the Post- Graduate Course called "Convergence in Divergence," subtitled "Wellness for All." This event was held in the Buenafe Auditorium, on the third floor of Calderon Hall (which I only knew this year was the name of the College of Medicine main building). The emcees were Sandra Dy-Chua and present DOH USec Eric Domingo. Ortho Gar Eufemio started the ball rolling with a lively enumeration of his "Healthy Lifestyle Checklist". Endocrinologist Liza Ilag talked about Pre-Diabetes. Melflor Atienza and Felix Tiongco, both GI specialists, talked about Dyspepsia. 

The first lunch symposium was about asthma by Pulmo Jubert Benedicto. The second lunch symposium was about United Airways, with panelists ENT Tech Gloria, Pedia Infectious Anna Ong-Lim and Pulmo Albert Rafanan. Cardio Giselle Gervacio and Neuro Joey Boiser spoke on the intriguing topic of Bangungut. Cecile Maramba-Lazarte talked about Herbal Medicine, and Irene Baluyut Larkin talked on Health Supplements. In conclusion, audiences got excited when Cyn Ciriaco-Tan and JJ Cruz spoke about derma and plastic surgery in the quest of being Fab at 40 and Beyond. 


Group Photo for "Convergence in Divergence": December 19, 2017
(photo credit: Philip P)

The reunion started for me here. It was exciting to get to speak with classmates I had not spoken with since graduation from med school. It was great to hear my classmates lecture with so much authority about the topics assigned to them. Too bad that I would not be able to listen to all the lectures in full because of my duties with the Yearbook Committee because this was also the day when they were first given out to the class! This was also the first day I was to see the yearbook pages in tablet form.

There would be more bonding and more carousing later that same night at Minokaua on Adriatico St. near the Remedios Circle. Too bad I was not able to go to this activity to report more about it, but photos, videos and first-hand accounts all say it was a very fun event with some classmates like Martin Lansang, Marlon Oclarence and Beth Ng-Hinton showing off their heretofore hidden talents in singing with the live band. Classmates like Lucky Lara and Egay Musngi made their presence felt first during this party. 

DECEMBER 20, 2017

This day started bright and early at the flagpole area in front of the Philippine General Hospital where a giant tent and stage were put up for the big occasion which would include all the celebrating classes this year. The rains brought about by Typhoon Urduja in the past few days cleared up after a slight drizzle earlier this day. The officiating priest of the Homecoming Day Mass was Fr. Larry Tan, SDB and he had the audience paying attention during his lively homily. The mass songs were sung by the UPCM Choir.

We saw our gritty survivor classmate Bong Marfa for the first time here. The breakfast fare was simple Mc Donald's fare but it was the reconnecting and reminiscing conversations that nourished us more. The digital elections for new UPMAS Officers were also held at this time, for which we got either a free UPMAS cap or umbrella for our votes.


Parade Photoshoot at the PGH Oblation: December 21, 2017
(photo credit: Rico M)

A short program hosted by a couple of dynamic classmates Anthony Cordero and Orville Ocampo prior to the Homecoming Parade. Aside from their quick wit, I was amazed at how they were able to annotate the whole proceedings with names of prominent people in each of the celebrating batches, as well as some interesting trivia about each batch (Due to policy transition issues, UPCM 72 used to be divided into A and B, and there was no UPCM 88.) 

Our batch was the last one to be called for our class photo in front of the stage. Then the parade (guided by our Marshall Joachim Cruz, son of our very own JJ and Tech Cruz) took us to more group photo-ops in front of the Oblation and the giant Christmas tree across it. We saw the lobby of new Qualimed private clinic complex for some more picture taking. Then some more group photos in front of Calderon Hall itself. The parade ended in the Wellness Center where we had lunch (Jollibee fare this time) in noontime humidity. 

After lunch, Pres. Mayos called to order the Annual Business Meeting of the UPMAS, as was the usual schedule of events. She reported on the important matters that transpired within the last year. The winners of the election that morning were also announced. 

By 2 pm, everybody returned to the Wellness Center for the resumption of festivities with the Pabidahan. This is a yearly "Tao Rin Pala"-like talent show tradition hosted by the alumni batch five years junior to the silver class, so that is UPCM Class 97 for our batch. The event was emceed by the jovial president of Class 97, Dr. Maxie Escano. The board of judges included Ms. Ruby Rodriguez of "Eat Bulaga", Dr. Mia Tabunar of UPCM Class 1995 and Dr. Melfred Hernandez UPCM Class 94. Classmates Tina Koa-Malaya and Marirose Cutillar-Alegre showed up to join us this afternoon. 

For some reason, Class 67 did not show up for their number. So, the show began with Class 77, the Ruby Jubilarians all in red, showed a lot of class as they danced to a bossa nova version of "Rock Baby Rock". Never heard that song slowed down so much, so that it would fit chacha-like dance steps. Our Class 92 showed up full force to dance "Can't Stop the Feeling" with the same choreography as our US classmates performed in Albany earlier this year. Judge Ruby's comment on our performance was how when she judges group numbers like this, she always observed the people at the back row and how they try to cope with the steps of the people in the front. But since there are plants at the back of the dance floor, she'll take that as an excuse for not being able to follow too well. Haha!


"Can't Stop the Feeling" Pabidahan 2017 Winning Number: December 20, 2017
(photo credit: Rico M)

Class 97 and Class 2002 both had a dance number with practically the same steps to the tune of Inigo Pascual's "Dahil sa Yo". This prompted the judges to call for a pair from both groups to go in front for a dance showdown to the same song. Then Maybelle and Alnette from our batch went and joined in the fun, followed by judge Ms. Ruby who pulled her sister Dra. Sally Gatchalian from Class 77 with her in front. That was a truly awesome moment of the afternoon! Two members of newly graduated Class 2017 (who will eventually host our batch's 50th Jubilee in 25 years) rendered a couple of songs to end the contest proper.

The judges deliberated for a while then were called in to announce the awards. Class 2017 won Most Gutsy (or something like that) for daring to perform with only two members. Class 2002 won Most Resourceful, saying that they were able to copy the number of Class 97 exactly within minutes of their performance. Class 1997 won Third Best Performance. Class 1977 won Best Choreography, Best Director and Second Best Performance. Our Class 1992 won Best in Costume, Best Attendance, Most Cohesive (!) Class, and to top it all, BEST PERFORMANCE! Way to go for our class who never ever won a single TRP ever back in med school (even getting disqualified on our final attempt, haha!) The prize we got was, well, a couple of tubs of biscuits, but hey, we won first place!


Our First Prize Winning Dance Number!
(Video Credit: Irene BL)

The rest of the afternoon was spent at Buenafe Auditorium rehearsing for our dance numbers for the homecoming the next day. Heinrich Elinzano joined us for the first time here. 

DECEMBER 21, 2017

The whole morning was spent rehearsing our dance numbers on the actual stage itself in the Fiesta Pavilion of the Manila Hotel. The dance floor was not as wide as the stage like we practiced in Buenafe the day before. There were tables beside the dance floor, so there were parts where we had to snake through between them to make it to our mark on stage barely on time for the final sequence. There were classmates who gave us a pleasant surprise by showing up for the first time that morning, like Earl Mauricio, Blanche Decano-Orpilla and another undaunted fighter of our class, Jun Diokno. After a few run-throughs of both the Sexy dance and the Community Dance, we were let off for lunch and preparation for the formal ceremony this afternoon. 


Before the Final Dance Rehearsals at the Fiesta Pavilion: December 21, 2017
(photo credit: Rico M)

At 2:30 pm, we were all gathered at the Centennial Hall for the Medallion Ceremony. Our girls were all in elegant gowns in various shades of green, from mint to emerald to forest. Our guys (well mostly) were in black suits with maroon neckties. We all got our medals outside the hall and took our individual formal photos with the medal on already before we entered. The hosts for that event were Mia Nepomuceno-Perez and Faith Bocobo-Balmaseda. All the members of the celebrating classes were called in for their medalling by Dean Agnes Mejia. There were amazingly three members from Class 1952 (65th year) there and about ten or so members of Class 1957 (60th year), aside from Class 1967 (50th year) and our dear Class 1992 (25th year). Richard Casiano made his unexpected appearance in this event. There was an emotional moment when the son of departed classmate Regi de Leon received his medal in his behalf. 


Medal Ceremony: December 21, 2017
(photo credit: Jobert C)

By 6 pm, everyone was gathered in the foyer of the Fiesta Pavilion for the Homecoming Ball. The foyer had blown-up photos of all the celebrating classes for the guests to look at and serve as backgrounds for their group photos. When we finally got to enter the hall and find our seats (and find out for the first time who our seatmates would be), everything looked very grand and glamorous. Once all the people in the lobby had filed into the ballroom, the members of our class were called outside to assemble for our grand entrance. This was the first time we saw classmates like Edna Vianzon, Raymond Evangelista, Mark Fernandez and Thanny Labio join in the festivities. 99 members of Class 1992 were in attendance at the ball that night. While that figure did not break any attendance records, it was way higher than what the "minimum deliverable" expected when planning began.

We arranged ourselves in order of height starting from tallest, one line for girls and one line for boys. On a cue, we boys escorted whoever was beside us in line through the ballroom on the red carpet to the stage to the tune of our Homecoming Anthem. I had the ever-energetic Alnette Tan on my arm during that entrance. Our formal sablay photos were being shown on the wide screens while we entered. There seemed to be more boys who attended than girls since the last few girls were being escorted by two boys. Jun Diokno joined us onstage as well. When we were all there, we "sang" (okay, lipsynced) Liza Ilag's gift of song to our class, "Walang Katulad."


(video credit: Irene BL)

After the National Anthem and the UPMAS Hymn rendered by the UPMAS Choir, a very touching invocation was delivered by Cherry Bello-Bucu, text written by Kat Juliano. Shortly after the emcees for the night, Orville Ocampo, Anthony Cordero and Tech Gloria-Cruz, were introduced, the 4-course sit-down dinner (Prawn Mango Pearl Cocktail, Cream of Zucchini and Spinach, Grouper Fillet or Stroganoff of US Beef, Apple Pie with Vanilla) started to be served. After the Welcome Remarks by the Dean, there was a roll call of all the alumni classes for their members to make themselves heard.  

An award were given to Class 1967 for Class of the Year, Dr. Frances Lina Lantion-Ang, UPCM Class 1971 was named Outstanding Educator and Dean Agnes Mejia UPCM Class 1977 was given the Dr. Gloria T. Aragon Illustrious Faculty Award. The Golden Jubilarians then displayed their ballroom dancing prowess to the tune of their batch theme song "Moon River", the same song that won them first place as their TRP presentation. More awards were given after this, to Dr. Regina Pascua- Berba UPCM Class 1987 as Outstanding in Medical Service and Dr. Helen Agustin-De Guzman UPCM Class 1967 as Outstanding in Community Service. 

Admittedly we in Class 1992 were already in a tizzy backstage at that moment preparing for our number which came next. Honestly, what exactly happened after that intro spiel and intro tune of "Versace on the Floor" and the dance number began, I don't know what happened. Everything was happening lightning-speed during the "Sexy Back" part of the girls and the "I'm Too Sexy" part of the guys. Then while the Salsa group (featuring Joseph Yu, Thanny Labio, Jun Ruiz, Irene Baluyut, Giselle Gervacio, Cyn Ciriaco, Lora Garcia and of course, Alnette and Maybelle) was doing their "Kiss" dance, we were all busy back stage changing to our Sexy shirts. 

Then suddenly the strains of "Sex Bomb" came on, and the trio of Kat Juliano, Aileen Apolinario and Cecille Maramba went on stage in their amusing and cute fat suits with glittery two-piece red, green and gold bikinis. Then it was our turn to enter the stage to complement them at the back with a few more verses of the chorus before the finale music came on and we had to rush back to the dance floor part for the final formation. As we feared that morning during rehearsal, the tables in that left side area, with all the photographer and guest taking videos and photos,  made it difficult for us to reach our meeting points for our entrance. Before we knew it, we just had to go directly to our final points and assume the final pose. Everything happened in a flash, a blur. I need to watch a video to see how we actually did. Haha!

Because of the extreme adrenaline rush, I could not concentrate too much to the next awards given to Dr. Susan Pineda-Mercado UPCM Class 1987 for Distinguished Alumna, the Feliciano family for Family of the Year, and Dr. Francisca Tolete-Velcek UPCM Class 1966 for Lifetime Achievement Award. We still had to change to our solid bright colored shirts for the final community dance, which by now I all but forgot already. I got back in time to sing "UP Naming Mahal" which always gives me goosebumps no matter how many times I have sung it. 

We were already waiting in the wings backstage when UPMAS and Class 92 President Mayos Pe-Yan gave her valedictory address. Of course, she acknowledged her organizing committee for a job very much well-done. When every member of the Org Comm was onstage accompanied by thunderous applause, the burst of confetti rained on the whole stage. Mayos then turned over to Ricky Luna of UPCM Class 1993 the reins of the next Homecoming celebration, which they have dubbed "Uwi Na Po" to be held in the posh Okada Manila (an announcement which drew an audible gasp from the audience).

The final community dance was set to the upbeat tune of Meghan Trainor's "Better When I'm Dancin'".Our batch did our part of the dance for the first two verses and then we were joined by representatives from all the other celebrating batches in attendance that night. What a joyous joyous finale that climaxed in another cloudburst of glittery gold and silver confetti! The members of the Flintstones Band then came back on the stage and led everyone dancing to various songs from all decades until past midnight. At least that is what I think, I was not able to last that long because of sheer (but exuberant) exhaustion.

DECEMBER 22, 2017


The day after the ball and everyone was still giddy in the experience of the past three days. Shared a table with Rico Madlangbayan, Lalang Lopez, and Jojo Almendral. Earlan Bautista and Raymund Millan joined our conversation after a while. It seems we really could not get enough of talking about our past, present and yes, even the future got into the topics. 


Breakfast at Cafe Ilang Ilang, Manila Hotel: December 22, 2017
(photo credit: Rico M)

We actually got to speak to people we never really got to speak with much during our med school and discovered more about their lives they led and talents we never before knew they possessed. Everyone practically still look the same, give or take a few pounds and strands of hair. The 25th year is really the best reunion to attend in terms of health and energy. The 50th year is still too far ahead to envision as a certainty. Plans for more frequent intermediate reunions are already in the pipeline I believe, while everyone is still reeling from homecoming euphoria.

There was still a family get-together at Makan Makan Asian Food Village inside Ocean Park Manila at lunchtime. Unfortunately, I was not feeling too well after breakfast (felt febrile and dizzy since last night after the ball) so I could not stay longer. As Lalang said at breakfast that morning, the spirit may be willing, but the body may not be up to it anymore. Hehe.


Family Lunch at Makan Makan: December 22, 2017
(photo credit: Rico M)

Looking back at our tumultuous med school experiences now 25 years later, I would like to believe that ample time had passed and the wounds within our class have already healed. It is clearly time for our class to move on from our past controversies and leave them all behind. In so doing, we become a stronger and more united class than ever before. Consider our class officially reborn this 2017!


***********

Postscript: Dr. Mayos Pe-Yan would like to acknowledge the valuable contribution of Dr. Anna Victoria San Pedro, UPCM Class 2017, who served as her assistant during the last four weeks prior to the Homecoming. She designed all the homecoming tarps and was in charge of the AVPs during the Homecoming Day and the UPMAS Awarding Ceremony. She would also like to extend her gratitude to the UPMAS Staff led by Ms. Tess Paragsa and Rucel Bautista for being ever-efficient and dependable during the entire homecoming preparations and events.


My Yearend Roundup: The BEST of PHILIPPINE THEATER 2017

$
0
0
December 29, 2017

For the year 2017, I had seen and written about 53 theater productions: 15 musicals, 21 full-length plays, and 17 one-act plays. I missed a lot of productions in Ateneo because of schedule conflicts and especially the bad traffic in that area.

I will list here what I feel were the best among those theater shows I have seen and written about for 2017. (My 2016 list was posted HEREMy 2015 list was posted HERE.)

I.  FILIPINO MUSICALS:


Best: OBRA NI JUAN
(My Full Review)

Music by: Pipo Cifra
Written and Directed by: Vincent Tanada

In an inventive and bold twist of storytelling genius, Atty. Vince Tanada brings us inside the disturbed psyche of Juan Luna as he argued within himself about key decisions and events of his life, both celebratory and tragic.  While this potentially controversial two-in-one characterization style (the genteel artist vs. the volatile cad) can cause confusion for the viewers at first, this novel approach also made us gain a unique understanding of the artist and his state of mind. I marveled at how Atty. Tanada was able to create such an imaginative manner of telling what could have been a straightforward dry history lesson.

Other Notable Productions:

Maynila sa mga Kuko ng Liwanag (My Review)
Aurelio Sedisyoso (My Review)
Tagu-taguan, Nasaan ang Buwan (My Review)

Notable Performances:

Vincent Tanada, Patrick Libao, Cindy Liper and Adelle Ibarrientos-Lim (Obra ni Juan); Arman Ferrer, Aicelle Santos and Shiela Valderama-Martinez (Maynila); David Ezra, Norby David and Hazel Maranan (Aurelio Sedisyoso): Roi Calilong and Joan Bugcat (Tagu-taguan); Upeng Galang Fernandez (A Game of Trolls)


II. NON-FILIPINO MUSICALS:


Best: MATILDA
(My Full Review)

Book by: Dennis Kelly based on a novel by Roald Dahl
Music and Lyrics by: Tim Minchin
Director: Bobby Garcia

The heart and soul of the whole show was Telesa Marie "Esang" De Torres who played Matilda.  So impressive was her snappy Hermione-Granger sounding British accent with which she flawlessly delivered the longest lines while narrating four parts of her story. When we hear her sing her solo songs "Naughty" or "Quiet", it was transcendent of any initial expectations for a child performer her age in her first lead role in a major production. The beautiful stage design depicting Matilda's favorite library is immediately arresting in its size and play with colors, as designed by Faust Peneyra. Director Bobby Garcia, as always, never fails to wow the audience with how he staged the shadow play storytellling and the telekinetic special effects. 


Other Notable Productions:

Newsies (My Review)
Kinky Boots (My Review)
Chitty Chitty Bang Bang (My Review)

*** Foreign Touring Production: The Sound of Music (My Review)

Notable Performances:

Esang de Torres, Cris Villonco, Joaquin Valdez, Carla Guevara-Laforteza and Jaime Wilson (Matilda), Gian Magdangal, Danielle Chopin, Jef Flores and Daniel Drilon (Newsies); Nyoy Volante (Kinky Boots); Reb Atadero (Chitty Chitty Bang Bang): Caisa Borromeo (Hair): Carla Guevara-Laforteza (Spamalot), Noel Rayos and Franco Laurel (A Christmas Carol 2017); Janelle Visagie (The Sound of Music)


III. FILIPINO PLAYS:

A. One-Act:


Best: LOOB
(My Full Review)

Written by: Patrick Libao
Directed by: Vincent Tanada

The performance of Gerald Magallanes 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. His intensity was matched step by step by Arian Golondrina, who amazed everyone with her fluid versatility as she seamlessly transitioned into multiple characters, even dropping a few lines in Russian. A thunderous standing ovation greeted this mesmerizing play when it ended, all truly deserved!

Other Notable Productions:

Pilipinas Kong Mahal with All the Overcoat (My Review)
Si Dr. Dolly Dalisay at ang mga Ladybugs (My Review)
Ang Mga Puyong (My Review)

Notable Performances:

Gerald Magallanes and Arian Golondrina (Loob), Fitz Bitana and Anthony Falcon (Plipinas), Dolly de Leon and Celeste Legaspi (Dr. Dolly), Reynald Santos and Ahmed Maulana (Puyong) Gie Onida (Birdcage), Ricci Chan and John Lapuz (Hindi Ako si Darna), Katie Bradshaw and Epi Quizon (Beheld), Edgar Alan Zeta-Yap (Carol)


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


Best: ANGRY CHRIST  
(My Full Review)

Written by: Floy Quintos
Directed by: Dexter M. Santos

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. 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. 



Other Notable Productions:

Ang Pag-uusig (My Review)
Sakuntala (My Review)
Ang Buhay ni Galileo (My Review)

Notable Performances:

Nelsito Gomez and Kalil Almonte (Angry Christ), JV Ibesate, Jonathan Tad Tadioan, Doray Dayao and Antonette Go (Ang Pag-uusig), Vincent Kevin Pajara (Sakuntala), Bodjie Pascua, John Moran and Noel Comia Jr. (Ang Buhay ni Galileo), Leo Rialp and Issa Litton (Mga Ama, Mga Anak), Boo Gabunada (Bagong Cristo), Juliene Mendoza (Eurydice), Angeli Bayani, Jackie Lou Blanco and Cherry Pie Picache (Buwan at Baril)


IV. NON-FILIPINO PLAYS:


Best: AGNES OF GOD 
(My Full Review)

Written by: John Pielmeyer
Directed by: Bart Guingona

Even if Pinky Amador may physically seem too young to play a strict jaded Mother Superior, she convinces us that she was one by the sheer gravelly grit of her voice as she delivered her world-weary lines which dripped with bitterness. Menchu Lauchengco-Yulo never missed a beat as the chain-smoking doctor. Her psychiatrist was frank and straightforward, yet caring and empathetic. That chest-beating scene is simply so potent.  As Agnes, Becca Coates reminded me of the raw talent exuded by a young Monique Wilson. Her look and her voice were angelic and innocent, yet she made us feel Agnes' fractured psyche.



Other Notable Productions:

My Name is Asher Lev (My Review)
W;t (My Review)
Prelude to Macbeth (My Review)

Notable Performances:

Becca Coates, Pinky Amador and Menchu Lauchengco-Yulo (Agnes of God); Nel Gomez (Asher Lev); Tami Monsod (W;t); Mikkie-Volante and Bart Guingona (Blackbird);  Giannina Ocampo, Caisa Borromeo, Tami Monsod and Joshua Spafford (In the Next Room); Michael Williams, Roselyn Perez and Cherie Gil (Vanya and Sonia and Masha and Spike); Jernice Matunan (Prelude to Macbeth)

FLASHBACK Recap and Videos: PETA's SAYAW SABEL (2010)

$
0
0
June 26, 2010



This is the 3rd and final event of PETA's East West Danse event which spanned the whole month of June.  Of the three shows, it is "Sayaw, Sabel" which had generated the most hype and excitement.  Many big names in various fields of Filipino arts are involved. The huge turnout tonight proved its popularity.  Tonight was a full house.

This dance showcase is a product of director and choreographer Ms. Agnes Locsin.  She was once artistic director and chief choreographer of Ballet Philippines in the 90s, now based in Davao City.  She is known for merging Western classical dance technique with Philippine neo-ethnic movements.  I beleive she does a lot of this in "Sayaw, Sabel".

The inspiration behind "Sayaw, Sabel" is the painting called "Sabel" by National Artist Mr. Benedicto Cabrera.  This painting "Sabel" was described by its creator Bencab to be "a melancholic symbol of dislocation, despair and isolation--the personification of human dignity threatened by life's vicissitudes, and the vast inequities of Philippine society."  "Sayaw Sabel" on the otherhand, is described in its synopsis as "a collection of dances depicting how Filipinos go through life in the midst of all their troubles and tribulations with shining resilience."

The unique feature of "Sayaw Sabel" is that the lead role of Sabel will be performed by a different featured theater actor each night, making each show different from the others.  Also, Each show will have seven dance artists and a featured theater artist portraying the title role. In an article in Malaya, Locsin said that the seven dancers of each show will also depend on who is available at the time.

In 2 pm show today, Sabel was played by PETA Artistic Director Ms. Maribel Legarda.  For the show I watched tonight, Sabel was played by a theater actor and director named Melvin Lee.  I honestly have not heard of him before, but he seemed to have a lot of fans in the audience, as he was always very warmly applauded.  Other actors set to play Sabel in future stagings are Nonie Buencamino and his wife Shamaine Centenera.

The music of "Sayaw, Sabel" comes from Louie Ocampo and Joey Ayala.  Additional sound design and music was by Jakob Rodriguez with selected OPM songs of Celeste Legazpi, Basil Valdez, Parokya ni Edgar, Noel Cabangon, and Aegis. Poetry by National Artist for Literature Bienvenido Lumbera was also used.  Mr. Lumbera was in the audience last night.

The seven dances performed in "Sayaw Sabel" last night were (there would be several other dancers with other dance pieces on other nights):

1.  "Kayod" by Judell de Guzman-Sicam.  Ms. Sicam was dancing with an office chair with wheels.  Based on the title, I take it this represents people so tied up with their respective jobs in order to make ends meet.

2.  "Batak" by Dwight Rodrigazo.  Mr. Rodrigazo was dancing with a piece of cloth, like a security blanket.  I honestly cannot guess what this dance was about.  Not even the title gives me a clue.  It could be about drugs.  But despite this, I found this performance to be strong, riveting and interesting. (VIDEO)

3. "Abandonada" by Christine Crame.  Ms. Crame was dancing with what looked like a very big piece of white paper.  I do not know what the paper was about, but the title suggests she had been abandoned by her husband.  The first part of her dance was to the Visayan song "Usahay", while the second part was to the Aegis song "Halik."  Very innovative.  (VIDEO)

4.  "Sugat" by Annette Cruz-Mariano.  Ms. Mariano was dancing with a huge black fishing net.  Based on the title, and the voiceover, this dance represented being trapped by scars inflicted by abuses in the past.  The net provided Ms. Mariano the means to deliver a haunting and meaningful dance performance.  This was truly memorable.

5.  "Bagong Bayani" by Monique Uy.  Ms. Uy was dancing with a Balikbayan Box.  But actually she gets help from three other girls in this number.  Ms. Uy does not really get a substantial solo. Based on the title, this dance was obviously about Overseas Filipino Workers.  The number was rather straightforward with familiar and easier to access modern dance steps.  (VIDEO)

6.  "Sino Ka?" by Perry Sevidal.  Ms. Sevidal started by dancing with a piece of newspaper, but danced the rest of it by herself.  Again this is a number which I do not really know what it means, by the dance nor by the title. In fact I do not really remember much about it now.  She did dance to "HIndi Kita Malimot" as sung live by Sabel.  Maybe that is why I remember the song more than the dance.

7.  "Ako Una" by Camille Ordinante-Joson. Ms. Joson started by dancing solo, but the more remarkable part of her dance involved her interaction with other dancers.  We see her getting in conflict with other people.  There was literal pushing onstage!  This was the one moment in the show that was actually funny.  From the title, I take this dance to represent either pushy people in society or crab mentality.

And of course, there is the character of Sabel.  Sabel is dressed in layers of rags.  Her face had thick ghostly make-up.  Her head was covered by a stocking with pieces of hair sticking out.  The seven solo dances of this whole piece was held together and transitioned by this Sabel character.  After each dance, Sabel would come out and interact a bit with each of the other dancers.  (VIDEO)

In this show tonight, Sabel is a he.  Melvin Lee with his bulk and height certainly gave a this Sabel a very different look and presence, compared to what would be expected from a woman.  His solo dance steps during Sabel's highlight which came midway (after the 4th number "Sugat") were a bit shaky, but he was very good in conveying sadness, desolation and confusion in his solo.  His acapella rendition of "Hindi Kita Malimot" for Dance #6 was actually very moving.

Overall, this modern dance piece was thought-provoking and dramatic.  Though it could also easily be interpreted as indulgent and pointless.  I think the whole show could be polarizing, people will either like it or they won't.  The dancing here isn't exactly ballet, nor jazz, nor ballroom, nor hiphop, nor any of the more recongizable dance forms.  I liked certain numbers more than others.  I also liked that it was short (only one hour) with no intermission. 

Based on the audience reaction, last night's staging of "Sayaw, Sabel" was a big success.  And with other theater actors lined up to play Sabel, next stagings promise to be similarly well-received.  Congratulations to the cast and crew of "Sayaw, Sabel" and PETA!


Review of PETA's 'NIGHT, MOTHER: Devastating Depression

$
0
0
January 24, 2018



The 50th year anniversary celebration of PETA began with a blast in March 2017 with the restaging of their massive 2012 box-office hit "Care Divas". In August, PETA had a colorful and delightful new original show for children entitled "Tagu-taguan, Nasaan ang Buwan?" Just last November, PETA returned to its original stage at the Rajah Sulayman Theater in Fort Santiago to stage "Ang Buhay ni Galileo." After those three bombastic shows with big all-star casts, PETA chose to close its golden season very quietly with this intense serious drama starring only two actresses.

A middle-aged epileptic woman Jessie, estranged from her building contractor husband and drug addict son, lived with her elderly widowed mother Thelma. One seemingly normal Saturday night, Jessie was preparing to give her mother her regular manicure. Without any apparent warning, Jessie calmly announced to her mother that she will be committing suicide later that night. Shocked and distraught, Thelma desperately tried everything she could as a mother to stop her daughter's fixed decision. 


The original material was written by American playwright Marsha Norman. It won the 1983 Pulitzer Prize for Drama. It was first staged on Broadway in 1983 with Annie Pitoniak as Thelma and Kathy Bates as Jessie. It was nominated for a Tony for Best Play. It has a revival in 2004 with Brenda Blethyn as Thelma and Edie Falco as Jessie. In 1986, there was a film version starring Anne Bancroft as Thelma and Sissy Spacek as Jessie. As skillfully adapted into Filipino by Ian Lomongo, the play transformed into something so authentically Pinoy, you'd think it was originally written that way. 

For an intimate two-hander play, the set by production designer Ben Padero was huge. It was a detailed interior of a bungalows with a typical design for the 1950s.  The living room had a sala set and television, with shelves full of books. Behind, there was a small flight of stairs up to go to their bedrooms. The kitchen had full cupboards, a working refrigerator and running water form the sink. Above we see some obvious wear and tear on the wooden parts of their house, betraying its age and lack of maintenance. It was a regular middle class Filipino household, could be ours or could be our neighbor's.


I had seen Sherry Lara before in plays like "Walang Kukurap" (MY REVIEW) and "Betang" (MY REVIEW), so I am fully aware of her acting talents. But her performance as Thelma is on a much higher level because she felt so real. We identify with her desperation and exasperation all the way from Jessie's startling declaration all the way up to that hair-raising ending. We hope we never have to hear that kind of statement ever in our lives and then live that devastating night down for the remainder of our lives. Yet Ms. Lara had to go through this emotional roller coaster with every performance. 

We know Eugene Domingo more as a movie ("Kimmy Dora" immediately comes to mind) and TV comedienne. I had seen her act on stage before, also in PETA, five years ago in the stage version of "Bona" (MY REVIEW). She did not star in a play since then until now. Like Ms. Lara, Domingo played it so naturally. We know Jessie is a majorly depressed person, but for that evening, she was unusually chatty and lucid. Her plan was all laid out so neatly, so organized and thorough.  Domingo kept our attention riveted on her through all those mundane things she did all night. The whole performance is spine-tingling, knowing what it would be all leading up to.


I had previously seen Director Melvin Lee sing and act as Chelsea in "Care Divas" (MY REVIEW), dance as Sabel in "Sayaw Sabel" (MY REVIEW) and direct in "Mapagbirong Haplos" (MY REVIEW).  For this new play, Lee made this heart-wrenching heavy drama also as much a heart-pounding suspense thriller. The lighting design by Jonjon Villareal and music by Vincent de Jesus all worked to hold us at the edge of our seats throughout its approximately 90 minute running time. Watching that real-time clock on stage was like watching a ticking time bomb about to explode.  

After the play, the stage was set up for a debriefing Q and A session led with psychiatrists experienced with suicides. The intensity and sensitivity of the play's topic, coupled with the very realistic presentation seen onstage, demands such a session for the audience to discuss and ventilate about the traumatic event they just saw transpire in front of their eyes. May this play help us in recognizing suicidal depression and hopefully make positive action to avert any tragic consequences of such distressing mood disorders. 

Post-Show photo of cast with director Melvin Lee, 
writer Ian Lomongo and crew



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

PETA's 'NIGHT MOTHER runs at the PETA Phinma Theater Fridays to Sundays (3 pm and 8 pm shows) from February 2 to March 18, 2018. Tickets are available at Ticketworld.com. Prices: ₱1,800 for VIP, ₱1,500 for Orchestra Center, ₱1,200 for Orchestra Side, ₱1,500 for Balcony Center and ₱800 for Balcony Side.


Review of Rep Phils' A COMEDY OF TENORS: Doppelganger Distress

$
0
0
January 28, 2018




In recent years, Rep had staged a number of Ken wacky comedies written by playwright Ken Ludwig. They did "Shakespeare in Hollywood" in 2011, "Leading Ladies" in 2012, and "The Game's Afoot" (MY REVIEW) in 2016.  This year, as the opening salvo for their 81st season, Rep decides to stage yet another Ken Ludwig play. This time, it is the sequel of the first play by Ludwig that Rep did a little ways back 15 years ago. 

In 2003, Repertory Philippines opened their 66th season with Ludwig's "Lend Me a Tenor". Directed by Zenaida Amador, that production starred Miguel Faustmann as famed Italian tenor Tito Merelli and Joy Virata as his wife Maria. Arnel Carrion played the harassed show producer Henry Saunders and Michael Williams played his mousy assistant Max, who turned out  to have a hidden talent. Liesl Batucan played Saunder's daughter Maggie, on whom Max had a crush. Rem Zamora played a funny fanboying hotel bellhop.

In its sequel, "A Comedy of Tenors," all those crazy characters are back in a madcap mistaken-identity comedy, as its Shakespeare-inspired title suggests. Henry Saunders had now leveled up to be producing a major opera concert in Paris, France.  Max had also leveled up, from being Saunder's assistant, then son-in-law (as Max married Maggie), and now, also a bonafide opera performer in this concert, sharing the spotlight with no less than "Il Stupendo" Tito Merelli himself.

Tito Merelli is going through some midlife crisis drama -- marital insecurity regarding his wife Maria's fidelity, parental insecurity regarding his daughter Mimi's purity, and career insecurity regarding up and coming young tenor Carlo Nucci. All these problems troubling Tito blow up in a major hullabaloo just two hours before the show was about to begin and all the well-laid plans about the concert began to unravel in a wild pace. As 
Henry and Max scrambled to find a replacement for Tito, they suddenly heard Beppo the bellhop belt out an aria!

I knew that Lorenz Martinez can hit those high notes from the first time I saw him as lead performer in "Lorenzo" (2013) (MY REVIEW).  However, this is the first time I heard him actually sing operatic arias, and with conviction at that. Since he played both Tito (the temperamental star) and Beppo (the loquacious bellhop) who were both opera-singing Italians, Martinez had to comically convince us that they were two different people with subtle quirks of each character. Also, you have to be amazed at how he can emerge from doors on opposite sides of the stage as different guys one scene after the other.

Arman Ferrer makes his debut in a comedy, and in Repertory Philippines, with this play. He is most comfortable when it comes to opera singing in this play. You can clearly hear his classical training when he sings his arias. His comedy timing may still need a little honing compared to his co-stars, but this guy can act as well as he can sing.

Noel Rayos is really very versatile and dependable when it comes to singing, as well as outrageous comedy, as we remember him in his most memorable roles in "Walang Sugat" (MY REVIEW) and "The Producers" (MY REVIEW). Roles like Harry Saunders come so naturally for Jeremy Domingo. He could do roles like this blindfolded already. 

Issa Litton impressed me with her performance in "Mga Ama, Mga Anak" (MY REVIEW) last year, and she was again a sexy comic standout in this one as Tito's elegant fiery wife Maria. Mica Pineda had a very daring opening scene with a mere throw pillow covering her torso. She did her loud and lively best to beef up her role as Tito's daughter, Mimi.  Shiela Valderama-Martinez played Racon, a Russian soprano diva and Tito's former one-night stand who wanted to rekindle their romance. I do hope they change the gown she was wearing because those extra folds of fabric in the front do not look flattering on her at all. 


Domingo, Valderrama, Martinez, Litton and Ferrer at their curtain call

The pace of the play was snappy especially in the Act 1 which was fun and delightful. Act 2 was initially bogged down with those stretched-out Beppo soliloquies with the tongue dish. But it picks up its pace after those were over and done with, leading to a hilariously energetic climax with the two Titos and their ladies. On a side note, I hope they reconsider deleting that scene where Beppo groped Mimi's tush. The audience who was laughing out loud just earlier suddenly fell silent at that awkward scene.

Anyhow, the best thing about this play was that we treated to lead actors who were able to actually sing their operatic arias live! That rehearsal scene of the three tenors singing an aria from La Traviata (I think) was really so good. 

With Miguel Faustmann in the director's chair, we get another slickly-staged over-the-top farcical comic treat that Rep does so well. The comic situations came at us fast and furiously, as well as those silly one-liners with various opera references true fans will lap up with glee. Frankly, I thought having an uncanny doppelganger was a corny plot device, but it effectively brought about a merry-mix up of events as could be expected. 

***********

A COMEDY OF TENORS runs from January 26 to February 18, 2018 at the Onstage Theater in Greenbelt 1, Makati City. Show schedule is at 8 pm on Fridays and Saturdays, with 3:30 pm matinee shows on Saturdays and Sundays. Tickets cost ₱1,500 for Orchestra Center (Reserved Seating) and ₱1,200  for Orchestra Sides (Free Seating).


Review of Sandbox/9 Works HIMALA, ISANG MUSIKAL: Phenomenal Production and Performances!

$
0
0
February 10. 2018




I first heard about "Himala" the musical play in 2013, when a 10th anniversary concert (MY REVIEW) of the 2003 Tanghalang Pilipino production was staged at the PETA Theater. Before then, I only knew "Himala" to be the iconic 1982 film, directed by Ishmael Bernal, written by Ricky Lee and starring Ms. Nora Aunor, which told the story of a simple girl named Elsa who developed the ability to heal diseases after having apparitions of the Blessed Virgin Mary on a nearby hill in Barrio Cupang. 

Composer Vincent de Jesus had crafted deeply dramatic songs with some pretty punishing high notes, which only the best singers can sing. The original cast included such vocal powerhouses like May Bayot (as Elsa),Cynthia Culig-Guico (as Chayong), Isay Alvarez (as NImia) and Dulce (as Nanay Saling). Ricky Lee himself adapted his screenplay for the book of the play and co-wrote the lyrics. 

The story of the musical follows the story of the film faithfully. Elsa has visions of the Virgin Mary on the hill, after which she can cure the sick of body and of spirit. This ability made Elsa a local celebrity. She seemed to enjoy the attention given by her coterie of pious friends and devotees. One day, an unspeakable crime happened on the miraculous hill that drove that led to escalating torment and tragedy. 


Aicelle Santos as Elsa 

This year, on the occasion of its 15th anniversary, the Sandbox Collective and 9 Works Theatricals, decide to restage this play in full as part of its thrust to include Filipino works in its repertoire. An all-new generation of powerful singer-actors had been assembled to sing those same emotional songs for us once again. 

Aicelle Santos was really pushed to go beyond all limits in the lead role of Elsa, and she positively nailed that challenging role down, both acting-wise and singing-wise.  Her two big highlight numbers came one after the other: one questioning the heavens for her misfortune and the final one addressing the crowd with a shocking confession. I've seen Santos before in "Rak of Aegis" and "Maynila sa mga Kuko ng Liwanag" and she had been excellent in both, but this Elsa of hers was in a class all its own.


Bituin Escalante as Nanay Saling 

Portraying Elsa's childhood friends were Neomi Gonzales as the fragile and religious Chayong, and Kakki Teodoro as the bold and worldly Nimia. Both of them shone in their featured songs -- Gonzales in Chayong's duets with Elsa and suitor Pilo, and Teodoro in her raunchy cabaret scene and her duet with Elsa. Bituin Escalante was a notable vocal standout in her searing renditions of Nanay Saling's painful lamentations. There was a scene where was singing in one far corner, but the strength of her voice effortlessly filled up the entire room.

David Ezra, looking very different from how I remembered him as "Aurelio Sedisyoso," played Orly, a dogged documentary film maker from Manila, whose humanity was also put to the test in Cupang. Sandino Martin, fresh from his two acclaimed musical films "Changing Partners" and "Ang Larawan" played Chayong's suitor, Pilo, whose pent-up frustrations were just waiting to explode. Floyd Tena, whom I only first knew from "Maynila" last year, played the cynical (and smoking!) parish priest


Neomi Gonzales and Sandino Martin as Chayong and Pilo

Under the visionary direction of Ed Lacson Jr., this present staging made those emotions as raw as possible. There was no orchestra, just a piano. There were no microphones used, just pure voice. There was not a single dance number, as may be expected from musicals. The whole room at PowerMac Center Spotlight was used as the performing area, with sections of the audience area also covered with thatch roofs to make us feel like we are curious onlooking residents of Cupang as well. Ads promised this show will be an immersive experience, and I completely see and felt what they mean. We felt the fanaticism. We felt the greed. We felt the tragic irony of it all. 

The standing ovation that ensued after the haunting final scene was long and thunderous. The whole cast took their slow bows, many of them were wiping tears off their faces, fully taking in the moment and the appreciation of the crowd. It is just February, but as early as now, I think I had just watched a prime contender for Best Musical Production of 2018!

**********

"HIMALA" runs from February 10- March 4, 2018 at the PowerMac Spotlight, Level 2, Circuit Lane, Circuit Makati.  Show dates are: Sat Feb 10 2018 - 8:00 PM, Sun Feb 11 2018 - 2:00 PM, Sat Feb 17 2018 - 3:00 PM and 8:00 PM, Sun Feb 18 2018 - 2:00 PM, Sat Feb 24 2018 - 3:00 PM and 8:00 PM, Sun Feb 25 2018 - 2:00 PM and 7:00 PM, Fri Mar 2 2018 - 8:30 PM, Sat Mar 3 2018 - 3:00 PM and 8:00 PM and Sun Mar 4 2018 - 2:00 PM. Tickets at P2,500 (Blue Patron), P1, 700 (Gold),  P1,300 (Red) and P1,000 (Black, with restricted views). Rated R-13.

**********



PS: Watching the press preview last night had the incomparable bonus treat of seeing the original Elsa herself, Ms. Nora Aunor. At the end of the show, after director Lacson gave his thank you speech, Ms. Aunor was called down to join the cast for photos. I felt the star-struck exhilaration of the cast as they were individually acknowledged by the Superstar. Later the original cast of the musical (Bayot, Alvarez and Dulce) all joined in to take photos with the new cast. These were really gratifying scenes to witness and remember. 

Review of TP's NANG DALAWIN NG PAG-IBIG SI JUAN TAMAD: Laziness, Love and Laughs

$
0
0
February 17, 2018



Before this play began, the audience was addressed by Ms. Cecille Joaquin Yasay, a niece of National Artist for Literature Nick Joaquin. She welcomed the audience to this play which was adapted from one of her uncle's children's stories entitled "How Love Came to Juan Tamad" from his "Pop Stories for Groovy Kids" series (1979). I only knew Nick Joaquin for his serious works, like "Portrait of the Artist as Filipino,""May Day Eve" and "The Woman with Two Navels." I did not expect him to have written anything for children at all, so this was a pleasant surprise for me. 

The ever-angry god of war Monte Banahaw is smitten with the ever-alluring goddess of love Mariang Makiling. After his advances were rejected, Monte wanted to punish Maria. So he asked his alchemist brother Ba'i, the fairy of Laguna Lake, to whip up a love potion so that Maria would fall hopelessly in love with the ugliest, stupidest and laziest boy in town. Who else would that poor lout be, but Juan Tamad?


Juan Tamad makes his grand entrance sleeping on a bed
with Marco Viana's beautiful set design in the background

The prolific Rody Vera came up with a very engaging Filipino adaptation for theater of Joaquin's short story originally written in English. It was full of current local pop culture references so the lines never sounded old or stuffy at all. As delivered by the in-house TP actors with their usual verve and energy, with funky choreography by Ronelson Yadao and direction by Jonathan Tadioan, Vera's lines had audiences in stitches with all the ridiculous situations in this farce.

Technically, the stage design by Marco Viana was very memorable. That huge multi-tiered sunburst of wooden planks made for a riveting stage centerpiece that really commanded attention. The lights of John Batalla enhanced the dramatic look of this beautiful main set piece. Even though singing is not exactly the forte of most of these actors, the songs by TJ Ramos were a delight to hear

Aldo Vencilao was a perfect fit as Monte Banahaw. You know how it is about short guys and their tendency to overcompensate. Monique "Manok" Nellas played an earthy and sexy Mariang Makiling, very proud of her long legs and feminine wiles. Lhorvie Nuevo was very cute as the Kerubing Ulap, a friendly cloud who could break the fourth wall and be our narrator. Antonette Go was on point with her Kris Aquino impersonation as Maria's sarcastic lawyer. JV Ibesate effectively mined the absent-mindedness of his character Ba'i for laughs. 


Aldo Vencilao and Manok Nellas take their bows.

I am not so sure that Ybes Bagadiong was the best choice to be Juan Tamad. I am not referring to his acting talent, but his particular look. I felt it was an unfortunate decision that the only dark-skinned actor in the cast was made to play the "ugliest, stupidest and laziest boy in town." There was even a line that taunted him how Juan looked like a monkey ("Mukha siyang matsing!"), which called to mind that ill-conceived H&M "coolest monkey in the jungle" ad photo. I am worried how this may feed children's ideas about stereotypes against their dark-skinned schoolmates. 

There were overtly sexual double entendre in so many of the lines exchanged between Mariang Makiling and the men who fall for her charms.  These naughty lines were very hilarious for sure, but at the same time, I could not help but worry about the children in the audience. I was seated beside a child less than five years old, and there were plenty more kids in the audience last night. I just hope these lines just sail above their innocent heads. 

The lesson of the play at the end was not clear. We see Juan Tamad get to become very rich, however we do not see him change his lazy ways at all.  Juan Tamad never got his comeuppance for being lazy. The twist at the end about the love potion sort of sent a confusing message, as if it was saying that Juan's laziness was somehow an aphrodisiac in itself.  For me, the end the play came rather too abruptly, without exactly making very clear its message against this capital sin of sloth. 


The Cast at the Curtain Call

I do not want to be a wet blanket about this because overall I found this colorful show to be quite entertaining for all ages. There were scenes which were really laugh out loud funny. However, because of the reasons for concern I cited above, I would advise strict Parental Guidance for young kids who will be watching this play. Do take your kids to watch this light-hearted fun show, but do discuss and clarify its lessons with them afterwards. 


**********

"Nang Dalawin ng Pag-ibig si Juan Tamad" runs from February 16 to March 11, 2018 at the Tanghalang Aurelio Tolentino, CCP Little Theater. Showtimes are: 8 pm Fridays, 3 pm and 8 pm on Saturdays and 3 pm on Sundays. Ticket prices are at P 1,030 and P 824 each, depending on the price zone, free seating basis. 




Review of DUP's ANG DALAGITA'Y 'SANG BAGAY NA DI-BUO: Suffocating Shame

$
0
0
February 26, 2018

(From the Dulaang UP FB page)

The original source of this play is a 2013 debut novel by Irish writer Eimear McBride entitled "A Girl is a Half-Formed Thing." In 2014, it was adapted into a play by Annie Ryan for one woman to perform. Ms. Ryan wrote the script under strict terms to not change a single word from the book, only managing its length to fit a reasonable time limit for a stage play. Dulaang UP had been granted the rights to translate and adapt this intense play for the Filipino audience by the pen of Rody Vera and direction of Ms. José Estrella.

The life of a young woman is traced from her time in the womb to her birth, through her childhood under the thumb of her abusive mother, her early teens when she first encountered her slimy uncle, then her days in the university when she apparently freed herself from her past. When her elder brother fell seriously ill though, she was forced to return home to be with him. It was then that she had to relive her old nightmares all over again, and then some. 

I read that it took Eimear McBride only six months to write her novel, but she had to wait 10 years before she found a publisher who had the guts to set it to print. The text of the novel was in no way conventional. It was not easy to read not only because of the distressing topic, but also because it was boldly experimental, written in a sort of stream of consciousness style, with no quotation marks to set off dialogues. 

(From the Dulaang UP FB page)

The script of Annie Ryan was likewise just a continuing monologue with no indication of which character was saying what. The translator, director, dramaturgist and the actresses had to figure out the various personalities the solo performer would have to embody in the entire length of this almost two-hour play all on her own. 

Aside from the girl, there was also the mother (very religious yet unsympathetic, always stern and angry with the girl), the brother (seriously ill since childhood, the "you" the girl addresses for the whole play), the uncle (a creep with a nebulous personality -- as if the girl was uncertain about what to think about him until too late). There were also a myriad of more minor characters: the strict grandfather, the patronizing aunt, the best friend, the doctor, the religious fanatics, those multiple sex partners in school and the sick sex pervert in the woods. 

Any actress who was willing to take up the challenge to perform this play is a very brave soul. Not only is she going to have to portray several characters, these are characters who were literally at each others throats in many cases. She would be practically be memorizing all the lines of all the characters, from the lead down to the extras. She needed to give each role a distinct face, voice and personality, and not mix them up as she went from one to another. She would have to bare her soul on that stage as the protagonist goes into various stages of her physical and emotional breakdown.

The Four Dalagitas: Labastilla, Maramara, Santos and Damole
(From Missy Maramara's FB page)

I have seen this play two times already before writing out this review in full. On my first day, I caught Missy Maramara as the girl. I was seated at the very back row of the theater towards the left side. On my second day, I caught Skyzx Labastilla as the girl, I was seated much closer to the stage on the fifth row center. The viewing experience was very heavy both times given the bleak nature of the play (but of course I was able to pay more attention to the details of the script better the second time around). 

The acting instructions of director Ms. Estrella appeared to be specific for each particular scene, since both actresses basically did the same general motions. Each actress just came up with subtle individual detail changes to set their Girl apart from the other Girls. Opaline Santos and Harriet Damole also alternate to tackle the role on certain show times. Maramara and Labastilla seem to be the more senior actresses of the four. I wonder how it would be to have one of the younger actresses perform, especially since the Girl should only be age 20 by the final scene. The effect could probably be more hair-raising.

Talkback Session with Ina Bolivar and Missy Maramara (02-24-18)

There were constants that the actresses have onstage to work with: like the chair (the girl's only crutch onstage), the video projections to depict outdoor scenes, and those disturbing sound effects that heighten the tension, emotion and pain of the scenes where they were used. They had some water waiting at both sides of the stage to keep their throats hydrated. At the end, a square hall of mirrors opened up in the middle of the stark black backdrop to frame the haunting final scene. The lighting was so vital in the whole play, especially that final scene with the mirrors. The effect of the playing lights during that final scene with the mirrors looked different from where I sat, each with their own dramatic impact. 

This was the first time I have seen Ms. Maramara perform. I only knew her by reputation as an experienced practitioner of solo theater. She had taken on the one-woman show "Clytemnestra" (as adapted from various sources by Kiara Pipino) and performed it both abroad and locally (which I unfortunately missed). She had also written, directed and performed her very own one-woman work entitled "Love, Liz" which she debuted in the United Solo Festival in New York back in 2013. 

Talkback Session with Ina Bolivar and Skyzx Labastilla (02-25-18)

As for Ms. Labastilla, I have seen her act in a couple of two-hander short plays back in 2016. One was the perplexing "Daddy's Girl" (MY REVIEWat the Virgin Labfest XII, and later that year, it was the traumatizing "Indigo Child" (MY REVIEW) as part of the "Never Again" festival of Martial Law plays. In both plays, she delivered lengthy emotionally-draining monologues about a girl who was recounting her experiences of abuse (sexual and more). These two prior one-act plays more than prepared her for this much longer and more devastating full length project.  

Because the play dealt with a very disturbing subject matter, a talk back/debriefing session was held after each show where members of the audience can ask questions from the actress and the dramaturg Ms. Ina Azarcon-Bolivar, or vent their feelings about the play they just saw. 

This harrowing play confronts the audience with the fact that sexual abuse happens in real life and it is uglier than they can ever imagine. The victims' lives are destroyed, and many times, they have no family, no friends, no religion to turn to because of the shame that pervades their lives after suffering the abuse. This play aims to give all those girls who suffer in silence a loud enough voice so people can finally listen to their desperate calls. Do watch and echo their cries for help. 


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

"Ang Dalagita’y ‘sang Bagay na Di-buo" is staged in partnership with the UP Diliman College of Social Work and Community Development, the UPD Gender Office, and the UPD Office of Anti-Sexual Harassment. The play is also part of Kat(h)awan: Bodies, Society, Culture, the UP Diliman Festival Culture and the Arts 2018.

The play runs from February 21 - March 11 at the Wilfrido Ma. Guerrero Theater, 2/F Palma Hall, UP Diliman, Quezon City.


For all inquiries, contact Camille Guevara (0917 823 9531) or the Dulaang UP Office (Tel. No.: 926-1349 / 981-8500 local 2449 / dupguevara@gmail.com).


Review of Rep's SILENT SKY: Simple, Scholarly and Stellar

$
0
0
March 4, 2018




Aside maybe for Marie Curie, a regular person would be hard-pressed to name any women pioneer of science (in any field) at all. The contributions of women in the history of any of the sciences had been very limited, because it was only during the 19th century that women were admitted into scientific courses of study and societies. Even then, they still struggled for opportunities for study and recognition for discoveries. 

For their second production for this season, Repertory Philippines chose to stage a 2013 play by American playwright Lauren Gunderson entitled "Silent Sky." This is about a woman who made an important discovery in the field of Astronomy in the year 1908, whose name most of us have never heard of before. 

Henrietta Leavitt was a summa cum laude graduate from women's college Radcliffe, in her words "Harvard with skirts." She was accepted to work in Harvard Observatory, but it turned out she would not be handling the telescope itself. With Annie Cannon and Williamina Fleming in the women's department (jokingly called "Pickering's Harem"), she was tasked to count, label and describe stars from photographic plates.

However, Henrietta began to notice a pattern in the pulsations of Cepheid stars, and eventually concluded that there is a relationship between the brightness of the star and the length of time they take to blink, when she then correlated to the distance of this star. While Leavitt's discovery was published in journals, she was not allowed to do her own independent studies. However, eventually, her vital discovery was acknowledged as the basis of more well-known work by later astronomers like Edwin Hubble.


Simple stage bathed in dramatic blue light and stars

Cathy Azanza-Dy totally owned this play with her earnest and passionate portrayal of Henrietta Leavitt. She radiated Leavitt's burning desire to learn more and discover the unknown. She also made us feel the sense of frustration of a scholarly woman at that time who was treated as second-class citizen in the sciences, as it was in society. However, with her obsessive curiosity and probing intellect, we celebrated her triumphant discovery. With Azanza-Dy's performance, we totally felt Henrietta's uncommon strength of character.

Sheila Francisco and Naths Everett played Henrietta's senior colleagues Annie and Williamina, respectively. They were accomplished women of science in their own right, but unlike Henrietta, they seemed to be satisfied with the status quo. While Annie can be a strict supervisor type, Williamina balanced it by being ever-smiling and friendly. They played some sort of comic relief in order to lighten the serious nature of the play at certain points. 

Caisa Borromeo also does well as Henrietta's homebound sister Margaret, who portrayed all the typical roles expected from women at that time -- a dedicated daughter, wife and mother, deeply religious as expressed in her music. Her character changed quite a bit from her first scenes at the country home and her final scenes in the city, but her transition was not too clearly explained in the script. 

Topper Fabregas played imaginary character Peter Shaw, the fidgety apprentice of the head astronomer. As the only male character of a feministic play, he had the misfortune of portraying all of what is wrong with men (as perceived by women) -- pride, selfishness, insecurity, weak of will, lack of faith, lack of loyalty, lack of backbone -- name it. Fabregas had the nerdy, bumbling part of the character down, but he looked too young to be romantically paired with the formidable Azanza-Dy. I suspect the impression of male immaturity may have been done on purpose in this casting decision. 


The Cast at the Curtain Call
Francisco, Borromeo, Azanza-Dy, Fabregas and Everett

A quiet and serious play like this would seem like a very risky choice business-wise for any theater company to stage, especially since the play, playwright and its subject matter are all unfamiliar to the Filipino audience, hence it would not be an easy task to sell. However, Rep's belief in the play's sense of inspiration prevailed. With the talented cast, set and costumes by Joey González-Mendoza, dramatic lights by John Batalla, and subtle sounds by Jethro Joaquin, director Joy Virata definitely drove home the message of female empowerment with stirring conviction, without needless fireworks. 


*********

"Silent Sky" will run from March 2 to 25 at Onstage, Greenbelt 1, Ayala Center in Makati City. For show schedules (Fridays and Saturdays 8 pm, Saturdays and Sundays 3:30 pm) and tickets (P1,200 and P1,500), visit TicketWorld.


Review of National Theater's Touring Production of THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME: Multi-sensory Marvel

$
0
0
March 18, 2018




In 2003, "The Curious Incident of the Dog in the Night-Time" was a critically-acclaimed book written by British writer Mark Haddon. 10 years later, Simon Stephens adapted Haddon's story into a similarly critically-acclaimed play. Its 2013 West End run won 7 Olivier Awards. Its 2014 Broadway run won 5 Tony Awards. In both awards shows, it won Best Play, Director and Lead Actor, as well as Lighting and Set Designs. 

I had read the book and liked it, so I was very curious about how it could be transformed into a play. The opportunity to go watch the play came late last year when it was announced that the same production by the National Theater of Great Britain was going to be staged as part of the Hong Kong Arts Festival. Knowing the popularity of the play, I immediately booked a ticket to go watch and planned a day trip to HK for that sole purpose. That day finally came last Sunday, March 11. 

Christopher Boone is a 15-year old boy, a mathematics whiz kid with autism-like behavior, who lived in a suburban town of Swindon. One night, he sees Wellington, the dog of his neighbor Mrs. Shears, killed with a garden fork. Despite the admonitions of his father Ed, Christopher went around the neighborhood to investigate who could have done the crime. Instead, Christopher discovers hidden truths about his very family, which would lead him to a harrowing solo train trip to London on a personal quest for love and safety. 

The set by Bunny Christie was seemingly just a simple black box open on the top and in front. The walls were checked with white lines. There was a dead "dog" lying at the center of the floor. Without warning, the play began suddenly with a burst of loud music and all the lines on the black box burst into strobe lights. This frenetic yet affecting musical score (by Adrian Sutton) and bright multicolored moving lights (by Paule Constable) and video images (by Finn Ross) would be enhancing the dramatic situations experienced by Christopher and his parents throughout the duration of this play. This play was as much about technical precision as it was about the actors' performances. There were Chinese surtitles being flashed on both sides of the stage. 

The main lead star playing Christopher is Joshua Jenkins, the actor seen in all the publicity posters and photos, who had also led the touring cast in the UK before this. However, on the day I watched, the matinee show of March 11, 2018, the role of Christopher was played by the alternate actor Sam Newton, only in his professional theater debut with this play. I don't have any reference for comparison, so I thought Newton nailed the challenging role pretty well. The role was not only emotionally difficult, but also very physically demanding.

Christopher's patient teacher Siobhan was played by Julie Hale. At first, it felt awkward that Christopher's thoughts were being narrated by a female character, but later you get the drift that she was reading Christopher's journal in a play within the play. (In the novel was narrated in the first-person perspective as a book by Christopher within a book). His father Ed and mother Judy were played by David Michaels and Emma Beattie respectively. Both roles were so emotionally devastating to play, and both actors earn our admiration for their heartfelt and painful performances. 

The rest of the ensemble have to recreate the overwhelming world around our fragile hero Christopher -- his neighborhood, the station, the train, the subway. Here is where the direction (by Marianne Elliot) and the choreography (Scott Graham and Steven Hoggett for the Frantic Assembly) shone so brilliantly, as accompanied in precise timing by the driving music and glittering lights. We in the audience definitely feel how someone with a special psyche like Christopher could be turned inside out and panicked by all the varied nonstop visual and aural onslaught of stimuli around him in these busy places. 

All in all, it was a 2 hours 40 minute-long play (with one 20 minute interval) well worth the expense and time of the overseas day trip it took for me to go watch it. It was well-deserving of critical acclaim and all the awards it had won for play, direction, lighting and set design. We were brought inside the brain of a teenage autistic-like math savant. The mathematical equations may just fly over our heads, but his confused mind and fractured heart definitely stirred my sympathy and emotions. 


**********

This play was staged at the Lyric Theater of the Hong Kong Academy of the Performing Arts from March 8 to 18, 2018. Showtime is 7:30 pm, with 2:30 pm matinees on Saturdays and Sundays. Ticket prices: Standard: $580 / $440 / $300 / $180; Local Full-Time Student with valid I.D. (limited quota): $290 / $220 / $150 / $90; Disabled with valid I.D. (limited quota): $290 / $220 / $150 / $90; Wheelchair: $150.

This touring production is going around Asia and Australia now. After Hong Kong, it goes to Singapore (March 29 to April 8 at the Esplanade Theater with tickets from $48, $68, $88, $108, $128, and $138). then China (starting May 9, 2018 in Shanghai, then going to Beijing, and finally Guangzhou up to June 3, 2018) then Australia (starting June 12, 2018 in Brisbane, then going to Canberra, Sydney, Adelaide and concluding in Perth by August 19, 2018). Click on this LINK for more ticket details. 

***********

Personal Backstory: 

I booked the ticket online on the first day of its release November 1, 2017, knowing the popular demand for this show. They sent the ticket and receipt by mail, without any shipping charge that I knew of. I booked the airline tickets once upon receipt of the ticket by December 1, 2017. 

On March 11, 2018 itself, I left Manila past 7 am, reached Hong Kong past 9 am already. At the airport I bought a ticket for Bus A12. Alone a ticket costs HK$45, but if you buy the return trip together via Bus A11, you only pay HK$65. The HK Academy of Performing Arts is the 6th stop along the route of A12. 

The play ended at around 5 pm or so. There was enough time to cross Gloucester St. via footbridge and look for the A11 bus stop on the other side. The route back to the airport passes through the plaza where the Filipino domestic helpers spend their Sunday off en masse, so you can see how many they truly are there. The bus reached the airport Terminal 1 just in time to check in for the 9 pm flight back home.


Review of THE LION KING: A Production of Pride and Pleasure!

$
0
0
March 22, 2018



"The Lion King" (Roger Allers and Rob Minkoff, 1994) was one of the classic animated Disney films of the 1990s. Up to now, it still holds the current record for the biggest hand-drawn animated film of all time with a worldwide total gross of $766M in its initial release. It won the Golden Globe award for Best Motion Picture - Musical or Comedy, as well as for Musical Score (for Hans Zimmer). It won the Oscar for Best Musical Score and Best Original Song (to Elton John and Tim Rice for the song "Can You Feel the Love Tonight?").

The musical theater version staged on Broadway in 1997 was also a big hit. Its director Julie Taymor had since been labelled a visionary because of the inventive use of puppetry to bring the animal characters into life. This won Tonys for Best Direction of a Musical for Julie Taymor, Best Choreography for Garth FaganBest Scenic Design for a Musical for Richard HudsonBest Costume Design for a Musical for Julie Taymor and Michael Curry, and Best Lighting Design of a Musical for Donald Holder.

After 20 years, it was announced that the international touring production of this play will finally be staged here in Manila at the Theater in Solaire. Excited Filipino theater fans welcomed this news with open hearts and wallets, with the show selling out quickly, several months before its March 2018 debut, despite the hefty ticket prices.

I tried to buy my tickets for my whole family to watch on the second day of release, yet I was only able to score seats in one upper corner of the side balcony. That was the only section left where I could get five seats in a row, so I grabbed them despite the not-so-favorable location. Therefore, this review is going to be based on where we sat last night, Seats 1-5 high up in Row SS.

*****

The musical follows the animated film very faithfully. We recognize most of the songs and lines (and even the jokes) which were retained practically verbatim from the original script. Simba is the foolhardy son of Mufasa, King of the Pride Lands. One day, his jealous Uncle Scar arranged to have Mufasa killed, and blamed Simba for it. This guilt caused the cub to run off and leaving Scar to take over the throne. Years later, a mature Simba returned to challenge Scar and take over as the rightful King.

In this particular show, the main highlight happens right at the opening song number, “The Circle of Life”. It is here that we first see the fantastic puppet animals coming in one by one during Simba’s presentation ceremony at Pride Rock. So, coming late to this show is a big no-no, because no one will be allowed to enter the theater for the first 15 minutes once that song begins. Miss this opening number and you’ve missed the best number of the show. The moment those tall giraffes first entered the stage, followed by the birds, the cheetah, the zebras, the antelopes, the water buffalo, the rhinos, up to that massive elephant which came in from the audience area, we all gasped with awe and amazement. 

The Circle of Life
(publicity photo from The Lion King Manila FB page)

The male lead lion characters had their elaborate masks worn on their necks and suspended over their heads. Those hyenas carried their heads on their hands as they lumbered around. Zasu was a bird puppet on a stick carried around by the actor. Timon was a full-body meerkat puppet with the actor in green right behind it. Pumbaa was a huge warthog costume (with a slobbering tongue) worn by the actor playing him. There were also costumes that gracefully represented the dancing grasses of the African savanna ("Grasslands Chant"). These ingeniously-conceived and executed puppets and costumes were really the main conceit of this show. 

For the rest of the show, we looked forward to how they were going to stage all the famous songs in the film. “Be Prepared” was performed by Scar (a very slimy Antony Lawrence) and the Hyenas (delightfully disgusting Candida Mosoma, Bjorn Blignaut and Mark Tatham) on a huge set piece representing an elephant’s skeleton. “I Just Can’t Wait to Be King” sung by Young Simba (a spirited Gabriel P. Tiongson), Young Nala (a fiercely cute Felicity Kyle Napuli) and their feathered chaperone Zasu (a very comical Andre Jewson) had more imaginative animal puppets of more colorful designs to wow us with. 

On the other hand, “Hakuna Matata” with Timon (an irreverent Jamie McGregor) and Pumbaa (a hale and hearty Pierre Van Heerden) had a relatively empty stage, with only four balloon "trees" on the side as props. This was a bit of a disappointment especially that it was the closing number of Act 1. The moving plants decorating the “Can You Feel the Love Tonight?” sung by the mature Simba (Calvin Grandlingand Nala (Noxolo Dlaminiwere also rather stagnant and felt inadequate to provide a romantic atmosphere for this song.

There were some new scenes which were not in the movie. One was "Shadowland", powerfully sung by Nala  after she was sexually harassed by a lecherous Scar in a most disturbing preceding scene. The other was "Endless Night", where Simba  sings about his father's promises. But the most impressive new song is "He Lives in You" sung by Rafiki (Ntsepa Pitjeng), which ends with spirit of Mufasa (Mthokozisi Emkay Khanyile) speaking to Simba in a most astounding piece of stage magic.

Scar vs. Mufasa
(publicity photo from The Lion King Manila FB Page)

Of course, there were some negative consequences for watching from the side balcony seats. While we can see the entire panorama of the whole stage from above, we also could clearly see big spaces between the characters, making the stage look emptier than they were intended. The emotional impact of Mufasa's death scene was not as strong as it was in the film. I'm sure these scenes would surely have looked more impressive from the Center Orchestra seats where the appreciation of stage blocking is perfect. 

There were some lull moments in the storytelling, but the powerful African rhythmic music kept the energy up. Even if the view from our seats was not ideal, the sound quality was never a problem even in our remote location in Theater in Solaire's Siberia section, so we can hear everything clearly. Some characters like Zasu and Timon frequently broke the fourth wall, and injected Tagalog words and modern pop culture references (like "Frozen") in their lines to the delight of the audience. Overall it was a fun show to watch, and nostalgic for us fans of the animated film, kids and adults alike.


*****


"The Lion King" runs at the Theater at Solaire from March 18 to May 6, 2018. Show schedules are: Tuesdays, Wednesdays, Thursdays and Fridays 8:00pm, Saturdays and Sundays 2:30pm & 8:00pm. The show runs for approximately 2 hours and 30 minutes, with a 20 minute intermission. Tickets are priced at P6,500, 5,500, 4,300, 3,350 and 1,900 for weekday shows; and P7,250, 5,850, 4,700, 3,300 and 2,250. 



Recap, Videos and Winners List GAWAD BUHAY AWARDS for 2017: "Pag-uusig" and "Adarna" Lead Awardees!

$
0
0
April 13, 2018




The emcees of the night were Topper Fabregas and Meann Espinosa, both on their third time as emcees of this awards show. The two had comic chemistry throughout that buoyed up energy during the length of the show. They had recurrent funny digs at the Solaire and "The Lion King" from their opening spiel up to their closing. They had an orchestra of one, Rony Fortich at the piano. He had been tasked to time the acceptance speech and start playing music once the speech reached the one minute mark as a sign to wrap it up.


Emcees Meann Espinosa and Topper Fabregas

The opening number was based on Topper's frustration of not having been in a Gawad Buhay winning musical. So, there were a series of songs from various musical productions that have won over the years featuring Topper in various silly antics in many of them. These shows were: "Annie,""3 Stars and a Sun,""Grease,""Rak of Aegis", "Mabining Mandirigma,""Bluebird of Happiness,""Little Women,""Juan Tamad at ang Limang Milyong Boto,""Skin Deep,""Stageshow,""Priscilla Queen of the Desert", "Caredivas" and "La Cage Aux Folles".

Chris Millado and Celeste Legaspi present the awards to the two automatic winners of the night, each was the only nominee in their respective categories.


J-Mee Katanyag

Outstanding Original Libretto
J-Mee Katanyag, “Tagu-taguan, Nasaan ang Buwan?” (Peta)

Outstanding Play—Original or Translation/Adaptation
“Ang Pag-uusig” (TP)


Audie Gemora and Menchu Lauchengco-Yulo

Local theater royalty Audie Gemora (in a plaid coat) and Menchu Lauchengco-Yulo presented the technical awards. The stark simplicity that was "Agnes of God" swept all its nominations in these categories.

Outstanding Set Design
Joey Mendoza, “Agnes of God” (Rep)
Mio Infante, “In the Next Room, or the Vibrator Play” (Rep)
Joey Mendoza, “Blackbird” (TNT)
Ohm David, “Ang Pag-uusig” (TP)
Salvador Bernal, “The Nutcracker” (BP)

Outstanding Sound Design
Jethro Joaquin, “Agnes of God” (Rep)
Jethro Joaquin, “Blackbird” (TNT)
Jaime Godinez and Rards Corpuz, “Newsies” (9WT)
Rards Corpus, “Chitty Chitty Bang Bang” (Full House/RWM)

Outstanding Lighting Design
John Batalla, “Agnes of God” (Rep)
Katsch Katoy, “In the Next Room, or the Vibrator Play” (Rep)
Dennis Marasigan, “Ang Pag-uusig” (TP)
John Batalla, “Hair” (Rep)
Katsch Katoy, “The Nutcracker” (BP)

Outstanding Costume Design
Bonsai Cielo, “In the Next Room, or the Vibrator Play” (Rep)
Eric Pineda, “Newsies” (9WT)
James Reyes, “Aurelio Sedisyoso” (TP)
Bonsai Cielo, “Chitty Chitty Bang Bang” (Full House/RWM)
Salvador Bernal, “The Nutcracker” (BP)



This was followed by a song number rendered by the ensemble of "Ang Buhay ni Galileo" led by Bodjie Pascua. This was the first of the three nominees for Best Original Musical Composition which would be performed tonight.

Meann and Topper came out in tights and were hilarious in their interpretative dancing routine. Actual ballet dancers came out to "show us how it should really be done."

Ballet dancer Joseph Phillips and actress Adriana Agcaoili presented the Modern Dance categories.


Romeo Peralta dedicated his award to his wife and three sons. 

Male Featured Performance in Modern Dance
Mark Sumaylo, “Ibong Adarna” (BM)
Rudolph Capongcol, “Ibong Adarna” (BM)
Romeo Peralta, “Ibong Adarna” (BM)
Elpidio Magat, “Ibong Adarna” (BM)


Sarah Alejandro

Female Featured Performance in Modern Dance
Abigail Oliveiro, “Ibong Adarna” (BM)
Katrene San Miguel, “Minamahal, Sinasamba”/from “A Gala Celebration” (BP)
Sarah Alejandro, “Amada”/from “The Exemplars: Amada and Other Dances” (BP)

Male Lead Performance in Modern Dance
Rudy de Dios, “Ibong Adarna” (BM)
Anselmo Dictado, “Ibong Adarna” (BM)
Victor Maguad, “Moon”/from “A Gala Celebration” (BP)
Eugene Obille, “Ang Sultan”/from “The Exemplars: Amada and Other Dances” (BP)
Ronelson Yadao, “Songs of the Wayfarer”/from “The Exemplars: Amada and Other Dances” (BP)

Outstanding Ensemble Performance for Modern Dance
“Ibong Adarna” (BM)
“Visions of Fire”/from “A Gala Celebration” (BP)
“Ang Sultan”/from “The Exemplars: Amada and Other Dances” (BP)
“Songs of a Wayfarer”/from “The Exemplars: Amada and Other Dances” (BP)

This award was received by choreographer Gerardo Francisco, whom we will see more of winning in later categories.

Roeder Camanag and Leloi Arcete presented the Classical Dance categories.


Abigail Oliveiro had such a charming British accent when she gave her speech. 

Female Featured Performance in Classical Dance
Abigail Oliveiro, “Don Quixote” (BM)
Veronica Atienza, “La Bayadere” (PBT)
Stephanie Cabral, “The Nutcracker” (BP)


Denise Parungao shows off her better angle.

Female Lead Performance in Classical Dance
Denise Parungao, “Swan Lake” (BP)
Kim Abrogena, “La Bayadere” (Philippine Ballet Theatre/PBT)
Denise Parungao, “The Nutcracker” (BP)
Jemima Reyes, “The Nutcracker” (BP)
Katherine Barkman, “Swan Lake” (BM)

Male Lead Performance in Classical Dance
Victor Maguad, “Swan Lake” (BP)
Victor Maguad, “The Nutcracker” (BP)
Elpidio Magat, “Snow White” (BM)

Male Featured Performance in Classical Dance
Victor Maguad, “Grand Pas Classique”/from “A Gala Celebration” (BP)
Peter San Juan, “La Bayadere” (PBT)
Gerardo Francisco, “Swan Lake” (BM)
Victor Maguad, “The Nutcracker” (BP)

The awards for the male dancers took a long time to give out properly since Ms. Leloi made an error in the winner announcement (causing Topper to call her Faye Dunaway, LOL!). After going through all the fuss to correct the error, it turned out that San Juan was not present to receive his award.

Arman Ferrer sang one of his songs from "Maynila sa mga Kuko ng Liwanag," another nominee for outstanding musical composition.



Lisa Macuja
and Toots Tolentino present the remainder of the dance awards.


Outstanding Choreography for a Dance Production
Gerardo Francisco, “Ibong Adarna” (BM)
Eisa Jocson, “Your Highness” (Ballet Philippines/BP)
Bam Damian III, “Minamahal, Sinasamba”/from “A Gala Celebration” (BP)
Edna Vida, Alice Reyes and Adam Sage, “The Nutcracker” (BP)
Gener Caringal, “Ang Sultan”/from “The Exemplars: Amada and Other Dances” (BP)


Multiple winner last night Gerardo Francisco

Outstanding Ensemble Performance for Classical Dance
“Don Quixote” (BM)
“Swan Lake” (BP)
“The Nutcracker” (BP)

Outstanding Classical Dance Production
“Don Quixote” (BM)
“Swan Lake” (BP)
“The Nutcracker” (BP)

Outstanding Modern Dance Production
“Ibong Adarna” (BM)
“A Gala Celebration” (BP)
“Your Highness” (BP)
“Ang Sultan”/from “The Exemplars: Amada and Other Dances” (BP)
“Songs of a Wayfarer”/from “The Exemplars: Amada and Other Dances” (BP)


Natatanging Gawad to Ms. Agnes Locsin



Final tableau of "Magkaugnay"

Tanghalang Pilipino's Nanding Josef and former Ballet Philippines principal dancer Cecile Sicangco present the Natatanging Gawad Buhay award to Agnes Locsin. We were shown live samples of her diverse artistry in choreography: the haunting "Arachnida" and the joyful "Magkaugnay". No speech was given, instead Ms. Locsin presented Nonie Buencamino doing a modern interpretative dance about a guy who loved taking selfies.



There was a short medley of tunes from "Chitty Chitty Bang Bang" by the ensemble led by Yanah Laurel and the four kids who played Jeremy and Jemima on the show, Albert Tilos, Noel Comia Jr., Isabelli Araneta-Elizalde and Zoe Alvaralde.

A most irrepressible (as usual) Jon Santos and Myke Salomon presented the next awards as their past characters Bernadette (from "Priscilla") and Faraj (from "Caredivas") respectively. All three winners were no shows last night.


Jon Santos and Myke Salomon, a.k.a. Bernadette and Faraj

.Female Featured Performance in a Musical
Shiela Valderrama-Martinez, “Maynila sa Mga Kuko ng Liwanag, The Musical” (GT)
Aicelle Santos, “Maynila sa Mga Kuko ng Liwanag, The Musical” (GT)
Upeng Galang-Fernandez, “A Game of Trolls” (Peta)
Joan Bugcat, “Tagu-taguan, Nasaan ang Buwan?” (Peta)
Maronne Cruz, “Hair” (Rep)

Aicelle had just left for the UK to join the touring production of "Miss Saigon" as Gigi.

Male Featured Performance in a Musical
Jef Flores, “Newsies” (9WT)
Baron Geisler, “Aurelio Sedisyoso” (TP)
Floyd Tena, “Maynila sa Mga Kuko ng Liwanag, The Musical” (GT)
Roi Calilong, “Tagu-taguan, Nasaan ang Buwan?” (Peta)
Reb Atadero, “Chitty Chitty Bang Bang” (Full House/RWM)

Geisler's award was received by his director Chris Millado, who cited how the theater could be a tool for rehabilitation of lives. 

Male Lead Performance in a Musical
Gian Magdangal, “Newsies” (9WT)
Arman Ferrer, “Maynila sa Mga Kuko ng Liwanag, The Musical” (GT)
David Ezra, “Aurelio Sedisyoso” (TP)
Markki Stroem, “Hair” (Rep)
George Schulze, “Hair” (Rep)

Karla Gutierrez and Rem Zamora presented the much-anticipated acting awards for plays. These are very tightly contested categories. All the winners were in attendance last night.



Rebecca Coates

Female Featured Performance in a Play
Rebecca Coates, “Agnes of God” (Rep)
Caisa Borromeo, “In the Next Room, or the Vibrator Play” (Rep)
Tami Monsod, “In the Next Room, or the Vibrator Play” (Rep)
Antonette Go, “Ang Pag-uusig” (TP)
Lhorvie Nuevo, “Ang Pag-uusig” (TP)


Marco Viana thanked his mother for defending him 
when others question his decision to be an actor over being an engineer.

Male Featured Performance in a Play
Marco Viaña, “Ang Pag-uusig” (TP)
Jonathan Tadioan, “Ang Pag-uusig” (TP)
Joshua Tayco, “Ang Pag-uusig” (TP)
Bodjie Pascua, “Ang Buhay ni Galileo” (Peta)
Noel Comia Jr., “Ang Buhay ni Galileo” (Peta)


Roselyn Perez


Female Lead Performance in a Play
Roselyn Perez, “Vanya and Sonia and Masha and Spike” (Rep)
Menchu Lauchengco-Yulo, “Agnes of God” (Rep)
Giannina Ocampo, “In the Next Room, or the Vibrator Play” (Rep)
Mikkie Bradshaw-Volante, “Blackbird” (TNT)
Blanche Buhia, “Lukot-lukot, Bilog-bilog” (TP)


Joshua Spafford

JV Ibesate

Male Lead Performance in a Play
Michael Williams, “Vanya and Sonia and Masha and Spike” (Rep)
Joshua Spafford, “In the Next Room, or the Vibrator Play” (Rep)
JV Ibesate, “Ang Pag-uusig” (TP)
Bart Guingona, “Blackbird” (TNT)
Joel Lamangan, “Ang Buhay ni Galileo” (Peta)

A tie! The two winners showed contrasting reactions to their wins. Spafford was so cool and collected, while Ibesate was emotional and tearful.


The winning ensemble of "Ang Pag-uusig"

Outstanding Ensemble Performance for a Play
“Vanya and Sonia and Masha and Spike” (Rep)
“Agnes of God” (Rep)
“In the Next Room, or the Vibrator Play” (Rep)
“Ang Pag-uusig” (TP)
“Ang Buhay ni Galileo” (Peta)

Topper and Meann called Tads back out onstage and ribbed him for having lost his 7th straight acting nomination, saying how Baron Geisler edged him already by winning on his very first play and nomination. Tads was a great sport about it.

A short dance excerpt from "Ibong Adarna" followed, the scene depicting the fight between the three brothers, when the two elder brothers betrayed their youngest.


Natatanging Gawad to Ms. CB Garrucho

Nanding Josef and Maribel Legarda presented the night's second Natatanging Gawad award to Ms. CB Garrucho of PETA. There was a short video clip of her eloquent speech which she gave last year, when PETA was given a Ramon Magsaysay award. Ms. CB came up the stage while being serenaded by PETA talents with the wedding song from one of her past shows, "Canuplin" (1980).



An energetic tap dance number excerpt from "Newsies" followed performed by its all-male (+ one lady) ensemble led by Jef Flores, to the delight of the audience. 


Vince De Jesus and Rony Fortich presented the Music awards.


Vince de Jesus and Rony Fortich

Outstanding Musical Direction
Daniel Bartolome, “Newsies” (9 Works Theatrical/9WT)
Diwa de Leon, “Ibong Adarna” (Ballet Manila/BM)
Ejay Yatco, “Hair” (Rep)
Rodel Colmenar, “Chitty Chitty Bang Bang” (Full House/RWM)

Yatco could not receive his award in person because he was at work on the final re-staging of "Sa Wakas" last night.

Outstanding Original Musical Composition
Von de Guzman, “Maynila sa Mga Kuko ng Liwanag, The Musical” (Gantimpala Theater/GT)
Diwa de Leon, “Ibong Adarna” (BM)
Peta Music Pool (under Lutgardo Labad), “Ang Buhay ni Galileo” (Peta)

This was Mr. de Leon's final work with Ballet Manila before he immigrated to the US. 

The In Memoriam segment was an instrumental piece played on piano and cello. The introduction was given by Joy Virata. The list of dearly departed talents this year included Bernardo Bernardo, Soxie Topacio, Mario O' Hara, Spanky Manikan and Richard Cunanan.

Jaime del Mundo and Roselyn Perez presented what could be the most exciting awards of the evening.


Dennis Marasigan

Outstanding Stage Direction for a Play
Bart Guingona, “Agnes of God” (Rep)
Chris Millado, “In the Next Room, or the Vibrator Play” (Rep)
Dennis Marasigan, “Ang Pag-uusig” (TP)
Topper Fabregas, “Blackbird” (TNT)
Rody Vera, “Ang Buhay ni Galileo” (Peta)


Jerry Respeto

Outstanding Translation or Adaptation
Guelan Luarca, “Eurydice” (TP)
Jerry Respeto, “Ang Pag-uusig” (Tanghalang Pilipino/TP)
Alan Glinoga, “Ang Buhay ni Galileo” (Peta)


This award was received by Joy Virata, and the three actresses who were made up the ensemble of this play: Pinky Amador, Menchu Lauchengco-Yulo and Rebecca Coates.


Outstanding Production of Existing Material for a Play
“Vanya and Sonia and Masha and Spike” (Rep)
“Agnes of God” (Rep)
“In the Next Room, or the Vibrator Play” (Rep)
“Blackbird” (TNT)
“Ang Buhay ni Galileo” (Peta)

Michael Williams and Dennis Marasigan present the final awards of the evening. And this would prove to be a sweep  of four categories by a single production.

Outstanding Ensemble Performance for a Musical
“Newsies” (9WT)
“Chitty Chitty Bang Bang” (Full House/RWM)


PJ Rebullida

Outstanding Choreography for a Play or Musical
PJ Rebullida, “Newsies” (9WT)
Nancy Crowe, “Chitty Chitty Bang Bang” (Full House/RWM)


Robie Guevara

Outstanding Stage Direction for a Musical
Robbie Guevara, “Newsies” (9WT)
Jaime del Mundo, “Chitty Chitty Bang Bang” (Full House/RWM)


 Joe Calida representing Globe Live,
who also sponsored the productions of tonight's awards show.


Outstanding Production of Existing Material for a Musical
“Newsies” (9WT)
“Chitty Chitty Bang Bang” (Full House/RWM)

No nominations, and consequently, no awards were given for: Outstanding Musical—Original or Translation/Adaptation, Outstanding Production for Children, Outstanding Original Script, Female Lead Performance in Modern Dance and, most unusually, Female Lead Performance in a Musical.

The show closed with a song specially composed for the occasion by Vincent de Jesus as performed by singers from his shows "Himala" and "Paano Ako Naging Leading Lady".




Review of Rep's ARSENIC AND OLD LACE (2018): A Charming and Chilling Comedy

$
0
0
April 15, 2018



I had vague memories of watching the film version of "Arsenic and Old Lace" during one long haul plane ride a few years back. That 1944 film was directed by Frank Capra and starred Cary Grant in an oddball mix of murder and madness in an old house where two little old ladies lived. The film felt more theatrical than cinematic, never hiding its theater roots. Now I would get to watch the actual play as staged by Repertory Philippines as only they can deliver material such as this.

The elderly spinster sisters Abby and Martha Brewster lived in their ancestral home in Brooklyn with their nutty middle-aged nephew Teddy, who believed he was President Teddy Roosevelt. One night, their younger nephew Mortimer, who wrote theater reviews for the newspaper, came for a visit. He discovered a startling "charitable" activity of his aunts, which he frantically tried to cover up for. To complicate matters, another long-estranged nephew Jonathan, now a ruthless criminal, also decided to crash in that same night.

This play was written way back in 1939 by Joseph Kesserling. It was first staged on Broadway in 1941, playing more than a thousand shows until it closed in 1944. These old American plays are an automatic fit for Repertory Philippines. They simply do them so well like no other local theater company does. In fact, Rep had staged "Arsenic and Old Lace" two times before, in 1981 and 1988. This year, Jamie Wilson takes a stab at directing this latest incarnation.

Joy Virata was an automatic choice for Abby Brewster. She again proves her subtle brand of comedy for which I had long admired her for in several Rep plays in the past. Jay Valencia-Glorioso matched Ms. Virata's sense of wit every step of the way. As a pair, they were quaintly cute and delightful, even if they do what they do to those poor lonely gentlemen guests. 

Nelsito Gomez was back in Rep playing someone much lighter than those two intense characters he played last year to critical acclaim. His disparaging lines as critical Mortimer Brewster about the theater were hilarious. Jeremy Domingo can really play these dimwitted characters like Teddy Brewster like it was second-nature for him to do so. He is so convincing in his delusions. Apollo "Sheikh" Abraham struck an sinister vibe the moment he set foot on stage as Jonathan Brewster. He did not really look like Karloff's iconic Frankenstein monster, but he sure was one scary-looking dude. 

Barbara Jance was perky and liberated as the pastor's daughter Elaine who was not going to let Mortimer get away from her that easily. Robbie Guevara had that diabolical plastic surgeon character of Dr. Einstein down pat and crazy. Steven Conde came in only in the last act as pesky police Officer O'Hara who annoyed people by telling the long-winded plot of the play he was writing. Gabe Mercado played two roles, that of Elaine's father the Rev. Dr. Harper, and later the police Lt. Rooney, both stern and very opinionated characters. 

The first act where the macabre premise of the play was being set up was rather slow, uneven, and may feel as frumpy and stuffy as those elderly characters on the stage. There were a lot of dated references to events current to the time the play was written, like the political and war climate or the quality of theater shows. The references to American personalities like Teddy Roosevelt (and his charge up San Juan Hill) or Boris Karloff may also prove head-scratching for many younger audiences. 

However after the intermission, the whole madcap mixed-up mayhem simmered steadily into an entertaining boil by the third act. By then, the audiences were already so at home with the eccentric Brewsters, their silly neighbors (especially the policemen!) and the whole absurd black yet comic situations they got themselves into such that the laughs came more freely and easily, up to the end. Being a old-fashioned black comedy may be hard to sell, but those who enjoy a little twisted humor in their theater plays will definitely enjoy this one. 


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

"Arsenic and Old Lace" runs from April 6 - 29, 2018 at the Onstage Theater in Greenbelt 1, Makati. Show times are at 8 pm on Fridays and Saturdays, with 3:30 pm matinees on Saturdays and Sundays. Ticket prices at P 1,500 for Orchestra Center (reserved) and P 1,200 for Orchestra Sides (free seating). 


Review of UPPT"s THE KUNDIMAN PARTY: Championing Culture and Country

$
0
0
April 21, 2018




The name of playwright Floy Quintos is a trusted brand of excellence in local theater. For the past three decades or so, he has written some of the most memorably intelligent plays both in English and Filipino, all with strong socio-political commentary spiked with prickling wit. So remarkably distinct is his brand, there had evolved a new adjective to describe them -- "Quintosian."

Since 2013, five of his plays had been staged in UP under the direction of Dexter M. Santos, and I am happy to have watched all five of them. These were: "Collection" (MY REVIEW), "Ang Nawalang Kapatid" (MY REVIEW), "Ang Huling Lagda ni Apolinario Mabini" (MY REVIEW), "Angry Christ" (MY REVIEW) and now this new one, "The Kundiman Party." 

This play is set in our present time. Maestra Adela Dolores, a famous operatic diva from more than 30 years ago, has long retired from performing, and was now spending her time teaching her craft to students in her home. She kept a close circle of friends around her, namely the nurturing Helen, the liberated Mitch and the over-protective Mayen. The four ladies regularly met in Maestra's house where they listened to music and discussed politics.

One day, the ladies got together just when the Maestra was mentoring a budding young soprano named Antoinette. Things got more interesting when they met Antoinette's boyfriend Bobby, who was into anti-government political activism (causing him to be estranged from his father, the unpopular Senator Juancho Valderrama). Bobby had the idea of using Maestra's kundiman to revitalize nationalism in the youth via social media, giving rise to a viral online "Kundiman Party."

The script of Floy Quintos, again, does not disappoint in both its essence and its language. It had such current significance as it frankly discussed the present political turbulence and issues. It conveyed very powerful messages about music, culture pride, and nationalism. The sense of humor, mostly coming from the vibrant repartee of the "titas," was very entertaining in its cattiness and occasional vulgarity.

Quintos' choice of kundiman songs to be included in the show was so inspired. All were beautiful in both melody and lyrics, such as Nicanor Abelardo's "Bituing Marikit" or "Nasaan Ka Irog" or "Mutya ng Pasig". When Francisco Santiago's "Pilipinas Kong Mahal" was sung, tears welled in my eyes in its piercing poetic patriotic fervor. Two other kundiman songs by Santiago open and close the show, "Pakiusap" and "Madaling Araw."  Maestro Ryan Cayabyab provided additional kundiman arrangement for piano.

The classy set designed by Mitoy Sta. Ana

Shamaine Centenera-Buencamino exuded such a genuinely elegant aura of a diva as Maestra Adela Dolores, so completely believable in her regal sense of the dramatic. Her cluelessness with regards to gadgets and social media was delightfully depicted. Her delivery of lines was so rich in bombast and nuance at the same time. This was a magnetic performance that stood out in its own class of excellence.

Kalil Almonte had a conflicted role to play as Bobby. His was a critical character who presence turned the perfectly sheltered life of Maestra upside-down. He was unwaveringly headstrong and single-minded, which can be difficult to watch in scenes where his passionate stubbornness bordered on insensitivity and rudeness. His open-ended final fate makes him an enigma. This is a character the audience will likely discuss after the show. 

The three titas of the play all had distinct personalities we all recognize in our own titas. The veteran actresses in these roles all played off each other in a very natural and relaxed manner. Stella Canete-Mendoza played Helen, the motherly one, the gentle one, the caring one. Her breakdown scene was a highlight moment for her. Missy Maramara played Mitch, the carefree one, the sexy one, the brutally frank one. Her story about her viral Instagram post was hilarious. (Jenny Jamora alternates as Mitch.) Frances Makil-Ignacio played Mayen, the wary one, the suspicious one, the negative one. She had a character just like Mayen in the Virgin Labfest one-act play Adrian Ho's "Sincerity Bikers Club" last year. 

One very key role in this play is that of Antoinette because she is the one singing all the kundiman songs we hear. It is up to her to mesmerize us with her clarity of rendition and emotional connection of these vocally-challenging songs. Arya Herrera and Teetin Villenueva (whose angelic voice I already heard sing in "Collection" before) alternate in this role. On the matinee show I watched earlier today though, it was understudy Miah Canton playing Antoinette. To her credit, she nailed all her singing parts. She had us all listening to her every word she was singing. Acting-wise, she looked rather stiff and nervous at first, but she ultimately pulled through thanks to her supportive co-stars. 

Teroy Guzman only had one scene in the final act, but his stage presence as Senator Juancho Valderrama was so strong. His line delivery was crisp, authoritative, and quite persuasive -- so amazing to watch. Farley Asuncion played the piano beautifully on stage throughout the show as Maestra's faithful Ludwig. However, he also gets to sneak in some funny one-liners once in while. Rica Nepomuceno played it all-out comedy as the over-the-top professional singer Melissa, but she also gets to sing a grand kundiman with aplomb. (Melisa Camba alternates as Melissa.)

With this show, Dexter M. Santos directs his final play as Artistic Director of Dulaang UP, a post he held since 2015. Under his directorial vision, the play was staged in a very engaging manner that held the full-house audience in rapt attention throughout its nearly 3-hour running time (with 10 minute intermission), as we imbibed the music and the issues the show presented to us. 

Mitoy Sta. Ana deserved kudos for his set design of Maestra's elegant yet homey living room and staircase, as well as his costume choices of the cast (particularly those worn by the Maestra). Monino Duque was the main lighting designer, following up his comeback last year for "Angry Christ."  Steven Tansiongco is responsible for the video and graphics design which was essential to depict the social media aspect of the script. Krina Cayabyab served well as musical director to seamlessly integrate the kundiman into the narrative.

The cast and crew take their bows 
Front Row L-R: Guzman, Maramara, Canete-Mendoza, Centenera-Buencamino, 
Makil-Ignacio, Almonte, Canton and Jacob


The combination of classical Filipino music and current news events and politics in this play made for a thought-provoking piece of theater, as all other Floy Quintos works are known to be. There are scenes with lofty idealistic ideas about cultural nationalism being floated around, but there are also scenes of sobering realism to bring us back down to earth and keep our feet on it. 

Maestra Adela made several choices in her life where she put love of country above her personal career and comfort. All the other characters here all had to make their own big choices in their own lives as well as events in the play unfolded. Faced with the current divisive political landscape we live in today, the audience is also prodded by this show to also make our own big choices. It hopes we stand up and choose to do what is best -- for our culture and for our country. 


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

"The Kundiman Party" opened last April 11, 2018 and will play up to April 29. For its final week next week, showtimes are at 7 pm Tuesdays to Saturdays, 3 pm on Saturdays and Sundays, and 10 am on Sundays. Tickets are only at P500 each. Contact person is Camile Guevara 0917-8239531.

Recap of PSF THEATER FESTIVAL 2018 (Week 2): PULA, STARS, CONTROL S, THE GALLERY

$
0
0
April 29, 2018

This year is the 12th year of Theater Festival by the Philippine Stagers Foundation. This is held for four consecutive Saturdays each summer, and yesterday was the second week Critics Night. Despite starting past 8 pm already because of technical problems, there were still seven original one-act plays presented -- three amateur (by participants of their FREE summer acting workshop), one competition piece by a guest collegiate theater organization, one revisted former winning play, and two new competition plays written by Stagers themselves. As before, this was held in PSF Studio in Sampaloc, Manila.

The judges for the competition this year include theater writer, director and actor Frank Rivera, artistic director of Frontline Theater Company Rommel Mercado, and award-winning young actor Christian Bables (of "Die Beautiful" fame). I look forward to listening and learning from their instructive comments about the plays being presented. Last night though, only judge Bables was present. However, actress Chai Fonacier (so awesome in "Respeto""Pauwi Na" and "Patay na si Hesus") was also there with her insights. Also on hand that night with valuable comments was Prof. Gigi Velarde David, a choreographer, director and professor of humanities and theater.



The first play in competition in the Inter-collegiate category was Danielle Hill's "PULA"presented by the Tanghalang Batingaw from Lyceum College, directed by Kyxz Feliciano and Justin Santiago. This was the same college company that won the big prize in this same category last year, and with their performance last night, they are certainly in the running for Best Collegiate Play again this year. 


The Chorus of "Pula"

The intense Sweet Hearty Puyong

"Pula" is a play about Martial Law abuses, but this one goes for the jugular in portraying the horrible torture experienced by Lilli Hilao and Boyet Mijares. To say it is gory or explicit is an understatement. This is not a play you "enjoy." Rather, it is absorbing and disturbing, gut-wrenching and painful to watch. The staging with the dramatic red lights and pulsating music was very effective. However, the centerpiece of this intense play was the raw, bold and fearless multi-character performance of Sweet Hearty Puyong. One of the most heart-wrenching and realistically harrowing acting I had ever seen on a stage. 



Norma (Nacional) and Wilma (Liper)

Next was a play which won the first prize in the PSF Theater Festival in 2012, "STARS" by JP Lopez, directed by Vincent Tanada. This was about Norma Aunor (Glory Ann Nacional) and Wilma Santos (2012 Best Actress Cindy Liper), two neighbors who used to be best friends, but are now bitter enemies. When they argue with each other, they use famous lines from the movies of their idols, Nora Aunor and Vilma Santos, a lot of fun for fans of local pop culture. Their maids, Jolens (Quincy Ramos) and Juday (Pearl Belen) also reflect the rivalry of their masters, but their sons Boyet (Kiel Najera) and Edward (Cedie Duller) seem to be getting along just fine.



Girl (Bagtas), May-akda (Martinez) and and Boy (Garcia)

The first of the plays in the main competition this year followed, "CONTROL S"written by Cedie Duller, directed by Vincent Tanada. This was about a successful movie scriptwriter May-Akda (Brent Martinez) now devastated by the recent death of his partner Josh. The characters of the script he is working on Boy (Poul Garcia) and Girl (Cherry Bagtas) try to get him to start writing again. The concept of the play was very interesting, although I cannot say I completely understood what Boy and Girl were trying to do and why they were doing it.



Roy (Rivas) and Dion (Bocor)

The final play of the night, which started almost 1 am already, is another play in the main competition, "THE GALLERY"written by three-time Best Play winner in the festivals past, JP Lopez, again directed by Vincent Tanada. His new play is an absurd, over-the-top play about a young drug addict gigolo Roy (Johnrey Rivas) who answered an ad by intersex artist Dion (OJ Bacor) for a model. This wild play went in all directions, with diverse elements of various genre -- comedy, sexy, horror and even politics -- all rolled into one campy, flamboyant and schizophrenic show. I won't be surprised if this one will also win something come awards night. 


***********

Before these competition plays, three short one act plays by workshoppers by presented and critiqued by the judges and members of the audience. These were directed by Stagers who were participating in the ongoing Director's Workshop. 



The cast of "Sa Parlor"

The first short one-act play was called "SA PARLOR" written by Atty. Vince Tanada in 2005, and performed many times over the years. This time, it was directed by Pearl Belen. This was about a pair of gay beauticians, the veteran Chit and the newcomer Chanda, who were arguing if their boss Carding was gay or not. The two actors playing the beauticians were very shrill, while the guy playing Carding was on the other end of the energy scale. There seemed to be a lot of lines missed by the nervous actors, which ended up with a puzzling plot that I did not really understand.


Geraldine of "Sa Carinderia"

The second short one-act play was called "SA CARINDERIA" which Atty. Tanada says he wrote 30 years ago. This was directed by Chin Ortega. This was a one-woman show about a bored owner of a roadside eatery with no customers so she ends up talking to the flies and the food she cooked (and recooked). This was certainly very challenging, but this young aspiring actress named Geraldine took it on with a lot of cheeky nerve. She was not shy to make fun of her prominent chin to gain more laughs. There were some issues of comic timing last night (like reacting ahead of seeing what was in the pots), but she was a very promising comedienne.


Biboy and Yvonne of "Babae Po Ako"

The third short one-act play was "BABAE PO AKO" written by Jordan Ladra. This was about a young lady Yvonne, who had once been deceived by her first boyfriend Biboy, who turned out to be gay. Now, her new boyfriend Noel is planning to propose to her. How will she react? The pretty actress playing Yvonne was so over-the-top and loud, as was the style of actor playing Biboy. They had some funny moments together, but it was not always clear what they were talking about in all their hyper excitement. 








Recap of PSF THEATER FESTIVAL 2018 (Week 3): I DIDITH SHOW, TULA NI VITO AT LIRA, LUKREZIA, BABAE NGA NAKA-ITUM

$
0
0
May 5, 2018

The PSF Theater Festival is not only a forum for some very daring pieces of original Filipino one act plays. For me, I also get a valuable education about the theater process from the commentary given by the illustrious and learned panel of judges and theater professionals in attendance. Like for the third week shows today, I learned a lot about appreciating various aspects of theater from judges Frank Rivera and Rodel Mercado and guests Ronald Carballo, Jeffrey Ambrosio, Robert Encila, and Neil Tolentino. Their spontaneous, frank, passionate and precise comments, borne out of their years of theater experience, were very instructive and enlightening for a theater enthusiast like me, and moreso for the young theater artists in the house.


The workshop showcase this week was "I DIDITH SHOW", the first prize winning play in the 2014 PSF Theater Festival. It is written and directed by JP LopezDidith Lorenzo is a superstar singer who has had been hosting a long-running TV variety show, on air for the past 20 years. In this latest episode of her show, her special guest was a pretty and popular new singer named Love Moreno. The two singers vie to get the upper hand over the other during the whole show. While Love had her boyfriend Stephen and her manager Ferdie, it seemed that all Didith had on her corner was her loyal gay PA Lilibeth. Or does she?


Love (Rachel) steals the camera from Didith (OJ)

Didith literally steals the camera!

Lilibeth (Ado) makes a move on Stephen

The play is very entertaining, frenetic and hilarious, roasting showbiz stereotypes. At the same time it also had some unexpectedly touching bittersweet moments. OJ Bacor delivered such a rousing bravura performance as Didith, you won't believe he only pitched in today. JP Lopez gave a wry portrayal of the show's cynical floor director. Standing out among the workshoppers was Rachel, a pretty petite girl who exuded Ariana Grande-like confidence and verve as Love; and Ado, who gave a poignant performance as Lilibeth, Didith's big fan now her personal slave.



The revisited play of the week was "TULA NI VITO AT LIRA", which won the first prize during the 2016 PSF Theater Festival. The playwright is Rachael Gianan and directed by Vince Tanada. It was Valentine's Day at a Spoken Word Night in a bar, where two contestants tackle three given topics using extemporaneous poetry. The contestants that night were a shy newbie Lira and a confident veteran Vito. As the contest between the two ensue, their poetry revealed a painful past relationship that never had proper closure. 


Gianan, Sadsad, Olmedo

The poetic writing of Gianan in the Filipino language was gloriously eloquent. The delivery of those dueling lines by Vean Olmedo (as Lira) and Kenneth Sadsad (as Vito) was flawless, brimming with sharp emotions that just poured out so naturally from them. Those tears were flowing even when the tension was still on the rise, testifying how deeply in character these two actors were. Their chemistry was undeniable and vital. Humor was provided by the flamboyant emcee to keep the play from going into full-on romantic melodrama mode.



The first play in the main competition tonight was "LUKREZIA" written by first-time playwright Johnrey Rivas and directed by Vince Tanada. An exhausted set designer (JP Lopez) brought in the main prop for their play, a life-size porcelain doll. Going into the doll's history, this doll was created by a man named Vladimir with an obsession for his departed childhood friend Lukrezia. A widow named Olga, who rented a room in Vladimir's house, would soon realize why Lukrezia's face looked very familiar to her.


Adult Vladimir (Magallanes), Lukrezia (Belen) and Young Vladimir

Rivas shared that his play was inspired by a minor news article with a story so bizarre that he felt it would make a perfect macabre play. Gerald Magallanes gave another one of his intense creepy performances as the disturbed doll maker Vladimir. Adelle Ibarrientos with her intentionally melodramatic acting as Olga provided some lightening balance to the dark story. The center of attention though was the riveting performance of Pearl Belen as the doll Lukrezia. With her bright open eyes and limp arms, she had no lines, but she dominated the stage the whole time with her mere chilling presence.



The second play in the main competition and final play of the night was "BABAE NGA NAKA-ITUM" written by Chin Ortega and JP Lopez. This was again directed by Vince Tanada. The story told about beautiful Jacinta (a boldly incandescent Cindy Liper) who was the town's celebrated prostitute, and her profound effect on the devoutly Catholic townspeople, in particular, the grotesquely deformed sculptor Ramon (Chin Ortega) and the spunky lesbian, Judit (Arian Golondrina). 


Cindy Liper

In his introduction, Lopez shared how the script, written in the Ilonggo language (with Filipino surtitles on a TV screen on the side), had been so difficult to write, barely completed four days prior to showtime. While watching the play in progress, you know you are watching something special. Even if you do not really comprehend at once every thing that was going on, this provocative material will make you ruminate about it and discuss it well after its final scene and lights out.


Ramon (Ortega) and Judit (Golondrina)

As the show was in progress, one can only stare in awe in how the director Tanada was able to achieve such a complexly artistic staging of such a philosophically-loaded, religiously-charged controversial material in so little time, with a bare stage, classically inspired choreography, with practically no props. This could only be a collaborative product of sheer genius.


**********

The first play of the afternoon was already ongoing. This was an competing entry in the Inter--Collegiate category, "FELIPA" by senior high school students from the University of Batangas. The depressing play told the tale of the town prostitute Felipa (representing the Philippines) who was consecutively abused by a series of "customers" (representing the presidents, from Marcos to Duterte). 


"Felipa", writer-director Errol, and "Rudy"

I cannot comment much because I came in towards the tail end already. A snooty "GMA" was doing a Cha-cha dance, a childish dolt "Noy" was stealing potted cactuses, then brusque "Rudy" came in for the final rape. The concept was daring, but the final execution was limited, maybe because of the very young actors. The episodes of presidential "abuses" could have been staged with better symbols. I was disturbed that Felipa was depicted as a resigned prostitute, especially when who she symbolized became apparent. 


Review of KLSP's SHAKESPEARE DEMYSTIFIED: MACBETH: Engaging and Explanatory

$
0
0
May 29, 2018



From May 28-30, 2018, the Asian Shakespeare Association, an organization dedicated to researching, producing, teaching, translating, and promoting Shakespeare from an Asian perspective, is holding their 3rd Biennial Conference in Manila. Aside from panel sessions, seminars, workshops and screenings, there are also theater performances (with Q&A sessions with the director) scheduled. 

One of them is "Shakespeare Demystified: Macbeth" by the KL Shakespeare Players from Malaysia, performed today at 4 pm in UP Diliman. Since 2011, the KLSP is a theater company in Malaysia that focuses only on Shakespeare’s works. Their signature Shakespeare Demystified series target young audiences. In order to keep them interested in the play, the Players judiciously cut the play short enough (this "Macbeth" was only 110 minutes with a 10 minute intermission) and incorporate explanatory narration in modern English, while still maintaining key scenes in their original text. 

Director Lim Kien Lee demonstrates his Tibetan singing bowl,
as actor Zul Zamir looks on.

The director Lim Kien Lee was also the musician, seated on one side of stage, with his various instruments (like a djembe drum, a Tibetan singing bowl, a thunder-maker drum) on hand to create the mood and tension in the various scenes. 

Once the play started, the five actors never left the stage almost the entire time. They sat on monobloc chairs upstage, waiting for their next cue to enter. Their props and costumes (mostly scarves of different colors) are right there onstage beside their seats. The ensemble acting effort of this multiracial cast was amazing to behold as the actors seamlessly shifted in and out of different characters, plus being narrators to boot.

Macbeth was played by Lim Soon Heng. He may have been the most senior member of the cast, but his energy was electric and his stage presence was very strong as he essayed Macbeth's descent into mad ambition and tyranny. The delivery of his lines was flawless and clear at all times. Lady Macbeth (also Lady McDuff, First Witch and Fleance) was played by Safia Hanifah. She nailed Lady Macbeth's sleepwalking scene with that chilling soliloquy about the spot on her hands. Her beautiful singing voice was highlighted when Lady McDuff sang a sorrowful lullaby. 

Nave VJ, Safia Hanifah and Ivan Chan in one of their clarificatory scenes.

McDuff and Banquo were played by Zul Zamir. This actor with long hair (which he tied up in a bun as McDuff) delivered on the anguish and anger of his characters. King Duncan (also Ross, Third Witch, Murderer and Messenger) was played by Ivan Chan. This tall bearded fellow was a very lively physical actor. Malcolm (as well as Second Witch, Murderer, and Young McDuff) were played by Nave VJ. This darker-skinned actor had a clear resonating voice which he can delineate the characters he played.

Since I knew the story of Macbeth very well, I knew what was going on even if there were times I did not catch clearly what was being said. Mostly, the shrill cackling voice quality assumed by the witches was not too easy to understand. It was in those scenes that I really appreciated the explanatory narratives woven into the main text. I noted that these were the same explanations I was giving my daughter the first time she watched Macbeth. These clarifying interludes definitely could hook those unfamiliar with Shakespeare into the story.

Q&A session with director and cast after the show
(L-R Ivan Chan, Safia Hanifah, Nave VJ, Lim Soon Heng, Lim Kien Lee, Zul Zamir)

I wish one day I could catch their Demystified performances of "Othello,""Julius Caesar" or "Merchant of Venice," which I had never seen performed live before. Like the "Macbeth" I just saw, I am sure these other plays will also be as engaging and interesting because of their clear abridged text and enlightening side commentary. Be that as it may though, I know the essential spirit of Shakespeare's story does not get distilled, thanks to the focused direction and impressive acting.



Viewing all 447 articles
Browse latest View live