Fred Said: THEATER, CONCERTS, EVENTS

July 19, 2013

"Sandosenang Sapatos" opened July 13 and will run for two weekends up to July 21 only. Being based on a children's book, I thought at first I'd pass on it. However, with very good word of mouth raves on social media and sold-out shows, they had to add new performance times! I knew we had to catch it. When I saw that there was a 10 am show on July 19, I resolved that this show will be part of our wedding anniversary celebration today.

From the very first scene when we see a little girl on a wheelchair with no legs, I knew this was going to be one tearjerker of a play. I was not mistaken.

Susie is a very sad little girl. She knows her dear shoemaker father had dreamed for her to become a ballerina. But she felt she could not make her dad happy since she had no legs and feet. Instead she retreats into her own dream world, the only place she feels happy with her shoe friends, one for each year of her life. She wishes that on her 12th birthday that the shoe fairy could grant her greatest wish. Can her father finally have the ballerina he dreams about, or does fate have other plans?

This is only a short play, a little more than an hour only, with no intermission. Tanghalang Huseng Batute is small and intimate. The stage is just two circular platforms surrounded by a wooden figure-8 path. However, the powerful poignancy this musical projects transcends the simplicity of the stage or the material.

This is mainly because of the enchanting central performance of young Trixie Esteban as Susie. Her voice has the purity and innocence of a child so all her sad songs and impossible dreams hit us hard with so much dramatic impact. She is on the stage during the entire play, and she pulled off the complicated script and emotional singing without a hitch. Very very impressive for a girl of her tender age. A new theater star is born!

Jonathan Tadioan and May Bayot portray Susie's parents. The power of their voices is well-known to me from previous musicals I have seen them perform in. Tadioan's deep baritone sounded so good in contrast with Susie's sweet gentle voice. Their father-daughter scenes together were moving even when there were no words spoken.

As for the shoe friends, I am very impressed with their rollerblading skills as they danced and frolicked on that narrow wooden pathway on stage. Their costumes were very colorful and their playful interaction with Susie gave the entire show its most vibrant moments. It was too bad that some of their lyrics were barely understood because of poor enunciation, poor lapel mic alignment, or even out of tune singing for some of them.

Now for the key character of the Shoe Fairy. According to the poster, this character was to be played by the ever-fabulous Ms. Tessa Prieto-Valdes. It was not Ms. Tessa who played when we watched, but instead it was Raquel Pareno. I would have understood if it was Ms. Tessa, because her flamboyant personality is more important than the singing voice. But if it was not Ms. Tessa, I wish the singing voice of her alternate would have been better. Instead, Ms.Pareno's singing was weak, and had no magical impact at all, and this was a pity.

Overall though, this play was all about Susie and her dad, and everything else simply fades into the background. The stellar portrayal of these characters by Esteban and Tadioan captivates and rivets us. Their chemistry as father and daughter was very palpable, and we feel the emotion of the story all the more. I cannot deny that my wife and I had tears in our eyes, and so with many other people in the audience, both adults and kids.

Congratulations to Tanghalang Pilipino for another successful production! The last TP production I watched was also written by Layeta Bucoy, and was a far from this story as could possibly be, the violent political drama "Walang Kukurap" (MY REVIEW). Looking forward to the next TP productions, especially Virgilio Almario's "San Andres B." in November, and Nick Joaquin's "Mga Ama, Mga Anak" next February 2014.

August 4, 2013

I was fortunate enough to have seen the original production of KATY! back in 1989, with Mitch Valdez as Katy and Celeste Legaspi as Olivia. I honestly do not recall much of it anymore, except that it was very colorful, raucously funny and with great songs and great singing.

I missed the re-staging of KATY! back in January of this year at the LittleTheater of the CCP. That show starring Isay Alvarez as Katy and Dulce as Olivia was a critical and box office success. That is why when the opportunity opened up for me to catch the re-run of the re-staging, I wholeheartedly welcomed the chance. Thank you, Ms. Gimbey de la Cruz!

KATY! is the life story of renowned Filipino vaudeville jazz singer Ms. Katy de la Cruz. The music is by Ryan Cayabyab. The libretto is by Joey Javier Reyes. The direction is by Nestor U. Torre. Great names all. The result of their collaboration is this fantastic, timeless, vibrant musical about an iconic star of the Philippine stage. The key factor for the success of a production is really the actors and the cast in this instance did not disappoint.

We see three actresses play her growing up from from a naughty precocious little girl (Leana Tabunar) to a naive spirited young lady (Aicelle Santos) to the mature star we all know her for (Isay Alvarez). The singing of the three Katy's was so on-point! They all sounded like the real Katy de la Cruz. I was actually afraid for the severe stress this impersonating is costing their vocal folds.

Not only did they have to growl their way into classic Katy songs, there was also that high-pitch shrill speaking/shouting voice they had to do. This was especially true for Batang Katy Leana Tabunar. It was scary to listen to, but man, she was so good!

Young Katy Aicelle Santos seemed to have had to sing the most challenging songs to sing, with "Bituing Tahimik" and "Balut" among them. And anyone who had to sing a duet on a famous song with the one and only Dulce is really up for a big challenge, and young Aicelle passed this test with flying colors.

Isay Alvarez actually took the stage only in Act 2. She definitely showed her full range. Her songs went from the very slow ones like her sad duets with her father and her husband, to elaborate song-and-dance numbers like "Aba, Ba, Ba, Boogie" during the American Liberation scene to "Basta't Masasayaw" where she had to tap dance with Epy Quizon as Dolphy.

Ms. Dulce, as usual, was in flawless voice. Her highlight is the show's most famous song "Minsan ang Minahal ay Ako" which was actually a lesson being taught by the old jaded star Olivia to the young bright-eyed Katy. She also had a patriotic song to sing in Act 2 called "Luha sa Kinalimutang Lupa" which also brought the house down.

Tirso Cruz III played a delightful Tatay, strict but loving and supportive of his only daughter's career. Gian Magdangal plays a very charming Peping on the piano in Act 1, though his acting in Act 2 was a bit of a downer with the awkward way he delivered his morose lines. Maybe it is more of the lines than the actor. The ladies playing Katy's theater friends, Hanna, Patsy and Mary Walter, were all very charming and funny, and great singers to boot. Having Epy Quizon to portray his dad was an inspired decision.

As a whole, this musical is really highly entertaining,capturing the very essence of Katy de la Cruz and vaudeville. Act 1 is so much livelier and funnier than Act 2, which was saddled with themes of war and death. However, the song numbers were there to liven things up when the story was getting a bit too serious. The costumes were so good looking. The sets may be simple and small in certain scenes given the huge stage of the Meralco Theater. But they sure did not scrimp on the big song and dance numbers.

Congratulations to the cast and crew of Spotlight Artists Centre for successfully reviving one of the vital theater musicals in the history of Philippine Theater!

KATY! runs only up to today! Catch the last two performances this afternoon at 3pm and tonight at 8pm at the Meralco Theater. Do not miss this last chance today.

August 4, 2013

Tonight, we had the opportunity to catch a rare event, the Reunion Concert of the "winningest" batch of the Philippine Madrigal Singers -- Madz '89. Madz '89 won 10 first prize awards in international choral competitions held in Germany, Spain, Switzerland, Austria and Italy back then -- a truly stellar achievement.

This special concert is part of the ongoing celebration of the 50th Anniversary of the acclaimed singing group. This concert is on its second night tonight, held at the Auditorium of the Abelardo Hall, a building which is also celebrating its 50th year this year.

There were celebrities spotted in the audience. Ms. Irene Marcos Araneta was there. I also saw Mr. Ryan Cayabyab, also Moy and Sweet of The Company.

Before the start of the concert proper, noted baritone and choral conductor Jonathan Velasco took the mic and introduced all the singers on the stage, giving us information about what they are doing now, as well as some trivia about how they were back then. Many members of that batch are already acclaimed musicians from here and abroad, like Monet Silvestre, Jonathan Zaens, Sal Malaki, and of course, Jonathan Velasco.

The songs were introduced by means of a Powerpoint presentation overhead on stage. A short introduction was also given per song. Too bad the font was not too clear from the balcony area. After the introductions, the singers sat down and began the show.

As per most other Madz concerts, the first act was composed of serious art songs in different languages: German, Italian, French, Latin and English. These are some selected songs from the competition days back then. Among the more remarkable songs they sung were: "Trauergesang" by Felix Mendelssohn which was introduced as the song Germany remembers Madz '89 for up to now; and "Gloria (from Misa)" (VIDEO) by Ryan Cayabyab, which was hailed as an eclectic mix of cultures in a musical piece. This last song featured a remarkable tenor solo by the same soloist back in 1989, Edward Granadosin.

The second act is fun with more popular music. First the girls entered to sing a couple of songs by themselves, "Ang Aking Awitin" and "Waray Waray". Then the boys entered to sing by themselves as well, as the Haranistas. They sang "Ikaw ang Lahat sa Akin" again with Edward Granadosin as soloist, which was amazing, to say the least. Then it was a hilarious song entitled "Sa Ilalim ng Punong Saging". Both songs garnered them standing ovations. The accompanying guitarist was Mr. Ed Nepomuceno, also a member.

They sang "Katakataka" (VIDEO) with an amusing use of deep bass voices in the arrangement. "Beeh ... Buti Nga" by the Hotdog was given an amazing acapella arrangement by Annie Nepomuceno. Florante's "Handog" (VIDEO) was dedicated to the Madz's recently departed mother, National Artist for Music, Prof. Andrea O. Veneracion, whom they lovingly call "Ma'am OA". The final song of their regular set was "Sana'y Wala Nang Wakas" by Willy Cruz.

Of course the audience would not just let them go that easily, and demanded for encores. The Madz graciously and generously obliged with four. The first song was "L'important c'est la Rose" (VIDEO) featuring clear flawless flute-like whistling by Mr. Sal Malaki. Malaki also led the Madz in their next song, doing a soaring solo for Paul McCartney's "Yesterday". Another Beatles classic followed with "Let It Be," this one beautifully arranged by Ryan Cayabyab.

The final encore number was a performance of song legendary among the Madz entitled "Italian Salad", a comedy number featuring solos by Jonathan Zaens, Jonathan Velasco, Edward Granadosin and a particularly funny exasperated performance by Armando "Boyong" Robles grasping at the high notes. This hilarious number ended this memorable concert on a very high and joyful note. Looking forward to the 75th anniversary concert! Congratulations to Madz '89!
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August 7, 2013

Ever since the first announcement of this PET SHOP BOYS concert, I really resolved to watch it as this duo is one of my favorite acts from the 1980s. Their greatest hits CD "Discography" is on constant repeat in my car back then, and even now, if the mood hits me. It was back in 1985 when we first heard the unusual style they had on their debut single and first hit song, "West End Girls," which went all the way to Number 1 on the Billboard Hot 100. Like the Tears for Fears concert, I thought this concert will also be as highly-anticipated by the 80s college set.

Unfortunately, that was not really what happened tonight. The Smart Araneta did not fill up as I was expecting. By 8 pm, there were still a lot of vacant seats. Most people were up in the Upper Box B area. The General Admission was even closed off maybe because of poor sales. By 8:30 pm, the Patron seats looked better as more fans trickled in. There was no front act. When the lights were killed and the coliseum was in pitch black darkness, we knew it was already going to be main act.

Right from the very beginning, we knew this was going to be more than an event for our ears. This was also very much a dazzling feast for the eyes as well. The video screen in front of the stage first had a vertical orange line which eventually morphed into a cone, then into a tube where two figures were walking through. This is it!

Trippy images from last night's concert (photo care of Harry Hawson)

The first song "One More Chance/Face Like That" was not familiar, but that thin high-pitched voice of Neil Tennant and the synthesizer style of Christ Lowe were unmistakably very familiar. The second song was one of their earlier hits, the top ten song "Opportunities (Let's Make Lots of Money)". In that song, the screen fell to the stage, and we finally saw Tenent and Lowe in the flesh. Tennant is much bulkier with a bald head already. We still do not see much of Lowe's face, as it was before.

After that hit, a long series of unfamiliar songs followed, but the beats were so catchy and dance-able as their known songs. Throughout this stretch, we would be regaled by some pretty awesome light displays which bathed the whole coliseum with strobe and laser lights of different colors and designs. On stage, there would be dancers with bull-like head gear prancing around. The PSB knows they cannot stage a show with only the two of them, this concert was going to be a totally immersive experience of light and sound.

After the minor hit with a memorably long title "I Wouldn't Normally do this Kind of Thing", the audience rose to their feet for the first time when we heard the first note of "Suburbia"! That song is only a low charting single in the US, not even hitting the Top 40, but here it is BIG!

Following that, there were unfamiliar songs again, including a cover of a Bruce Springsteen original called "Last to Die." This was followed by a surprising cover of the famous "West Side Story" song, "Somewhere", done PSB-style. The next unfamiliar songs all deserved to be bigger hits because of their infectious beats, "Leaving,""Thursday" (with that catchy "stay for the weekend" chorus), "Love, Etc." and "I Get Excited."

The distinct intro strain of their 1987 hit "Rent" (SEE VIDEO) made the audiences very excited again. Then all the big hits came, and the audience was all on their feet dancing. It was started by "It's a Sin" (SEE VIDEO) then "Domino Dancing" (SEE VIDEO), their Village People cover "Go West", then their hit cover version of "Always on My Mind," which ended their regular set, with a release of glittery confetti all over the stage.

The lights remained off, so we knew it was not over yet and clamored for more. Their signature hit has not been sung yet! Sure enough, that was the first song of the encore set, "West End Girls"! They sang one last song which is I believe their latest single, "Vocal".

With that final song, this very artistic light design intensive concert came to an end. I am slightly disappointed that they did not play a couple of my favorite PSB hits, "Heart" and "What Have I Done to Deserve This". However, you would not believe that this is a old nostalgia act from the 1980s with the way this awesome, inventive, and entertaining show had been staged. Their concert title is certainly apt. This Pet Shop Boys concert was indeed ELECTRIC!

August 15, 2013

Menchu Lauchengco-Yulo is no doubt the First Lady of Philippine Theater now and maybe throughout my twenty years or so of being a fan of local theater. I find it very amazing that this concert "Leading Lady" is only her FIRST solo concert, and she only had it now at the ripe age of 50!

This concert is the third and final installment of the "Triple Threat" series of monthly one-night-only concerts at the CCP Little Theater featuring theater stalwarts who could sing, dance and act. Last June, the first show starred Nonie Buencamino. The second show last July was all about Audie Gemora. Sadly, I was not able to see both of those shows due to schedule conflicts. I almost missed this concert too, but luckily the stars intervened in my favor.

The stage had a piano at left, and a bunch of props on the right behind a folding divider. Behind the piano, the stage had so many lights set up. I was imagining now this concert was going to be lit by those lights, and beautifully it was.

Ms. Menchu entered the stage wearing a black sleeveless one-piece pantsuit, with only earrings and necklace as accessories. Nothing too fancy. She first talked about her love for the theater, the butterfles in her stomach, and how she wanted to connect with her audience, from the front row to the back. With Mr. Rony Fortich at the piano, she launched into her first song "You There in the Back Row" from the show 13 Days to Broadway.

She followed that up with "Everything's Coming Up Roses" form Gypsy and "On a Clear Day You Can See Forever" from the musical of the same title.

(photo credit: Ms. Girlie Rodis)

After that she talked about her first audition for Repertory Philippines The King and I back when she was 15. She did not get a role then, though her brother Raymond (then 12, now her director for this show) did. But this show ignited her passion for musical theater.

She began in ingenue roles, and had a funny spiel talking about all the shawls she had to learn to act with. She then sang a series of ingenue songs, like "I Feel Pretty" from West Side Story, "Sixteen Going on Seventeen" from The Sound of Music and "Green Finch and Linnet Bird" from Sweeney Todd. She's still got that sparkling soprano lilt in her, even though she confesses she has not sung any of those songs for years.

Then she talked about her transition to more mature songs, getting to sing songs like "Don't Rain on My Parade" from Funny Girl, then "I Dreamed a Dream" from Les Miserables, ending the series with "Don't Cry for Me Argentina" from Evita. She was not only singing these songs, she was in full character.

After this, she talked about singing mature love songs as a leading lady, then she segued into a medley of "As Long as He Needs Me" (from Oliver!) and "My Man" (from Funny Girl). She also sang "Stars and the Moon" from Songs for a New World. She was bathed in blue lights during this song which she described as a song with "all the emotions written into it." Beautiful rendition.

(photo credit: Ms. Girlie Rodis)

She then talked about how she found it difficult to make people laugh in comedies. She followed that spiel with a different yet still amazing performance like I don't think I have ever seen her do before. The song is "(Not) Getting Married" from Company. That wonderful song was a true show-stopper. Ms. Menchu was so vibrant and funny in that song marked with very fast delivery of very tongue twisting lyrics. Guest singer Teenee Chan and even the pianist Mr. Fortich sang support for this song.

The next song was "Send in the Clowns" (from A Little Night Music). So much emotion and drama in this inherently dramatic song. After this, she talked about her dream to play Elphaba in Wicked, then, as green lights played around her, sang a heartfelt "The Wizard and I."

She introduced her next song calling it the most beautiful song she has heard. To the surprise of the audience, she sang a song in Filipino. It was "Magbalik Ka Na Mahal" from Rama Hari by Ryan Cayabyab. She confesses that her Filipino was not too good. However, after hearing
her rendition of that love ballad, you wouldn't believe it to be true.

The next song is "Meadowlark" from The Baker's Wife. I know the song, and I knew Ms. Menchu has sung it. But I never knew how powerful this song could be before. Ms. Menchu really owned this song. This was THE highlight among many highlights of the show.

The final song in her official programme was "Colors of My Life" from Barnum. And the lights on stage burst into multiple colors as the song was describing. Certainly sums up her most colorful life as a theater actress.

(photo credit: Ms. Girlie Rodis)

Of course, the audience will not let her go simply after that. She acquiesced by serenading us with a song from Passion called "Loving You." I was waiting for her to sing this, and was so happy she actually did. She mixed in the song "Not a Day Goes By" (from Merrily We Walk Along), and mash-up was seamless.

For a final encore, she toasted us with her water glass (which miraculously did not run out through the length of the show despite her frequent sips) and the song "Ladies Who Lunch" from Company. She was charmingly fierce in her rendition.

So there goes the very successful first solo concert of Ms. Menchu Lauchengco-Yulo. I feel so fortunate to have been one of those who have witnessed her grand solo concert debut. Life begins at 50 indeed, especially for a talented trooper like Ms. Menchu. We already knew she would be so good, yet she even surpassed all our expectations. So many good things still remain to be discovered in her already illustrious career in theater in the years to come. And we will all be there to watch and cheer her from our seats as she regales us on the stage.

August 16, 2013

This year, the Rep Theater for Young Audiences (or the Rep Children's Theater) continues its 20-year strong tradition by presenting a musical theater adaptation of Lewis Carroll's classic 1865 novel, Alice's Adventures in Wonderland. This particular adaptation of the novel, now entitled ALICE IN WONDERLAND, had book and lyrics by Jim Eiler, with music also by Jim Eiler and Jeanne Bargy.

There is not much of a plot to speak of here. Of course, we are all familiar with Alice who fell into a dreamland of odd characters and situations. There have been numerous adaptations in various media, but I am pretty sure we are most familiar with the classic 1951 Disney animated movie of the same title, which is probably what we all have in mind when we think of Alice and her adventures. Recognizing budget constraints, it will really be a challenge for the director Ms. Joy Virata and her staff to bring all of these fantastic events so well-known to many to convincing life on stage.

Indeed, when the play began with the chorus showed dressed in very bright colored costumes, we knew this will be more of a show memorable for its innovative costumes, make-up and production design than its story or songs. The theme of the set design and the costumes for this Repertory production appeared to have been geometric shapes inspired by Japanese origami. And these were truly spectacular and looked expensive!

(Photo Credit: Repertory Philippines FB Page)

It was rather tough going at the start, with the scene of Alice (Daniella Gana) and the White Rabbit (Nacho Tambunting) falling into a very deep rabbit hole seemed to have come short of its intended illusion. I was thinking maybe some wind and echo effects would have been helpful. After that however, with the much anticipated scene of Alice shrinking and growing was very imaginatively done. Now that is thinking outside the box!

While it was filled with some rather inventive visual candy, like the how the Caterpillar was formed by four different people playing separate segments of its body ("When I Become a Butterfly"), Act 1 felt rather dull, not only for me but also for my daughter, who watched with me. Those episodes involving the duck, lorry and dodo birds, and the French mouse, and the Duchess, her cook and her baby, were not too interesting for me.

Act 1 ended with a show in the Palace Music Hall. Again the numbers in this part were more miss than hit for me. I hope they can tweak this part up further in future shows, as this is only their first public performance tonight. Despite their striking and literally shimmering costumes, the "Tweedle Brothers" number failed to fly. I personally found the "Walrus and Carpenter" portion not done so well (yet, I hope). The singing was not clear. The costume of the Walrus was not at par with the others. This scene was only saved by those cute oysters.

(photo credit: Repertory Philippines FB Page)

When it came to Act 2, now we're talking! It actually started with an audience sing-along ("I'm Mad, You're Mad") led by the Cheshire Cat (Nic Campos) and Alice with those LSS-inducing lyrics, "I'm mad. You're mad. We're all mad here!" Not only the kids, but everyone in the audience really followed the hand gestures too! From that sparkling start, Act 2 turned the whole show around for the better.

The next sequence was the iconically hilarious and very colorful Mad Tea Party ("Time for Tea"), with its three insane characters: March Hare (James Stacey), Dormouse (Josh Ramirez) and the Mad Hatter (Joel Trinidad). Some pretty corny jokes were exchanged in this scene, but it was all in the spirit of good delightful fun, with some carefree audience participation as well for the kids. (This gave me the thought that maybe they should have also integrated some audience participation parts to liven up Act 1 as well.)

Following that is the fantastic staging of the Croquet Games. Again, the colors of the lights enhanced the elaborately rich costumes of the King and Queen of Hearts. This highlight was made more memorable by the brilliant performance of Ms Bituin Escalante as the deranged Queen who wants to cut off the heads of everyone who goes against her ("Off With Your Head"). This scene for me was the highlight of the show.

The rest of Act 2 with the Mock Turtle ("The Turtle Tango") and the final Trial scene ("Sit Down, Sit Down") did not let up the momentum, and continued entertaining us up to the inevitable end and curtain call.

(Photo Credit: Repertory Philippines FB Page)

Through all of this, the most impressive actor of the show is really the very young Danielle Gana, whom I learned is only 14 years old. Playing Alice, she was on stage for the whole show. She still manages to capture our attention all the time with her verve and stage presence, despite all the strange, colorful and fantastical creatures that share the stage with her. Mentored by Michael Williams, this 10th grader has a big future ahead of her in the entertainment scene.

Overall, my daughter and I had fun watching "Alice in Wonderland," mostly because of the very vibrant Act 2, which in itself is already worth the admission price. If you just grin and bear with aimless first act, you will be amply rewarded in the most enjoyable second act. I bet you, you will go out of the theater singing "I'm Mad, You're Mad" on your lips! We confess we did.

Congratulations to Ms. Joy Virata for her successful direction of this very challenging piece of Children's Theater. Congratulations also go to Ms. Liesl Batucan for being Assistant Director, as well as onstage as the Duchess. (It is interesting to know that Ms. Liesl played Alice in the 1997 Rep production.) The biggest kudos go to the Technical Staff, particularly set design (by Gino Gonzales), costume design (by Raven Ong), lighting (John Batalla) and make-up (Ely Maalat) -- these are the biggest stars of this show.

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Repertory Philippines' 'Alice in Wonderland' will run weekends, from August 17 to December 15, 2013 at Onstage, Greenbelt 1, Makati City. Do catch it with your young kids! Call (02) 571-6926 or (02) 571-4941 or get your tickets from the new Repertory Philippines Website at www.repertoryphilippines.com.

The run will be very long with multiple shows, so there will be alternates for all the roles. Alternates for the role of Alice are Chaye Mogg, Becca Coates and Rachel Coates. For Rabbit, alternates are Reb Atadero and Jim Ferrer. For Queen of Hearts, the alternate is Natalie Everett.

August 18, 2013

"Batang Rizal" is a play by PETA that I have heard about for a very long time. This musical about the child Jose Rizal had been first staged way back in 2007, and had been toured around the country several times since then. I knew that this is a play I would like to watch with my children. When I found out just a few days ago that PETA will be re-staging this modern classic at the PETA Theater for a limited engagement this month, I made sure my whole family went to watch it this rainy Sunday morning.

"Batang Rizal" tells the story of Pepito (Vic Robinson), a student of Rizal Elementary School, who is in deep trouble for accidentally breaking the expensive new Jose Rizal statue donated by their oily Mayor Rafcu (Wylie Casero) for their Linggo ng Wika celebrations. Pepito encounters a magical Book which teleports him from the present time back to the late 19th century in Calamba, Laguna when Jose Rizal, or Pepe (Lemuel Silvestre), was still a young boy like him.

From such an innovative scenario, we are given an inside view into the psyche of the still young and innocent boy Rizal, still being bullied by other kids for his diminutive stature, only beginning to be wakened to national consciousness by his elder brother, already very devotedly attached to his mother. The situation gets more interesting when Pepe is likewise brought by the magic Book to present times and he meets Pepito's teacher and classmates. Ultimately, the young Rizal and his modern day friends will be taught lessons in nationalism and heroism.

We will get to see all the stories we hear about Rizal's childhood unfold on the stage as they have been skillfully integrated into the script. The oft-repeated fables of the "Turtle and the Monkey" and the "Moth and the Flame", were retold in imaginatively via hand puppets. We will hear the young Rizal himself recite "Sa Aking Mga Kabata," the poem he supposedly wrote when he was only eight years old. There was even an episode about Rizal's mother being arrested and incarcerated, which I have never before heard of until I watched this play.

The young adult cast playing children was so cool and natural, not trying too hard at all to be childlike. Vic Robinson is charming as the lead character, Peping. Hard to believe this guy had already played a romantic lead in "Sa Wakas" just a few months ago, and here he is now playing an elementary-age kid. This is the first time I am seeing Lemuel Silvestre on stage, and yet here he is now playing co-lead as Pepe. He may not be conventionally good-looking as Robinson is, but Lemuel's charisma steadily grew as the play went on. Most importantly, he is credible as the titular young Rizal.

Peping has his friends: the bossy Bambam (Timee Gorrecho), the big cutie crybaby Chiqui (J-mee Katanyag), and of course, his crush, the pretty Kaye (Rissey Reyes). Of course, as in any school, there are those bullies: the naughty Manuel (Ron Alfonso) and his gang Raffy (Rafael Sudayan) and Ella (Divine Aucina). These mischievous bad guys were quite the hit with the crowd with their boisterous antics.

What is amazing about this supporting cast is that in complete contrast to the relentlessly zany characters they play in the present time, they also play the very serious characters in young Rizal's life on the other side of the time tunnel. Casero also plays Rizal's older brother Paciano (though he did look old enough to be Rizal's father). Katanyag, Gorrecho and Reyes also play Rizal's sisters Saturnina, Maria, and Narcisa respectively. Alfonso tells the grim tale of the execution of Gomburza with the garrote. Sudayan plays a wicked Spanish friar selling indulgencias.

The most remarkable extreme transformation was by Ms. Noemi Gonzales. She was just so perky and crazy as their ditzy Filipino teacher Ma'am Tangolang, who has a penchant for channeling opera diva Sylvia la Torre. Yet in a total turnaround, she was also a serenely solemn and very dignified presence as Teodora Alonzo, fondly called Donya Lolay, Rizal's mother. You would never imagine that these two exceedingly contrasting characters were just played by just one very talented actress.

This play was brilliantly written by Christine Bellen, which such respect for language. It also features lively all-original music composed and arranged by no less than Vincent de Jesus. Dudz Terana directs the action very well, mixing the serious and the comic moments with much control. The moment when Pepe realizes the lesson of the "Moth and the Flame", and that moment when Pepe discovers how exactly he became a hero, were so beautifully and sensitively written and staged.

This is by no means a very serious play about patriotism. As PETA targets this play for children, the audience is also treated to rollicking, laugh-out-loud, schoolyard comedy. This 2013 script was obviously updated to include hilarious present day pop references, like the current Pork Barrel issue, Ser Chief, Juan de la Cruz's "latigo ng katarungan", and many others.

My whole family really enjoyed our two hours (no intermission) watching "Batang Rizal" this morning. I do not wonder why this play had already achieved its status of being a beloved PETA production. It definitely deserves to be seen by all Filipinos, young and old, all over the country.

To celebrate Buwan ng Wika this month of August, do bring your whole family to watch "Batang Rizal"! This play will run August 16-18, August 23-25, August 30-31 and September 1 at The PETA Theater Center. There are two shows per day, 10 am and 3 pm.

For tickets and more information, contact 725-6244, 0917-5765400. Tickets are selling for P600 for adults, and P400 for students. These shows sell out because entire groups of students book these shows, so hurry to reserve your seats!

August 22, 2013

"Pamana" tells the story of a typical low middle-class Filipino family. Lola Azon is a retired Metro Aide street sweeper during the Martial Law time and a big admirer of her namesake, Pres. Corazon Aquino. Her son Edgar has grown disillusioned with how the government went after the EDSA Revolution, so he decided to be an OFW, working in Dubai, then Switzerland. Azon's grand-daughter/Edgar's daughter is Trina, who has to make a decision whether she will join her dad abroad or stay put in the country she is just discovering to love.

The actors all did very well to essay their roles. Of course, Malou de Guzman was very effective as Lola Azon. We believe her and we feel her pain. She had perfect chemistry with another theater veteran Bodjie Pascua, who played her husband Turo. Their number together "The Noise Barrage" was very memorable. Kakki Teodoro had a nice soprano lilt in her voice. As Trina, she represents the idealistic youth. I liked her best in "Ang Tatay Ko" where she tells us about her long-distance relationship with her OFW dad via the Internet. It was refreshing to see Jett Pangan in a Filipino play after "Jekyll and Hyde" and "Nine". His voice is really solid as he tackles his rather one-dimensional cynical role of Edgar the best he could.

The best and most original part of the play for me was the very first major musical number, where there were parallel stories being told simultaneously, Lola Azon telling us how she was inspired by the Ninoy Aquino funeral procession in 1983, as Trina tells us how she was inspired by the funeral of President Cory in 2009. The presence of those four honor guards, whom we clearly remember steadfastly stood around President Cory's coffin for several hours during her actual funeral parade, lends further sentimental punch to the scene.

As for the rest of the play, truth to tell, the family conflicts it tells us are simple, common and oft-tackled in movies and other plays already. It was only the way that this story, which spans three generations, had been integrated with several inspirational video messages of Ninoy and Cory Aquino which distinguish this play from others. We will revisit the best of the best moments and memorable quotes of the two dearly departed icons in the videos edited by Jun Reyes. Ninoy's poem about the "Candle of His Life" was especially beautiful, poignant and apt.

I can't explain exactly why, but somehow I felt that the Meralco Theater was too big for this play. The material seemed better fit for a smaller stage. I felt that they had some difficulty filling up the big stage. I sort feel that it might work better and raise more goosebumps in a more intimate venue like the PETA Theater.

For me, the only sequence that actually needed that big of a stage was the interpretation of Jim Paredes' EDSA-1 anthem "Handog ng Pilipino sa Mundo", complete with a simulated tank and flag waving. The images during this big number were haunting and truly captured the essence of that historic event.

This show is a production of the Ninoy & Cory Aquino Foundation in partnership with Indie.Go Media and the Philippine Educational Theater Association (PETA). It calls itself a docu-musical tribute to Ninoy & Cory Aquino. Its aim is to remind Filipinos of the exemplary lives of the elder Aquinos, Ninoy's "spirit of sacrifice" and Cory's "faith and selflessness."

Being a play about political figures, this show is politically-charged. Knowing then that this show is a tribute, you do not expect it to be an impartial version of our country's recent history. This show is "yellow" through and through, and targeted for a "yellow" (or at least unbiased) audience as well. The writer Rody Vera did try to balance this with the point of view of the Edgar character who was disappointed with the country after EDSA 1 and left. This is NOT for the staunchly anti-"yellow" (who probably have a different version of events), unless they can respect the spirit of the proceedings with an open mind and a civil tongue.

I was originally supposed to have attended the gala night scheduled on Ninoy Aquino Day, the 30th anniversary of his assassination at the airport tarmac. However, because of the adverse weather brought about by the enhanced monsoon, that gala show was cancelled and deferred to Saturday night. The event was supposed to have been attended by the Aquino family, including President Noynoy Aquino himself. To watch this play with the children Ninoy and Cory left behind in attendance would have been a more emotional experience.

Kudos to director Maribel Legarda, musical director Vincent de Guzman, esteemed composers Ryan Cayabyab and Fr. Manoling Francisco SJ, and the rest of the PETA cast and crew for bringing this inspirational story to life in a form so vivid and sincere. This may not have been a perfect play, but it is a perfect tribute.

"Pamana" only has three public performances slated, all this weekend: August 24 at 3 pm, and August 25 at 3 and 8 pm.

September 1, 2013

Last night, my daughter and I were fortunate enough to attend the Gala Night of the re-staging of Tanghalang Pilipino's "Ibalong". It was first staged as the last production of TP's 26th season, just earlier this year for the month of February 2013. It was coincidental that last night was the closing of the Ibalong festival in Legaspi City this whole month of August.

This musical version of the Bicolano epic was supported by Legazpi City since its conceptualization. and it was recently just staged in that city last August 21-22 as part of the festival. Legazpi City Councilor Alan Rañola was in attendance last night to receive a certificate of appreciation from TP. Also in attendance was the daughter of Mr. Merito B. Espinas, the author of "Ibalong: The Bikol Folk Epic-Fragment" which brought the epic to national consciousness when it was published in 1966.

"Ibalong" was about the elementals that possessed the earth and the incursion and domination of humans into their territory. The central character is the beauteous Oryol, a half-serpent half-human elemental, who was torn about her loyalty to her kind, and fascinated with the humans as well, as represented by the proud and over-achieving hero Handyong.

The story was told in two acts. The first act was about an hour and 45 minutes long, while the second act was about an hour. The production design is very imaginative. The stage was magically transformed into a lush jungle with an innovative curtain where the elemental creatures slither about. The fantastic, very colorful costumes of these creatures are the main conceit of this production.

Oryol (former Ms. Saigon Janine Desiderio) was quite a visual achievement with her long green serpentine body controlled by puppeteers dressed in black. The other remarkable costume was that of the giant wild pig Opon (Red Nuestro), whose big mouth was controlled by the actor's hands while he was "talking". The fighting dance sequences between man and elementals were amazingly and meaningfully choreographed. There were even two high poles at both ends of the stage used to very good effect.

A problem last night was the sound. Frankly, I did not understand anything that was being said or sung in the first fifteen minutes or so. Oryol was the lead character but either her mic is weak or misplaced so that the sound was intelligible. When Janine Desiderio was singing her opening monologue, her notes were powerful and resonant, but I do not know exactly what she was telling us. This would happen many times during the first act and it was truly disappointing just try to connect events in our heads by deduction. That is why the first act felt so long.

Luckily, the second act was much better in terms of pacing and story-telling, giving the play a powerful and memorable ending. All the actors, Janine Desiderio (as Oryol), Remus Villanueva (as Handyong), Cheeno Macaraig (as Makusog) and May Bayot (as the goddess Gugurang), all shone in their singing and acting in this second half.

The last song solo by Trixie Esteban as Daragang Magayon was beautifully haunting. This young lady, whom I just saw in "Sandosenang Sapatos" last month, really has a promising future ahead of her. She also played young Oryol (with her own little serpent tail) at the beginning of the play, and she can deliver her lines more crisply and clearly than the adult performers.

Overall, the story is a very timely message of caring for our environment. This message seemed so much ahead of its time since it was written well well before thinking green and respecting the Earth was in vogue. It also reminds man to temper his greed and power-madness. Man and Nature needs to respect each other in order to live in full harmony with each other. This important message is delivered loud and clear.

It was so astute for the people of Legazpi City to share this local epic mythology with the rest of the country in the form of musical theater. It was indeed fascinating to know of these characters. I have never heard of another serpent being in other local Filipino myths until I saw Oryol last night. And she was no frightful creature, mind you. When she was a serpent, Oryol knew fully well how to use her feminine charms as well as her fighting skills to protect her kind.

Kudos to Rody Vera for his adapted libretto, Tucxqs Rutaquio for his efficient direction and wondrous set design, Leeroy New for his inventive costumes and puppet designs, Alden Lugnasin for dynamic choreography, and the rest of the Tanghalang Pilipino cast and crew!

This re-staging of "Ibalong" runs Fridays (8 pm), Saturdays (3 pm and 8 pm) and Sundays (3 pm) up to September 15. 2013 at the Little Theater of the Cultural Center of the Philippines. Tickets are available at the CCP Box Office and Ticketworld outlets at P800 for adults and P400 for students.

August 6, 2013

The story of "Lorenzo" is told as a musical within a musical. Ex-theater actor Laurence Ruiz, an OFW convict condemned to die for murdering his lecherous employer, is writing a play about the saint whom he identifies with the most, San Lorenzo Ruiz. He recounts in his musical play how his sad life parallels that of San Lorenzo, his journey, his suffering, and his marytrdom.

The first major production by the new Green Wings Entertainment Network headed by actor Christopher de Leon, "Lorenzo" boasts of music by Ryan Cayabyab, with book & lyrics by Juan Ekis & Paul Dumol in the collaboration of Joem Antonio. Cayabyab's music in this show is very much reminiscent of "Jesus Christ Superstar" with its edgy rock opera feel where the voices of the cast soar and wail to heavenly heights. Veteran director Nonon Padilla skillfully integrates the past and present stories of the two Lorenzos into one seamless meaningful whole, both socio-political and religious aspects.

The most memorable aspect of this play is its unique and spectacular production design courtesy of Gino Gonzales. Multiple Japanese references, from Kabuki to Giant Robots, are used to drive the story forward. This play had a story which is very challenging to stage. Gonzales was able to convincingly show us a sampan caught in a squall in the high seas, the graceful passing of four seasons, as well as how the martyrs were tortured and executed (in an ingenious manner which I will not spoil for you here). His fertile imagination can also be seen in the many ways Balikbayan boxes were used in this play.

The rest of the crew should be proud of how the technical aspect of the play turned out. They are Dingdong Fiel (Musical Director) and the live band, Jonjon Villareal (Technical Director/Lighting Design), and Christine Crame (Choreographer).

LORENZ MARTINEZ stars asSan Lorenzo Ruiz. There is no argument that he is one fantastic singer and such a wide range. No wonder he is one of those who survived the Ms. Saigon auditions last year, it is clear why. And his acting in those passion scenes at the end when he was contemplating his fate was positively intense. Truth to tell though, Martinez never really completely became Lorenzo for me because of a marked physical disconnect with how we usually imagine San Lorenzo to look like. Martinez's long hair, hefty build and even his blue shirt did not help identify him as San Lorenzo.

OJ MARIANO plays the "dead man walking" playwright Laurence Ruiz. He looked quite thin and gaunt than how we usually see him. I guess that was a triumph of his black-white striped prison costume and sallow make-up. He is such a consistent performer in any show I see him in, and this one is no exception. While his singing is flawless, he did flub a number of spoken lines, but nevertheless he kept quite in character.

The first song in the show was sung by Rosario Ruiz, wife of Lorenzo. SHIELA VALDERRAMA sang this song of longing so beautifully. Actually she sung ALL her songs beautifully with her crystal clear high notes. She really stood out because she was only one of two female characters, and she had more than one song and thankfully so.

The four Dominican friar missionaries whose sampan to Okinawa Lorenzo joined were really very inspirational characters. They actually dreamed of being martyrs for their faith and this was their noble dream come true. They had many good songs which they sang in perfect harmony in four voices, one time even in impressive a capella in Act 2 of Laurence's play which focuses on the friars' guesses why Lorenzo joined them.

I first saw JULIENE MENDOZA in PETA's "Bona" and he caught my attention despite his short quiet role. It was no fluke that this guy can act so well, and in fact he can even sing very well as Fray Antonio Gonzales, the leader of the mission. He can effortlessly connect with the audience up to his very final scene out of his monk robes. It was awesome to witness him own the stage again.

Two former TV celebrities make comebacks via this play. That's Entertainment talent BRYLLE MONDEJAR as Fray Guillaume Courtet and Philippine Idol contestant MIGUEL MENDOZA as Fray Miguel Aozaraza. Mondejar surprised me with his deep baritone voice. Mendoza stood out because of height and youth, and I have to say that his voice has since improved from his days on TV. But the big discovery here is RHENWYN GABALONZO as Fray Vicente Shiwozuka. His solo while singing in the "cold" winter shivering and coughing was so strong!

I was puzzled why the Japanese interrogators had European names in the cast list. Red-haired and masked Rodrigues was played and sung by talented NOEL RAYOS while on a wheelchair. I had never heard him wildly scream rock songs before, and boy, can he! And his final exit, what an impact. When he appeared out of costume at the curtain call, and it turns out he was actually in a leg cast for real. Amazing professionalism. The other interrogator Carvalho was played by BREZHNEV LARLAR.

Giving Juliene Mendoza tough competition in the Featured Actor category come awards season is TERENCE GUILLERMO in the challenging role of Lazaro,a Japanese Christian who also happened to be leper. His tenor voice is booming and strong, standing out of group songs and duets. The character of Lazaro becomes the point of view of Laurence in the concluding act of his musical, and that was when Guillermo shone in his role.

I was wondering why opera diva Ms. CAMILLE LOPEZ-MOLINA was just playing the Reporter to whom Laurence dictated his play. Turns out, of course, that she will have one amazing solo operatic aria of a psalm at the end of Act 2. Now that was a showstopper!

And in all the plays and musicals I have seen, I must note that this had one of the most memorable and unexpectedly fun curtain calls I have seen.

Kudos to Green Wings, director Nonon Padilla, his entire cast and crew of staging this huge, audacious, original Filipino rock musical. I understand that this play will be toured around different provinces and universities, culminating in a run at the Cultural Center of the Philippines next year. Producer Christopher de Leon is not closing the door on taking on an acting role in the future of the run, and that is something to look forward to.

This maiden run of "Lorenzo" is now playing at the fresh, spacious and comfortable SDA Theater of the De La Salle-College of St. Benilde along Vito Cruz in Malate. Performances are scheduled on September 5, 6, 7, 12, 13, and 14 with shows at 1:00 PM and 6:00 PM. The start time of 6 pm was quite unusual but understandable because of the three hour long running time with 10 minute intermission.

There are three Price Zones when you buy your tickets at Ticketworld: Orchestra Center (Reserved Seating) at P1,274.98, Orchestra Side and Loge (Free Seating) P1,062.48 and Balcony (Free Seating) P531.24. Buying onsite will save you the online service fees.

September 17, 2013

Tony Bennett is already 87 years old, but he is still very actively recording and touring. In September of 2011, Bennett released Duets II on his 85th birthday, where he sang duets with a diverse list of artists, ranging from Aretha Franklin to Lady Gaga. This album debuted at Number 1 on the Billboard 200, making Bennett the oldest living artist to top that chart. It was interestingly his first and only Number 1 album. His duet with the late Amy Winehouse entitled "Body and Soul" made Bennett the oldest living artist on the Billboard Hot 100, with the longest career span on that chart.

Tonight, I brought my parents and my aunt with me to watch Mr. Bennett live in concert, who finally came to sing in Manila live for the first time in his long career. Even if we know his smooth cool voice may not be the same anymore, we did not want to miss this rare, and maybe the only, time for us to see and hear one of the best singers in the world sing live.

And apparently so did a lot of other Filipino fans, mostly senior citizens. Being a Tuesday evening, the Plenary Hall of the PICC filled up slowly. But surely, by showtime of 8:30 pm, when the house lights dimmed, the big hall was almost totally filled up.

On stage was a grand piano, an electric guitar, a double bass and drums. His band occupied their respective places as a voice-over announced the name of the front act, Ms. Antonia Bennett, the daughter of Tony Bennett. She sang about six songs, including her version of "Embraceable You" which was most warmly applauded. She had a unique character to her voice, not too brassy, not too light.

When Ms. Bennett bid farewell, we hear the voice of Frank Sinatra introduce "the greatest singer in the world", and in comes Mr. Tony Bennett himself, dapper in a white coat. When he started to sing his first song "Watch What Happens", the audience, feeling the excitement of hearing a legendary voice live, burst into loud applause. He would follow up that song with "They All Laughed" and "Maybe This Time." The voice was predictably rough already with age, but it was still so strong as he did not avoid belting out seemingly unreachable money notes.

With the next songs, "I Got Rhythm," "Because of Love" (his first Number 1 pop song in 1951) and "Sing You Sinners", he also introduced the talented members of his band. They were: pianist Lee Musiker, drummer Harold James, bassist Marshall Wood and guitarist Gray Sargent. Then Antonia came out again to sing a pleasant little duet with her dad, entitled "Old Friend" (VIDEO). Maybe in recognition for his age, every little "daddy-dance" move he did was met with generous applause.

It was amazing how Sir Tony had so much vocal and physical stamina to sing song after song, with nary a sip of water in between. He sang "Steppin' Out With My Baby", then "But Beautiful." The next song was a stripped down version of "The Way You Look Tonight." He also sang his very first recording, the brooding song, "Boulevard of Broken Dreams."

Together with less familiar (for me) standards like "Just in Time", "The Good Life" and "Once Upon a Time," were familiar ones, like "Shadow of Your Smile" and the song that ended the main set, "One For My Baby (and One More for the Road)". After toasting the audience, he bid goodbye and left the stage.

Of course, the audience did not let him go just like that and definitely clamored for more. We knew there was more since the band did not leave the stage. Mr. Bennett came back onstage in a short while and sang "For Once in My Life" (VIDEO), then "That Old Black Magic." He segued to the song he is most known for "I Left My Heart in San Francisco." After singing a fourth encore song, "Who Cares?", he tried to leave the stage again.

And again, the audience did not let him go just yet. He came back on to sing a beautiful version of "Smile." Finally, he showed off his vocal power by singing "Fly Me to the Moon" without a microphone! The audience took the cue and sang the rest of the song with him with perfect knowledge of the lyrics! That is definitely why foreign artists love to come perform here. We know how to sing our favorite songs by heart.

With that, a historic concert with one of the most respected musical stars has ended. The audience went home carrying with them the memory of not only Tony Bennett's iconic voice but also his warm heart and smile. This is pure nostalgia.

September 20, 2013

The concert time on the ticket was 8 pm, but it was only at around 8:30 that a pair of DJ's calling themselves GTA started to mix some house music. That was OK, mostly driving beats with occasional mixes of popular songs like "Better Off Alone", "Smells Like Teen Spirit" and "Otherside." But when it was going on and on for more than 40 minutes, it got too repetitive and boring already. They ended around 9:15 pm.

There was still no Rihanna for another hour after that. Even by that time, there were still a lot of expensive seats in the Patron and Lower Box still unoccupied. The Upper Box and General Admission though were pretty much full. The house lights of the MOA Arena were finally dimmed at around 10:15 pm. Honestly my daughter and I were pretty tired and sleepy already by that time. But when the crowd went wild with Rihanna's entrance and greeting, so did we get our energy back.

Her first few songs were only moderate hits like "Phresh Out the Runway", "Birthday Cake" (a controversial 2012 collaboration with Chris Brown, after their violent breakup), "Talk That Talk" (a 2012 collaboration with Jay-Z), "Pour It Up" (a recent Top 20 hit) and "Numb" (her 2011 collaboration with Eminem). The songs sounded familiar but we weren't really feeling the excitement. When she sang "You da One", the energy of the crowd picked up. This was followed by "Man Down" and the lively hit "Rude Boy.""What's My Name?", her duet with Drake, followed to the delight of the crowd.

The next bunch of songs were again not too familiar to me, "Jump," "Rockstar 101" and the ballad "What Now". Luckily her giant old hit "Umbrella" (VIDEO) was there for us to sing along to. The interpretation of "Umbrella" though felt lazy with hardly no choreography. That rendition was rather disappointing.

When she came out to sing a medley of the mid-tempo songs "Take a Bow / Cold Case Love", followed by "Hate That I Love You", the crowd again got excited. When the strains of the next song "We Found Love" the crowd went absolutely wild. That number alone made up for the lackluster first hour of the concert for me. From that time on, Rihanna never looked back. She launched into a series of big hits, "S&M" (VIDEO), "Only Girl (In the World)" , "Don't Stop the Music" and a very rousing "Where Have You Been" to end the main set.

The audience clamored for more. For her encores, she sang two big ballads, both recent big hits: the melodic "Stay" and then as the final song of the whole show, the song from where the tour got its name, "Diamonds." The whole show ended at about 11:30 pm or so, just about an hour and a half all in all.

Her dancing was just a lot of slinky moves with crotch grabs and other suggestive moves. She did not elaborate costume changes. She started in an all-white outfit, unbuttoned blouse top, inner tank top, culottes and sneakers. Then she would just vary this same ensemble around, until she just ended in a white tanga during her encore.

She did not sing her first hit song "Pon de Replay", her first Number 1 song "SOS", nor some of her memorable hits like "Unfaithful", Disturbia", "Rehab", "California King Bed" or even her latest single "Right Now." This lady really has a lot of hit singles in her career, it is not possible to perform them all in a concert.

It was also obvious when you look at the big screens that Rihanna was not really singing the whole time, as the singing continues even when she is not holding the microphone to her mouth. She must have been singing over a recording or a back-up singer that sounds exactly like her. For me the show was quite lukewarm for the first hour, until that fantastic final half hour that saved the whole concert from being one big expensive disappointment.

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Postscript: I learned an important lesson about SM Tickets with this Rihanna concert. I bought these tickets on the very first day they were released by in April in order to get excellent seats, and we did. I made the mistake though of having the tickets printed out by SM Tickets back in late April when I had my Aerosmith tickets printed out for their May 2 concert. It turned out to be a mistake because the ink they used to print the tickets was already fading when I checked them out four months later.

SM Tickets would say they cannot do anything anymore. So today, luckily the bar code could still be read by the scanner at the gate, though it needed to be scanned more than once. The faded print also made determining our seats difficult, but in brighter light, the usher was able to read the seat numbers. Lesson is you can buy tickets online early, but only have the actual ticket printed out as the concert date approaches.

September 22, 2013

I was not entirely sure what to expect from "The Duchess of Malfi". This was a play written by John Webster and first performed in 1614, billed as a "supreme tragedy of blood." It has had several stagings through the years, with stars like Peggy Ashcroft, Judy Dench, and Helen Mirren all having a turn with the title role. With a tagline as intriguing as "A poetry of evil, violence and death wish," how can I resist?

The story is about the Duchess of Malfi, a young widow who falls in love with and secretly marries a commoner named Antonio, against the extreme objections of her two brothers, her twin Ferdinand and the Cardinal. The brothers hire an ex-convict named Borsola to spy on her, make her mad and eventually to execute her. Will their evil plot proceed as planned?

I have to admit the story of the play was not too easy to get into in the first scenes because of the language used. I did not really know what was going on exactly until the scene where Borsola gives the Duchess the plums. The English used was rather archaic in phrasing and the actors were over-enunciating their lines. That said, I am really impressed though with the perfect memorization of those wordy lines by the whole cast! Despite the kilometric dialogues, I could not recall anyone with a significant buckle.

The best performance in the whole show is by Richard Cunanan, hands down. His character might have been the anti-hero, but ironically, it was the one we can relate to the most. This is because Borsola appeared to be the only sane character in the midst of this madhouse. Cunanan is cool. He is witty. He did not attempt a strange accent. His subtlety sets him apart. I could not imagine how his alternates Neil Ryan Sese or George de Jesus III can do this role any better.

Also standing out was Martha Comia as the lustful Julia. She is pretty and delightful in this role that got better with every scene she was in. Comia's acting was very natural and refreshing, despite being a very daring role. Alternates for this role are Issa Litton and Christelle Manuel.

Adriana Agcaoili had a physical disconnect with how I imagined the Duchess of Malfi would look like, despite her beautiful costumes. She was able to transcend that uneven first half with a stronger, more stirring performance in the second half. Banaue Miclat and Liza Dino also alternate in this central role.

Menggie Cobarrubias was strangely stiff as the Cardinal. I was expecting more from him since he is the only actor I know in the cast. But that maybe because of the way the character was written, or maybe the red robes did not fit him too well. Brian Tibayan alternates in this role.

Jacques Borlaza really goes over-the-top with his acting here. You really cannot understand his character and why Borlaza was overacting that way, until the character totally goes bonkers later in the show. The abrupt way his character developed negatively affected my appreciation for his acting, and that is not his fault. Amazing that he appears to have no alternate for the Filipino version.

Carlo Tarobal did not strike me as the correct choice for the role of Antonio. He had no chemistry with Agcaoili. It was not clear why she likes him and would fight for her love of him despite family resistance. Curious how his alternate Dax Alejandro will tackle this role.

Arvin Trinidad tended to overact as Antonio's friend Delio. At times, the way he delivers his dialogue is not too clear. His character ended the whole play with a short monologue and I think he did not pull it off too well. He was even upstaged by the little boy he shared that final scene with. Delio alternates are Brian Arda and Mark Dalacat.

Despite all these little comments about acting, overall, the play was quite compelling, especially the second half. Since it deals with madness and death, there are many disturbing and unsettling images on that stage which will shock the audience. The costumes and production design look very good. For me though, it was the really the nuanced performance of Richard Cunanan as Borsola that bound this whole show together and carried it to its ultimate success.

"The Duchess of Malfi" is the second offering of Dulaang UP's 38th Theater Season. It is being staged both in the original English, as well as in Tagalog as translated by Allan Palileo (who also translated past Dulaang UP hits "Mary Stuart" and "The Seagull". Congratulations to the cast and crew of Dulaang UP and revered Director Tony Mabesa for yet another success!

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"The Duchess of Malfi" opened last September 11, and runs at the Wilfrido Ma. Guerrero Theater at the Palma Hall, for one more week. English version will be staged on September 24, 25, 26 and 27, all at 7 pm. Filipino version will be staged on September 28 and 29, shows at 10 am and 3 pm. Tickets at P350. For information, the Dulaang UP Office numbers are 9261349 and 4337840.

September 25, 2013

My daughter and I were fortunate enough to have been able to watch the final Technical Dress Rehearsal of the comeback production of Trumpets entitled "The Bluebird of Happiness." I will not be able watch during the regular run because of prior travel plans, so it was indeed lucky that the stars aligned for me to be able to see and write about this musical before I leave. I am very happy because this play is one of the most beautiful original Filipino theater presentations I have ever seen, both musically and technically.

Set on Christmas eve in a village somewhere while neighbors are fussing around with their gifts, little Mytyl and her younger brother Tyltyl were feeling miserable inside their poor little hut. They have no tree, and no gifts, their dad's still out working and their mother is about to give birth to a younger sibling they are not looking forward to.

Later that night, an ugly fairy named Berylune tells them that the first step to finding happiness is to find a certain Bluebird of Happiness. She also turns their pet dog Tylo and pet cat Tylette into human forms to serve as their guides. Finally, she gives them Light to serve as their illumination during their overnight quest.

Their quest brings them to the Land of Memory (where they meet their dear departed Grandparents), the Land of Night (where they meet the charismatic Night), the Land of the Trees (where they learn some lessons about the environment), the Land of Luxury (where they discover how to set priorities), the Land of the Future (where they meet their future little brother) and the Graveyard (where they face their ultimate fears). Will the ever-combative siblings ever get along with each other? Will they ever catch the Bluebird of Happiness before daybreak and live happily ever after?

As the lead characters, Chimmi Kohchet-Chua (playing bossy Mytyl) and Anton Posadas (playing the mischievous Tyltyl) had perfect chemistry with each other as siblings who cannot stand each other. Kohchet-Chua was positively incandescent in her stage debut, especially in her remarkable solo rendition of the title song in Act 2. Despite a lapel microphone glitch for a number of scenes in Act 1, Posadas, a stage veteran already at his tender age, was unfazed, singing and delivering his lines with confidence like a true professional. Their awesome talents in singing and acting are proof that there IS a bright future to Philippine musical theater. Their alternates in these central roles are the team of Alessa Zialcita and Guido Gatmaytan.

The characters the kids interact with were all played by seasoned professionals. Jennifer Villegas-dela Cruz has such a clear singing voice as Berylune. A luminous Carla Guevarra-Laforteza illuminates the stage with her beauty and lilting soprano as Light. Robie Zialcita plays the loyal dog Tylo very delightfully. He really shone in "Tylo's Spot", a song and dance number which he performed with the cute "unborn" children. The slinky cat Tylette was played with feline wiles by Lynn Sherman. Her highlight was her sinister "Tango of Treachery" duet with Night.

Who best to play Grandma Tyl but the ever-reliable Ms. Joy Virata? Grandpa Tyl was played by a sprightly Steve Cadd. Night was a dark yet flamboyant character played with aplomb by Joel Trinidad, who was oozing with evil glee. Raymond Concepcion gets to play three characters, the Oak Tree (with the deep Optimus Prime-like voice), Father Time and the kids'Father. His reverberating deep baritone voice is strong and masterful. Mayen Bustamante-Cadd lovingly plays their Mother.

The whole production had a vibe that you were not watching a Filipino play. It had a distinctly foreign flavor, very much like a Disney production. While the story was based on a Belgian play by Maurice Maeterlinck, this production is proudly all-Filipino. The music was composed by Rony Fortich, now on his seventh year as Musical Director of Hongkong Disneyland. The sweeping musical arrangements were care of Mon Faustino. The book and libretto by Director Jaime del Mundo was so witty and insightful, such a joy.

The stage design was a magical work of art in itself. No expense had been spared for the elaborate set pieces and colorful costumes by Mio Infante. As with the music, you can see influences of Walt Disney films, like "Beauty and the Beast", "Hercules" and "Princess and the Frog". The opening of Act 2 alone in the lavish Land of Luxury with a huge real chandelier as its backdrop is a prime example of the opulence of the sets. The intense scene with the giant trees in the Enchanted Forest was very imaginatively staged. The amazing lighting effects by John Batalla impressively create illusions of three-dimensionality and drama.

Sweet Plantado's expert voice coaching was very much evident in the vocal interpretation of the songs, especially by the kids. She will also be playing Light in some shows. The other members of the crew were: GA Fallarme for the Video Projection Designs, Myrene Santos for Hair & Make-up Design, and Nancy Crowe for Choreography.

"Bluebird" is a fine example of Filipino talent and ingenuity that is world class and first rate. You will forget that you are in Meralco Theater when you watch this play, because of the magical atmosphere the play creates. Since Trumpets is the Asia’s first professional gospel theater group, aside from enjoying the show, you and your kids will also pick up valuable life lessons about being happy and content.

Congratulations to Director Jaime del Mundo and the rest of the cast and crew of Trumpets, led by its president, Mr. Audie Gemora for this highly entertaining and deeply meaningful production! This promises to be a future Christmas season staple for years to come.

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"The Bluebird of Happiness" runs weekends from September 27 – October 20, 2013 at the Meralco Theater with shows at 8 pm on Fridays, 3 pm and 8 pm on Saturdays and Sundays. Ticket inquiries can be coursed through 901-4364, 891-9999 or www.ticketworld.com.ph.

October 7, 2013

The Atlantis production of "Carrie" opened to great acclaim on September 20, 2013. However, the very next day, the four shows that weekend were cancelled due to "an illness in the company." I was one of those who had tickets to that unprecedented "postponement" (which also had an unprecedented sudden change in the lead role). Being in conflict with previous travel plans, I had no choice but to reserve tickets for the very last show, an additional 8 pm show on October 6.

Carrie White is a bullied high school girl who was over-protected by her religious zealot mother. When Carrie discovers that she has telekinetic powers, she defies her mother and goes with popular jock Tommy Ross to the prom. I think most of us have already read Stephen King's book or watched the 1976 film starring Sissy Spacek to have an idea of how that prom went.

Mikkie Bradshaw is such a precious discovery as Carrie White. Her voice is very strong with great range. Her acting is also quite impressive as the timid, tormented and eventually very angry young girl. It was revealed tonight that it was Mikkie who fell ill after her triumphant opening night. But what started with Mikkie ended with Mikkie again tonight, who again had a phenomenal performance on this final show. K-La Rivera learned the role and songs in an incredible six days in order to fill in for the succeeding play dates. We were lucky to witness and hear the two Carries sing a duet version of "You Shine" after the curtain call in this final show.

Menchu Lauchengco-Yulo as expected delivers with all her heart, soul and misguided religious fanaticism as Carrie's mother, Margaret White. Her range is really pushed to its upper limits with her punishing songs she had to sing, especially "And Eve Was Weak" and ""I Remember How Those Boys Could Dance". She never fails to enthrall her audience even with the most off-beat of roles, and this certainly counts as one of her strangest roles (after Mrs. Lovett in Sweeney Todd").

Sue Snell, the popular classmate who was stricken with guilt, was played by the pretty Yanah Laurel. I have only seen her perform previously in a minor role in "Nine," but this show showed us more of what she is capable of doing. She had her own featured moments in songs like "Once You See" and "You Shine."Markki Stroem played Sue's sensitive jock boyfriend Tommy Ross like it was written for him. He had his moment to shine in his solo "Tommy's Song" and his duet with Sue in "You Shine".

Jill Pena was amazingly effective in her major antagonistic role of the hateful Chris Hargensen. The degree by which we sympathize with Carrie's plight depended so much on how cruel Chris was, and Ms. Pena certainly played the perfect bully we all want to turn the tables on. Mako Alonzo was also seethed with evil intentions in his role of Billy Nolan, Chris' brutish boyfriend and accomplice in her terrible prom prank.

Sheila Valderrama-Martinez does well in her role as the supportive gym teacher Ms. Gardner. Her duet with Carrie on the song "Unsuspecting Hearts" was magical. Jamie Wilson had smaller role as another teacher Mr. Stephens, but he also took on the role of Rev. Bliss, the host of a gospel radio show Margaret listens to. His was the welcome humor midst the maudlin plot.

The set design and lighting design were very effective to create that creepy horrific atmosphere in which this musical thrives. The special telekinetic effects were amazing. That scene where Menchu levitates in her chair is a must-see. I thought the climactic conflagration scene could have used more orange light and better fire effects than what they used now.

The book written by Lawrence D. Cohen had many uncomfortable scenes which may not be for everyone. The excessive religious zealotry and the relentless abuse and bullying were very difficult to watch. However, the songs written by Dean Pitchford (lyrics) and Michael Gore (music) were unexpectedly very good with that gritty rock edge in a lot of them.

However, once again, Filipino artistic talent is the main reason to watch this production. The performers, veteran and new alike, nailed each and every one of those challenging songs to bring to life this unconventional musical. The enthusiastic audience response after each emotionally and vocally brutal song number was a testament to this tremendous trove of talent.

Congratulations to Director Bobby Garcia and the rest of the Atlantis cast and crew of Carrie for its memorably dramatic and courageous run. A future re-run will be very welcome!

October 7, 2013

I had seen a stage production of "Closer" (I actually found the ticket!) back in December 1, 2001, staged by the Actor's Actors, Inc. at the Republic of Malate. I do not recall who were the actors anymore ( I hope someone can remind me) but I recall that it had an innovative presentation. There was a square stage in the middle of the room. At each corner stood the four actors, delivering their lines facing outwards towards the audience, even if they were talking to one another.

There was also a movie version of "Closer" shown in 2004 with a stellar cast which includes Julia Roberts, Clive Owen, Jude Law and Natalie Portman. This was directed by no less than Mike Nichols, who won the Oscar for Best Director for "The Graduate". He was also nominated by the Academy for his direction of "Who's Afraid of Virginia Woolf,""Silkwood," and "Working Girl". His direction of "Closer" was nominated by the Golden Globes. I have not yet seen this film version of "Closer" yet, but it does have a creditable rating according to critics and fans.

"Closer" is the story of four people. Danny is a frustrated novelist, now wallowing as a writer of obituaries. Alice is a young free-spirited stripper. Anna is a successful professional photographer. Larry is a lonely dermatologist who visits sex sites on the Internet. Their lives are intertwined in this story of love and deception, told in two acts by playwright Patrick Marber.

The set in this current Red Turnip production is quite spare, just a rectangular floor with a map of the London subway system, as the audience is close by, around the stage on three sides. The backdrop is a white wall where photos were projected to suggest the setting, like an emergency room or the aquarium.

The play started with light and funny "getting to know you" scenarios. There was even a whole silent scene that simulated a chat session on a sex website, with the hilarious conversation flashed on the wall, as the actors were typing on their laptops.

But of course, it would not all be about the pleasantries of romance. In fact, Act 1 ended with major explosive scenes occurring alternating with each other. Act 2 is a series of big confrontation scenes after the other involving one character individually with each other.

Heavily loaded words are dropped every so often by all four characters as they discuss and argue about their relationships with each other: jealousy, boredom, disappointment, mercy, selfishness, revenge, guilt, compromise, cowardice, etc.

The four actors did their best to flesh out their characters.

Bart Guingona is perfectly cast as Larry, the doctor. You can really see that he is the veteran player in this quartet. His character had the wittiest lines in the play and Bart's delivery was so good. He manages to be likable and sympathetic despite the sleazy nature of his character.

Angel Aquino was gorgeous as Anna. She was simply a riveting presence every time she was on stage. She embodied this perfect specimen of womanhood most irresistible to men. I can totally see how and why men fall obsessively in love with her. Angel in that black and white long gown during Anna's photo exhibit was an angelic vision. She was truly mesmerizing.

Cris Villonco is quite a revelation as the frank and daring stripper Alice. We know her more for her wholesome roles in various musicals, but here she had had no qualms baring some skin and spouting foul language. For sure this was the ingenue role of this show which Cris is expected to play. But this Alice was definitely no typical ingenue, and Cris nails it nevertheless.

Now about Marc Abaya in the central role of Dan. It was this character that messed up the lives of the other three, but as embodied by Abaya, his Dan was not convincing as a jerk who could literally sweep girls off their feet. Abaya did not have the right look and swagger for the part, and his benign performance could not completely overcome that deficiency. In this film, this role was played by Jude Law, so you can imagine how that would look. The performance was not bad, it just felt lacking.

Overall though, "Closer" remains to be an excellent intimate theater experience. The script by Patrick Marber is crisp and frank, with words as real as it could sound when such situations occur in actuality. The talented Filipino cast as usual transcends the cultural context of the play, and they thankfully do not need to affect fake British accents.

Kudos to director Ana Abad Santos and the rest of Red Turnip Theater crew for this brave debut production. The meet and greet after the show is also a nice touch. I must say though that the venue Whitespace is not exactly the easiest place to reach and find. I hope they can find a more accessible theater for their future productions which promise to be avant garde and edgy. I am definitely looking forward to watching more of this progressive theater group.

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"Closer" runs on October 4 to 27. Fridays at 9 pm, Saturdays at 3 and 8 pm [except for October 12 - no shows], and Sundays at 3 pm, with 8 pm shows for the last 2 Sundays

Whitespace is located at 2314 Chino Roces Ave. Extension, Makati.

Tickets are available at TicketWorld [891-9999 or www.ticketworld.com.ph] and also at 215-0788 / 0917-537-8313.

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Epilogue: Oct. 9, 2013

I have just finished watching the 2004 film version of "Closer" now. Since the screenplay was also written by Patrick Marber, it pretty much follows the play, almost word for word. I still freshly remember the words I just heard last Sunday in Whitespace as I was watching the video. Words do take on another meaning when someone else delivers them in their own way. It was fascinating to compare. A main difference only lay in the ending. The epilogue sequence in the play was rendered as a dramatic montage of scenes in the film, which I thought was neater. While I thought Jude Law was a better Dan than Mark Abaya, Bart Guingona was actually a better Larry than Clive Owen. Natalie Portman stood out in her role as Alice, but Cris Villonco gives the role an extra dose of vulnerability. Angel Aquino is more beautiful than Julia Roberts.

The Philippine Center of the International PEN (Poets & Playwrights, Essayists, Novelists) held a book-club discussion on writer-director Lito Casaje’s collection of stage plays, “Mga Premyadong Dula,” yesterday, October 26, 2013, at 5 p.m. This was held in the Solidaridad Bookstore, along Padre Faura St. in Ermita, Manila. It was also a re-launching of sorts for this award-winning book of award-winning scripts for the theater.

“Mga Premyadong Dula” was first published by De La Salle University Press back in 2006. Five of Casaje’s award-winning plays are featured in this book. These are:

1. “Juan de la Cruz, New York” - This play is about Filipino living in New York, amid the HIV-AIDS outbreak and rallies against Marcos in 1984. This play won Second Prize in the Don Carlos Palanca Memorial Awards for Literature in 1986. This is first play Casaje wrote.

2. “Editoryal” - This play is set in Tagum, Davao in 1985. It dealt with crusading journalists and their fate during the Martial Law era. It also won Second Prize in the Cultural Center of the Philippines’ Playwriting Contest in 1986.

3. “Separasyon” - This is a feminist play. Its original production starred Eugene Domingo. It won First Prize in the Don Carlos Palanca Memorial Awards for Literature in 1993.

4. “Matrimonyal” - This play is about an estranged married couple. This also won the First Prize in the Don Carlos Palanca Memorial Awards for Literature in 1995.

5. “Padre de Familia” - This was an experimental play within a play. This won the Third Prize in the Don Carlos Palanca Memorial Awards for Literature in 1998.

This published anthology itself won the National Book Award in 2007. This award is given every year by the National Book Development Board (NBDB) and the Manila Critics Circle (MCC) to the best books written, designed, and published in the Philippines.

This is the first time I have attended an event like this. I have been inside the Solidaridad Bookstore before, but I never knew that they had a meeting room on the third floor where the country's premiere organization of writers, the Philippine PEN meets regularly. This group was born in 1958, founded by F. Sionil Jose, who later became a National Artist for Literature. Other PEN members who also became National artists were Francisco Arcellana, N.V.M. Gonzalez, Bienvenido Lumbera, Alejandro Roces and Edith Tiempo. It was heartening to be in the same room with Sionil Jose and Lumbera, who were actually in attendance at the event yesterday.

During the event, Lito Casaje talked about himself and his brush with Stage 4 Burkitt's Lymphoma this year, recently just receiving his last dose of chemotherapy. He looked very good yesterday, his body not showing evidence of his ordeal, except maybe for the bald pate. He talked about his fascination about the relationships between men and women. He talked about his favorite playwrights, especially Strindberg. He talked about his forte, that of writing realistic dialogues.

Of course, he talked about his book and the plays therein. He invited some young actor friends and students to read selected excerpts from these plays. Here are a couple of readings which I was able to record:

This is a monologue from "Juan de la Cruz: New York":

This is an impromptu reading of a scene from "Matrimonyal":

This was a new experience for me, to be watching actors read plays and listening to the playwright himself discuss his work. I was also happy to be seated with Lito Casaje's father, Dr. Louie Casaje, during this occasion.

Listening to the plays yesterday, they are as vital and pertinent now as they were back when they were first staged. I think it is high time for the new generation to rediscover the work of Mr. Lito Casaje.

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October 9, 2013

"Ang Pagdadalaga ni Maximo Oliveros" is a familiar title among recent favorite local indie films. Unfortunately, I have not watched the film version myself, though the general gist of the story is already familiar (but I still do not know how it ends). The DVD is already available, and the full film is also posted in Youtube, so I will be able to check it out one day. This is especially because tonight, I have just watched this new all-original musical theater version of this film entitled "Maxie The Musicale."

Maxie is a twelve-year old gay kid who lives with his father and two elder brothers who were burly, macho and cellphone thieves in the slums of Sampaloc. Victor is a new, still idealistic young policeman who gets assigned to the same area. One night, Victor saves Maxie from being molested by two drunks. Maxie begins to fall in love with his handsome savior. Conflict develops in their budding friendship when Victor begins to close in on the criminal activities of Maxie's family.

Having a colorfully gay lead character lends the material a natural pick to be translated to the medium of the stage musical. Big song and dance numbers with the whole company (which are not directly related to the story) are interspersed between smaller, more intimate scenes (that actually relate the story). Among the more memorable of these big musical numbers is the Procession of the Sto. Nino, the showering policemen, and the most extravagant of all (and certainly most expected in a play like this), a local gay beauty contest, complete with talent competition! The story is told in three acts, with the intermission coming after Act 2.

While this all can be a lot of fun, for me this show is rated R-16 due to the sensitivity of the subject matter, sexually-charged humor and the coarseness of the language, especially during the greetings part of the Parade of Nations where the words were crisply graphic. The gay story line may also be uncomfortable for people not familiar with their subculture. But anyhow, the pink posters do not hide the fact that the main character is gay, so people who decide to watch this show should be ready for things like this.

The eclectic music of William Elvin Manzano, Janine Santos and JJ Pimpinio brings alive the book and lyrics of Nicolas B. Pichay. The music is an unusual mix of pop, rock opera and classical opera, with samples from 80s pop music and Filipino folk tunes. This varying genres may be unsettling for some audiences as the transitions can be abrupt.

The lead role of Maxie is played by a high school senior flamboyantly named Jayvhot Galang. This talented young boy was a champion of several TV singing competitions. He was actually invited to audition because of his online video clips. He is a natural fit for the role of Maxie. Despite this being only his first theater production, he carried on like a pro. He shone in his delightful scenes of glee, his dramatic scenes of heartbreak, and even in those scenes where his microphone died. He may occasionally not be too clear in the enunciation of words in his songs, especially in those where he was required to sing in a falsetto.

The role of Victor was played by architect turned model, then theater and film actor Jojo Riguerra. He was able to provide the role with requisite charm and dignity, with his dimples and tall stature. His singing voice was also very strong for the demanding pop-rock songs his character gets to sing.

Maxie's father Paco was played by Nazer Salcedo tonight. He was a grand national champion in a kundiman singing competition, which went perfectly with the practically classical operatic arias his character sings. While he sings well, his songs tend to bog the production down with their bitter seriousness. Also, it was confusing that Nazer looked more like an elder brother rather than a father to the actors who played his sons Boy and Bogs. The alternate in this role is Roeder Camanag.

Maxie's brusque brothers Boy and Bogs are played tonight by Al Gatmaitan and Jay Gonzaga respectively. These guys also get to sing very challenging songs (meaning very high notes) together where they had to harmonize. On top of that, they also have a number where they had to rap, which was also very well done. They also share very intense acting moments with Maxie which were quite heartwarming showing brotherly devotion despite, or maybe because of, Maxie's gender preference. OJ Mariano is Al's alternate, while Jay has none.

Playing Maxie's close friends are Aaron Ching, Nomer Limatog Jr.andTeetin Villanueva. Aaron was shameless in his hilarious and naughty antics, not caring how awkward or how ugly he can look. Nomer is very young, only in sixth grade, but he looks very smart and bold. Teetin is so different from when I last saw her as the divine Hermana Augusta Beata in Dulaang UP's Collection earlier this year. They are quite a wacky group. Their highlight was the opening segment of Act 3, where they play out a very funny summary of the entire Acts 1 and 2. That bit is a must-see!

Playing the new police chief Dominguez is baritone Greg de Leon. His rich tones can really be heard from the rest of the group when everyone is singing together. Standing out in the chorus is Jules de la Paz, who plays multiple roles that become notable, especially that of the sassy carinderia owner. We remember not only because of his hefty body size and stage presence, but also his unexpected skill and excellence in dancing!

Congratulations to Director Dexter M. Santos and the rest of Bit By Bit Production, under producers Darwin Mariano and Carlo Miguel Francia, for coming up with an all-Filipino musical theater production with a story that was entertaining, emotional and thought-provoking, eye-opening to people still alien to the real world of homosexual teenagers, their pleasures. their loves and their travails.

October 16, 2013

"THE PRODUCERS" has a book, music and lyrics by the hilariously multi-talented Mel Brooks. And when it is by Mel Brooks, you know you will have a LOL-good time watching this show. As expected, the talented Repertory Philippines' cast does not fail us, and we the audience had an incredibly great time last night as the premiere.

Slimy Max Bialystock was a has-been Broadway producer who has seen better days in his career. With the box office failure of his latest show (a musical version of Hamlet called "Funny Boy"), his new high-strung bookkeeper Leo Bloom commented that he can actually earn more money with a flop than with a hit. With that idea as inspiration, Bialystock and Bloom joined forces to produce a preposterous musical called "Springtime for Hitler", fully expecting it to fail miserably with the critics. But fate seems to have other ideas for these two scheming producers.

Carlo Orosa was a riot as Max Bialystock. I did not recognize him at first with the thick mustache he was wearing, but that piece of facial hair was essential to establish his character's sleazy personality. This guy can really sing with that soaring voice of his, which you hear from his very first song, "The King of Broadway". Those scenes where Max was hustling little old ladies with sex games to sponsor his theater production in the song "Along Came Bialy" were super naughty and funny (making the show flirt with R-16 territory). Carlo's alternate in this role is another theater veteran, Robie Zialcita.

Topper Fabregas plays the insecure, wide-eyed accounting clerk with Broadway dreams, Leo Bloom. He was just in a much similar role in Rep's "Boeing Boeing" last year, so he has got this naive innocent schtick down pat. His best solo song number was "I Wanna Be a Producer" which he sang fantasizing while slaving in his boring accounting office.

The chemistry between Fabregas and Orosa together was amazingly vital, which was very important for the whole play to succeed. I enjoyed the duets they sang together, especially "Where Did We Go Right?" and "Till Him." Both tunes had sweet tunes, with sentimental yet witty lyrics.

Giselle Tongi-Walters oozed with sex appeal playing the ditzy Swedish blonde bombshell Ulla who swept Bialystock and Bloom off their feet during her audition. Joel Trinidad was perfect as the fanatical Hitler fan, Franz Liebkind, who wrote the script for "Springtime with Hitler."Noel Rayos swished and sashayed as a director's assistant Carmen Ghia with such gleeful relish and elan.

However, there was no question that the most scene-stealing role of this entire show is that of the flamboyant cross-dressing theater director, Roger de Bris, so memorably played last night by no less than Mr. Audie Gemora. It turns out the short cross-dressing we saw of Gemora in his last show "No Way to Treat a Lady" was just a small preview of the considerably wilder, totally flaming queen role Gemora is playing here. Every time he stepped on stage, he just owned it with his eye-catching outfits from glittery gowns to mini-skirt. He will surprise you too with his acrobatic prowess! I simply cannot imagine someone else, even his alternate, Noel Trinidad, tackle this very bold and showy role.

Director Jaime del Mundo, just fresh from the success of "The Bluebird of Happiness" for Trumpets, was able to harness the grandiosity of the script and scale it down to a production that fit very well into the confines of the Onstage stage. That challenge of making the most of the limited stage space was addressed so well by Mio Infante by his set design. The costumes in the colorful "Keep It Gay" and the spectacular "Springtime for Hitler" scenes were a triumph for designer Raven Ong. Congratulations once again to the entire Repertory Philippines cast and crew of this very energetic outrageous show!

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"The Producers" opened last night November 15, 2013, and will have Saturday 8 pm and Sunday 3:30 pm shows up to December 15, 2013, at Onstage in Greenbelt 1, Makati City.

Buy your tickets online at the Repertory Philippines website at www.repertoryphilippines.com, or from the Ticketworld website at www.ticketworld.com.ph. Tickets are also available in all Ticketworld outlets in Metro Manila.

November 24, 2013

I know about the Addams Family, although I cannot really call myself a fan of their macabre sense of humor. I was not able to watch the two movies made about them in the 1990s starring Raul Julia, Anjelica Huston and Christina Ricci. About this musical theater version (with music by Marshall Brickman and Rick Elice, and book/lyrics by Andrew Lippa), I must confess I was not that excited to watch it at first. But this being an Atlantis production and with the good reviews from the first weekend, I decided to take the whole family to watch it. We did not regret it.

This musical takes place sometime twenty five years into the marriage of Gomez and Morticia Addams, when eldest daughter Wednesday is now a young lady in love. When her beau Lucas brings his parents Mal and Alice Beineke to meet the Addams for dinner, her younger brother Pugsley hatches a prank gone wrong that wreaked havoc on all the relationships on the three couples on the table.

The set design, as was the standard for all Atlantis productions, was impeccable. It was amazing how the expanse of the Meralco Theater stage had been converted by Faust Peneyra into a graveyard, to a receiving hall of a creepy mansion to a dining room with a long table. The complementary lighting design by Dong Calingacion was essential to achieve the requisite eerieness of the atmosphere.

As you can see from the posters, the cast had been completely transformed into the well-known, and mostly, well-loved characters, thanks to the amazing make-up talents of Johann dela Fuente, in full cooperation with the costume designs by Pepsi Herrera and Edwin Tan. You certainly cannot see Arnell Ignacio or Eula Valdez or Jamie Wilson (or anybody else for that matter) as how you usually know them. You just see them as their character.

Arnell Ignacio was simply flawlessly in character as Gomez Addams. At first, I was not so sure he could pull this off, especially he had a wan uneven performance in his last musical The Full Monty. But as Gomez, his voice was full and strong in his songs and in his delivery of those tricky lines. This was indeed an award-worthy performance that we have seen from this veteran entertainer.

Eula Valdez, I already was mesmerized with her since her last musical Nine. This beautiful woman can really turn heads and draw attention to her whenever she was onstage even then, more so now in her tight body-hugging black gown as Morticia, Her accent was adorable. Her tango was so graceful with all those turns and dips. Her singing voice was on point, as the songs were completely within her range (something that went uneven in Nine due to some very high notes). This was a totally different Eula here, no hint of Amor Powers.

I had been wanting to see K-La Rivera perform again since I first saw her in In the Heights. I missed her in Aladdin (which I was not able to see) and Carrie (I saw a Mikki Bradshaw lead performance). As Wednesday, her role is rather limited by the love story angle of the musical compared to the memorable Christina Ricci Wednesday in the films. Fortunately she had a song entitled "Pulled" in the first act that was the Wednesday we know and love.

Jamie Wilson completely transformed into bald-headed and freaky Fester Addams. This guy can really do no wrong, tackling even the most offbeat of characters so well always. Too bad that Fester was not entirely an integral character in the main story in this musical version, so we mostly see him interact with the ragtag group of odd ghostly characters called The Ancestors. He had a delightful and sweet song "The Moon and Me" dedicated to his lady love that was giddy in its lunacy.

Anton Posadas, just fresh from his successful performance as Tyltyl in The Bluebird of Happiness, is back on the Meralco stage again as Pugsley. I really like the way this character was written for this show. I enjoyed his moment on the electric chair with Wednesday in Act 1. I loved his tender talk with his mother Morticia in Act 2. He showed off his singing pipes too with the song "What If".

Calvin Millado and Carla Guevara-Laforteza play the odd Beineke couple. Husband Mal is gruff and headstrong as wife Alice was a flighty romantic. These two actors are really veterans of the musical stage. Calvin is not awkward in this role (unlike some of his previous roles in Legally Blonde and Rock of Ages). Carla had the more challenging featured role as Alice experienced a change of personality within the show which required a demanding song number "Waiting" which Carla totally killed! Their son Lucas was played by American actor Ryan Gallagher. Too bad this role is so small you hardly remember anything about the actor afterwards. He does not even have a solo song number.

And finally, the guy which had the most memorable look and song solo of the show, Ikey Canoy. This guy played the butler Lurch who generally just strangely grunts his way throughout the show. However, look out for a big surprise from him before the show ends. He gained what must have been the loudest spontaneous applause within the show from the audience.

I thought the Grandma character was not too well-played, nor were her costumes fitting into the general Addams motif. I do not know why this role had to be portrayed by a man (Jimmy Marquez) in this production. I found it more distracting than funny. Nyoy Volante alternates in this cross-dressing role.

Congratulations to director Bobby Garcia and the rest of the Atlantis cast and crew for again coming up with another world-class showcase for the Filipino theater talent.

The Addams Family opened last November 15 and will run up to December 1, 2013 at the Meralco Theater. For tickets, contact Atlantis Productions, 8927078 (look for Claire).

Tangalang Pilipino's SANDOSENANG SAPATOS: A Tearful Fantasy Tale

Spotlight Artists Centre's KATY!: Vaudeville Lives Again!

MADZ '89: A Rare and Nostalgic Reunion Concert

PET SHOP BOYS Live in Manila: Concert Recap and Videos!

LEADING LADY: Menchu Lauchengco-Yulo Debuts at 50!

Repertory Phils' ALICE IN WONDERLAND: Curioser and Curioser!

PETA's BATANG RIZAL: Patriotism Made Young!

PAMANA: Relive the Spirit of Ninoy and Cory!

TP's IBALONG: Environmentalism Ahead of Its Time

Green Wings' "LORENZO": Grand Production about Sinners and Saints

TONY BENNETT Live in Manila: Concert Recap and Videos

RIHANNA Diamonds World Tour Manila 2013: Concert Recap and Videos

Dulaang UP's THE DUCHESS OF MALFI: Madness and Murder

Trumpets' THE BLUEBIRD OF HAPPINESS: First-Rate, World-Class Local Production!

Review of Atlantis' CARRIE: Poignant Nightmare

Review of Red Turnip's CLOSER: Love in the Form of a Square

Relaunch of Lito Casaje's MGA PREMYADONG DULA

Review of MAXIE THE MUSICAL: Entertaining, Emotional, Eye-Opening

Review of Rep's THE PRODUCERS: Outrageously Hilarious!

Review of Atlantis' THE ADDAMS FAMILY: Full Disclosure -- Tis' an Awesome Show!