Fred Said: THEATER, CONCERTS, EVENTS

October 17, 2014

This year, St. Luke's Medical Center is celebrating its 111th year of existence in delivering world-class healthcare to the Filipino people. Like previous years, this is a whirlwind week-long celebration.

October 13 was Big Night at the Crossroads along Mother Ignacia. This was a night when various departments of the hospital come up with their best production numbers in quest for the big prize. October 14 was Doctor's Night at the EDSA Shang Hotel. This was a night of fellowship for the medical staff, marked by ballroom dancing, a raffle with big prizes and a retro performance by the 70s OPM band, the Boyfriends. Tonight is the annual Bingo night for the SLMC Family, with a car as the first prize.

Last night October 16, there was a big concert held at the auditorium of the St. Luke's College of Medicine also to commemorate the anniversary. This was also on simultaneous live broadcast to BGC for them to watch and join the festivities.

BEFORE THE CONCERT:

Last month, I received the invitation letter to be one of the performers in this concert, as a soloist and as a member of TOSD (our Lettermen-inspired singing group led by Dr. Jose Oreta). Therefore, this post will mostly be a behind-the-scenes recap of how this concert came about, than about the concert itself. We would be receiving regular reminders from the hsopital staff in charge of the show, Sir Mon Portes and Ms. Yvette Lansangan.

Direk Ahwel instructing Suzette Liwag during the last rehearsal.

The first organizational meeting was held last October 2 only. We met our director, Ahwel Paz, whom I knew of as a radio personality on DZMM. We found out then that this was no ordinary concert they were planning. It was not a simple "one song after the other" type of concerts we had before. They had a concept of making it a variety show with the songs split across five genres -- retro, OPM, jazz, pop-rock-R&B and Broadway -- all in medley formats. Needless to say, we doctors were all apprehensive about this complex plan, which we have never experienced before.

Our first rehearsal was on October 11 only, just five days before D-Day. Of course, we are dealing with doctors, nurses and staff who are working in the hospital. It was difficult to expect complete attendance, even if the rehearsal schedules were split up for each genre medley. Even on the second rehearsal on the afternoon of October 13 or even the technical rehearsals on the day itself October 16, attendance was never complete. We never really saw everyone who will be performing. So it will all just come to complete fruition come performance proper only. Direk Ahwel led us all in a fervent prayer after the final tech rehearsal, and his final advice was to just have fun.

CONCERT PROPER:

It was about 6;30 pm when a pre-show with Dr. Miriam Calaguas (Radiation Oncology) playing "La Vie En Rose" on piano, accompanied by an accordionist. Her guest rad-onco from Spain, Dr. Felipe Calvo, sang a Spanish love song while playing what else but a Spanish guitar.

Marc Mabasa and company at the rehearsals.

The official Opening Number was kicked off by some professional singers from singing competitions here and abroad. They sang current hits like "Titanium,""Wiggle" and "Rude" (VIDEO) among others. This group was led by Mark Mabasa, one of the contestants from X-Factor. Mabasa was quite the livewire performer with great vocal range and had a Daniel Padilla look about him for his female fans. His companions were karaoke champions, and they were also very good belters, which of course remains to be the standard of good singing in contests here. They all had their turn to wow us with their belting prowess (with a twist of comedy) in their rendition of Beyonce's "Listen."

By this time, all of us included in the first segment called "50s-90s" were already herded backstage. After the emcees -- Dr. Henry Esguerra (GS) and Ms. Yayo Aguila -- gave their opening spiels, we were onstage sitting in our designated spots. First up was Drs. Lee and Arlene Bongosia (Cardio and ENT-HNS) with their talented children singing "Chattanooga Choo Choo." Our TOSD -- Dr. Oreta (GS), Dr. Bongosia, Dr. Louie Llido (GS), Dr. Bobby Ramos (Rad Onco), Dr. Epoy Maranan (Neuro) and myself -- took over to sing "Goin' Out of My Head/Can't Take My Eyes Off You" Lettermen medley. After this, I stepped forward to render Matt Monro's "From Russia with Love" solo. Those were my first two songs done right there.

Thank you Dr. Epoy Maranan for this picture of our half of TOSD in action.

From there, the medley segued to Dr. Joben Abraham (Urology) and his saxophone as he played the Wham tune "Careless Whisper". This was followed by Dr. Esguerra on a velvety version of Eric Benet's "The Last Time". Ms. Irene Isleta (Manager of HR in QC) delivered her take on "Used to Be" and "Gone Too Soon." The set concluded with Dr. Abraham playing "Nothing's Gonna Change My Love for You" later joined in at the chorus by all of the singers onstage.

Next was the OPM segment, and TOSD was part of this one as well, we got back up onstage to our new designated spot. Dr. Oreta had to make a quick change to his Barong Tagalog to sing his flirtatious "Titingin-tingin" medley with his lovely wife Dr. Ching Ilao-Oreta. TOSD then sang our version of the kundiman "Ikaw" with our spanking new choreography which was only whipped up last Monday. That was my third song done.

Earl already earned our admiration for his singing during the rehearsals.

Mr. Allan Rallos (Manager of Pathology in QC) earned a lot of female fans last night with his stirring renditions of Martin Nievera's "Ikaw" and Wency Cornejo's "Hanggang." We heard more female fans screaming as Dr. Fran Efendy (a Neurology resident from Indonesia) sang a smooth-as-silk version of Side A's "Forevermore." Chill Miranda (Ambulatory Care nurse in QC) lived up to her name by singing a cool version of "Power of Two". (I know that song is by the Indigo Girls so I am not sure why it was in this OPM segment.) As the finale, Earl Manalo, better known as "KBL" in the last The Voice Kids contest, regaled all of us with his belting prowess with Regine Velasquez's "Dadalhin."

The next segment is the Latin-Jazz segment, the only segment where I am not included in the line-up. So this was the only time I got to sneak into the audience to watch the performances and take videos. First up was Dr. Salvador Brodit (Pain Management) and his wife singing "Say Something." This was originally planned as an acapella number with the whole family, but this final version is just a passionate duet by husband and wife that ended with a kiss. Dr. Efendy again delighted his female fans with his version of Michael Buble's "Everything" (VIDEO), even inviting them to sing along with him. I never knew Vicky Pangilinan of the legendary Music and Magic was a dentist in St. Luke's! She was so good as she glided through her rendition of "Someone to Watch Over Me." Finally, Dr. Abraham took to his sax again for "Besame Mucho" with Dr. Ching Oreta in fiery red, dancing a steamy tango with our choreographer.

Next up is the Pop-Rock-R&B segment, which had an elaborate concept we never really saw completely in rehearsal. It started with an acapella version of Pink's "Just Give Me a Reason" by the OB-Gyne Chorale. Then, the OB-Gyne Dance Group started the party upbeat mood with Bruno Mars'"Treasure". Chill again took the stage in a slinky black body suit to sing Beyonce's "XO". Then Richard Guzman (Patient Experience Officer in QC) and his guitarist sang a duet of Extreme's "More than Words" and successfully engaged the audience to sing-along.

Then from the audience area, Vianca Uy (nurse from SLMC-BGC) sang Alicia Keys'"If I Ain't Got You", followed by Jordan Ballesteros (nurse in Annex II-4th) singing John Legend's "Ordinary People". I walked onstage to sing Robbie Williams' "Angels." That was my fourth song and last solo spot. Then Dr. Brodit and his whole family sang Bruno Mars'"Just the Way You Are" led by his two young sons. Jordan followed this with another John Legend song "All of Me" enjoining the audience to shine their cellphones in the air, which they did.

Dr. Kester Lim (Orthopedics) brought the house down with his rapid-fire rapping of Mackelmore's "Can't Hold Us," featuring Jordan and Vianca on the sung parts. The high spirits were kept up by the OB Chorale on the ubiquitous "Happy" by Pharell Williams. Everybody was dancing as this song was being sung, ending this segment with so much bouncing excitement. Believe it or not, I was also there on stage though all that high-NRG jumping and dancing!

Dr. Narciso's violin playing was as mesmerizing during the rehearsals as it was in the show.

The last segment is Classical and Broadway. Dr. Francisco Narciso (Pathology) enchanted us all with his violin solo playing the complex piece "Czardas."TOSD again took the stage to sing "Love is a Many Splendored Thing" in harmony. My last song done, finale left. Up to now I do not really know how I did this night, but I am already very relieved at this point.

Dr. Maita Feliciano (ENT-NS) rendered her favorite ballad "Someone Like You" (from "Jekyll and Hyde"). St. Luke's Got Talent winner Suzette Liwag amazed everyone with her strong soprano pipes singing "I'd Give My Life to You" (from "Ms. Saigon") and "Light In A Million Mornings". Joshua Marquina, who won two silver and three bronze medals at the WCOPA last year, then came out to sing "Bring Him Home" (from "Les Miserables") to end the set.

The emcees came out to call SLMC President and CEO Dr. Edgardo Cortez and Senior Vice President and Head of Medical Practice Group and Medical Director of SLMC - QC Dr. Jose Moran to deliver their short messages.

Then it was time for the finale number -- "One Day More" from the musical "Les Miserables". With our guest Marquina as Jean Valjean, all of us performers went back on stage to sing this rousing song. I had some solo lines in there as Javert (a wish come true for me, hehe). As we sang the last line of the song, confetti showered the stage and all of us from all sides.

The curtain call was set to the tune of Pharell's "Happy" as everyone too their final bows. With that, we all congratulated each other for the general success of the show as all the tension in the past week suddenly got lifted off our shoulders. We were all very tired but so very happy we had been part of the celebration of a big and important anniversary occasion in a special way.

POST-CONCERT PICTURES:

Selfie with Drs. Maranan, Brodit, Efendy, Sir Allan and Jordan.

Too bad there weren't more pics of all the participants together.

Pic with Direk Ahwel

Pic with Josh and Earl

October 26, 2014

The Philippine Stagers Foundation continues its yearly tradition of creating an original Filipino musical play about a person or time in Philippine History. They have had previous plays about heroes like Jose Rizal, Andres Bonifacio, Ninoy and Cory Aquino. They had had productions about St. Lorenzo Ruiz and St. Pedro Calungsod as well. This new play this year has its setting in the Japanese Occupation, a painful and bloody time in relatively recent history that is rarely tackled in a musical.

"Filipinas 1941" is about two brothers, Felipe and Nestor, who were diametric opposites in their personality. Felipe is simple-minded school dropout with lowly ambitions. Nestor has a brilliant mind, graduating valedictorian of their class with big dreams. The two brothers got separated when Japan occupied the Philippines during World War 2.

Felipe's path led him to be a poor farmer, getting separated from his sweetheart Sophia (who just entered the nunnery when they parted) and becoming a member of the guerilla movement. On the other hand, Nestor married his girl Emilia and became a rich businessman in the shoe business, even supplying the footwear of the Japanese army. Will these two brothers ever get back together again as the war raged on?

Vince Tanada and Adelle Ibarrientos

Atty. Vince Tanada, who also wrote and directed this show as well as all other Stagers shows, played the elder brother Felipe in his usual flamboyant style. It is a style which others may call overly theatrical, but evidently his legions of fans love him for it. His tenor singing voice is stronger here ever than how I remember it before. He reaches some pretty crazy high notes (as written by renowned Musical Director Pipo Cifra) solidly. This is very impressive vocal conditioning considering they stage this demanding show four times a day!

As writer, Tanada came up with an inventive narrative that was able to mix its love story with known personalities and elements about the Japanese occupation. The basic story of star-crossed lovers will turn out to be more cleverly plotted than you would think at first. For me, the best directed scene was for the beautiful 4-voice ballad "Wala Ka Man". Here the four leads sing about missing each others' love, and Tanada's inspired stage interpretation was surprisingly heartfelt and poignant. For our history lesson, we get to meet and understand the personality behind famous historical names like Manuel L. Quezon, Jose P. Laurel, Gen. Masaharu Homma and Gen. Douglas MacArthur. We see and hear more about comfort women, Mickey Mouse money, the Death March, and the Huks.

Patrick Libao and Cindy Liper

Patrick Libao and Cindy Liper joins Tanada as Stagers tried and true power triumvirate, also playing lead in their last two musicals that I have seen. Since I saw him first in "Joe", Libao (as Nestor) is constantly improving in confidence, acting-wise and singing-wise. Liper (as Emilia) is simply awesome as an actress and singer, I have to say she is the best total performer on the stage there last night. Adelle Ibarrientos was also in the last two musicals, but in a smaller roles. This time she becomes part of the lead quartet of this play and deservedly so, as Sophia.

Among the secondary roles, Chris Lim stood out delightfully playing Gen. MacArthur with a tongue-in-cheek drawl. JP Lopez was moving as the misunderstood puppet president Jose P. Laurel, whose intentions we barely knew anything about till now. Young Gabby Bautista had a lot of stage presence as Pancho, the boy left in the care of Felipe when his grandfather Tata Edong (Chin Ortega) disappears. Poul Garcia played the sadistic Japanese officer Tsuji Masanobu with evil glee.

Tanada and Libao as Felipe and Nestor

When you've see a Stagers play before, you get used to its energetic and youth-oriented style. Every song is a big production number with cast members all over the stage, singing and dancing in unison. All the sung dialog has an accompanying choreography with some crazy arm gestures done by all. There is a portion when they would crack some shallow jokes for quick comic relief. The finale would be a major flag-waving nationalistic statement. This style is a signature that is unique for a Stagers' play and should not be taken against them. It would not be a Stagers play without these trademarks.

Overall, "Filipinas 1941" may not be as complex as "Joe" or "Bonifacio" before it. However, it was nevertheless able to fulfill its aims to entertain and to educate its young audiences. For some, the choreography of the song numbers may come across as crude and the attempts at comedy may come across as corny. But hey, the young audience lapped it all up and were enjoying the show heartily. As a writer-director, Vince Tanada truly knows the pulse of his target demographic. He eschews high-brow sophistication in favor of a more down-to-earth popular style, in order to effectively get his patriotic message across, and to get more youth more interested in the theater.

"Filipinas 1941" is being shown in SM North EDSA Cinema 9 and other venues all over Metro Manila and key cities all over the country since July 2014, and will run up to March 2015. These shows can fill up the whole theater, mostly with students from an entire school. For schedule of performances. check out the Phil. Stagers website, Facebook and Twitter accounts.

November 9, 2014

DISNEY FILMS AND MUSIC

We all grew up on Disney films. From the first Mickey Mouse shorts in the 1930s, to its first full-length film "Snow White and the Seven Dwarves," (1937), followed by "Pinocchio,""Cinderella,""Sleeping Beauty", etc... Disney films were a child's fantasy world come alive. After a slump in the 1970s and most of the 1980s, Disney experienced a great resurgence in its popularity in 1989 with "The Little Mermaid". This popularity continues up to the present with its latest hit, "Big Hero 6".

The musical soundtrack of Disney films are just as special. These are among the first songs we learn as kids. Songs from Disney films are also staples in the Best Original Song category in the Oscars, as nominees and as winners. 12 Disney songs have won the Academy Award: from "When You Wish Upon a Star" (Pinocchio, 1940) to " Let It Go" (Frozen, 2013).

In the 90s, songs from Disney films began hitting on the pop charts as well. In 1993, "A Whole New World" became the first song from a Disney film to hit Number 1 on the Billboard Hot 100. "Beauty and the Beast" (#9, 1992), "Can You Feel the Love Tonight" (#4, 1994), "Circle of Life" (#18, 1994), "Colors of the Wind" (#4, 1995), "Someday" (#30, 1996), "Go the Distance" (#27, 1997) and "You'll Be in My Heart" (#21, 1999) all had pop versions that reached the Top 40 as well. "Let It Go" (2013) had BOTH its pop version by Demi Lovato (#38) and its original version by Idina Menzel (#5) reaching the Top 40.

This list does not even include songs from live action Disney films. Number 1 song "All for One" by Bryan Adams/Rod Stewart/Sting is from "Three Musketeers" (1994). Kelly Clarkson's "Breakaway" (#6, 2004) is from "Princess Diaries 2". Miley Cyrus'"The Climb" (#4, 2009) is from "Hannah Montana: The Movie". Trivia: Before all this, "Supercalifragilisticexpialidocious" by Julie Andrews and DickVan Dyke from "Mary Poppins" actually reached No. 66 on the Hot 100 in 1965.

THE CONCERT PROPER

There were two dates for this special concert on Disney music, Nov. 8 and Nov. 9. My kids and I watched the second show on Nov. 9 which was set at 2 pm in the CCP Main Theater. The show started promptly at 2 pm, even when the seats in the orchestra around us were not yet filled up.

The ABS-CBN Philharmonic Orchestra played the National Anthem live onstage, which was already quite a thrill in itself. Then conductor Gerard Salonga made his entrance and proceeded to conduct the orchestra through an overture of beloved Disney tunes. At the same time, we were watching a perfectly edited, high definition video montage from the original animated films (like "Peter Pan,""Lady and the Tramp,""Alice in Wonderland," and "Fantasia") playing on the screen behind them.

The first singer introduced was Caisa Borromeo who led us through the songs from the Rapunzel-inspired film "Tangled." She would be joined by Sam Concepcion, Red Concepcion and a singing group called Vocal Synergy through songs like "When Will My Life Begin", "I've Got a Dream"and the love ballad"I See the Light."

Morissette (it seems she has dropped her surname Amon from her stage name) came out in a red gown and sang a beautiful pop (ala Christina Aguilera) version of "Reflection" from "Mulan". Her voice was really something else -- solid and oh so clear. This would only be the first of so many memorable songs from her today. I knew she would go far when I first heard her sing in "Camp Rock the Musical" and then during her stint on "The Voice".

The next singer up was Antonio Ferrer, and man, he came up with a big revelatory performance I totally did not expect. I knew him as a classical tenor from serious musical plays like "Noli Me Tangere: the Opera" and "Walang Sugat". But there he was matching Robin Williams' very animated multi-inflection rendition of "Friend Like Me" from "Aladdin"! This would be only the first surprise of many more he had in store for us.

Next up was a Villains Medley to pay tribute to the more memorable baddies in Disney lore. There were three songs in this segment. First was "Trust in Me" which was python Kaa's song from "The Jungle Book" sung for us by Sam Concepcion. Next was a spectacular version of Sea Witch Ursula's "Poor Unfortunate Souls" by the always smashing Carla Guevara-Laforteza. Finally, it was Scar's menacing "Be Prepared" from "The Lion King" by Antonio Ferrer. Again this low growling baritone was the last thing I expected from him, and this he nailed it up to the evil laugh after the song.

The next segment was a showing of the classic Disney short cartoon entitled "The Band Concert". This short released in 1935 was the first Mickey Mouse film produced in color. The music of this short was Rossini's "The William Tell Overture" and it was played live by the ABS-CBN Orchestra in perfect consonance with the film as its soundtrack.

The final number in Act 1 was a Gospel medley by the Muses from the film "Hercules". The Muses were composed by Caisa Borromeo and Carla Laforteza, who were very good. But a lot of attention was being drawn by the third Muse, EJ Pepito of Vocal Synergy. This girl can wail like the best of them! How good that she was given this golden opportunity to showcase her voice solo. I was not too familiar with the songs like "Zero to Hero" and"A Star is Born", but the girls' amazing singing and harmonizing carried the day.

Act II opened with songs from "The Princess and the Frog." Honestly I was not too familiar with the Creole-flavored Randy Newman songs here "Down in New Orleans" and "Almost There". I was pleasantly surprised to see Karylle there as Tiana, since she was not in the first act. Sam Concepcion sang the parts of Prince Naveen. But again the thunder was stolen by Antonio Ferrer with his gleefully evil rendition of the sinister "Friends on the Other Side," which incidentally the only song I remember from the film.

The next medley would be love songs entitled "They Finally Meet". The first was "Kiss the Girl" sung by Red Concepcion with Sebastian's calypso flair. The pop version of "Beauty and the Beast" was next sung by Morissette and Sam Concepcion. This pair can really run perfectly with their multiple runs ala Celine Dion and Peabo Bryson. The final duet was "So This is Love" (from "Cinderella") sung by Karylle and Antonio Ferrer. Now this is the tenor voice I know Antonio for.

Next up was an instrumental interlude entitled"Battle with the Forces of Evil". While the screen was showing us the climactic battle of Prince Phillip and Maleficent from "Sleeping Beauty," the ABS-CBN Orchestra regaled us with their rendition of the soundtrack score adapted from Tchaikovsky no less. Watching those memorable scenes unfold with the accompanying music being played live by a full orchestra was really something else.

Finally, it is time for the very popular "Frozen". Adorable 4-year old Julia Concio (grand-daughter of ABS-CBN boss Ms. Charo Santos-Concio!) sang the first verse of "Do You Want to Build a Snowman?". The audience supportively clapped as she entered, and again after she sang. Then 11-year old Camille Santos came in to sing the second verse. Another young singer named Jillian Ita-as sang "For the First Time in Forever."

Red Concepcion came in to sing Olaf's song "In Summer." However, there was no doubt that everyone was waiting for "Let It Go" and it was Morissette who delivered it. If it was not too blasphemous to say she out-sang Idina Menzel herself, I'd say it. That was positively the BEST LIVE rendition of this ubiquitous and iconic song I have ever heard. Morissette's version was so effortless, flawless and vibrant!

The rest of the cast of singers came out to sing another verse and chorus of "Let It Go" as they did their curtain call and bade their goodbyes. Morissette, Sam Concepcion and Antonio Ferrer drew the loudest applause. (Honestly, I was half expecting the Philippines' own Disney princess Ms. Lea Salonga herself to come out and surprise us with "A Whole New World" but that did not happen. Haha!)

Then, Gerard Salonga stepped down from his dais to address the audience. He told us how this show was a new package program set by Disney itself. Salonga and his director Mickey Munoz had to convince the Disney execs to allow local singers to sing the songs, which were fortunately allowed. They then proceeded to hold an online audition for participants.

Also allowed was to change the gender of the singer who will sing the encore song. Originally it was supposed to have been sung by a male singer, but Salonga wanted, and got Ms. Bituin Escalante to sing it. The song was "Circle of Life" from "The Lion King." The choice was inspired. Ms Escalante brought the house down as she always did.

My kids and the younger kids around us all enjoyed the songs from the more recent films. The older members of the audience were already very high on nostalgia. Kudos to Munoz, Salonga and everyone else who worked on the production of this special show. Undoubtedly, the Filipino talent for music is really world-class!

November 16, 2014

Admittedly I was not really too excited to see this show at first. The strange image of Wally Watthead in the poster is not really too enticing on initial glance. I was also not sure how a comedy act from Finland would be able to make us laugh. However, when opportunity came up that allowed me to bring my whole family along to watch, I grabbed it wholeheartedly.

Wally Watthead (Janne Raudaskoski) is the lightbulb of a lamp. One day, his light starts to sputter then died out. Wally desperately asks his friend Simon the Sim Card (voiced by Jonathan Hutchins) for help to regain his light. While he was doing everything Simon says to get his light back, Wally was also trying to win the attention of the object of his affections, the pretty Polly the Picture (Tuija Nuojua), who mysteriously came to life!

In the beginning, the show started slow, and yes, rather corny. I can understand the giant lightbulb head piece Wally had to wear. However, I could not fathom why he needed to have those ugly huge hairy ears! I would call his act a "semi-mime" because while Wally was miming most of the time, he would also utter some stray word or make some strange sounds while he was fooling around on stage. This style needed some time to get used to.

However, as the performance went on and the acts of magic began though, we were all charmed and drawn in, with a constant smile on our faces. Interacting with the cellphone mascot Simon (reminiscent of a Nokia 3210, so loyally Finnish!) on his right and video picture Polly on his left, Wally would perform amazing feats of sleight of hand with cards, flowers, confetti, and bubbles, among other common magic props.

While there were times when it felt like an expanded magic act for a birthday party, there were those tricks which were truly mystifying. He had a part where it seemed he was levitating. I personally found that segment where he was trying to attach his "battery" most baffling. Those romantic interludes of Wally and Polly to the tune of "Love Story" were cute as they were fascinating to watch.

The best part of the show is actually observing how the kids all around us were absolutely enjoying themselves. When we watched, the PETA Theater was full of kids of all ages. Many of them were elementary students from public schools sponsored by a generous grant. Hearing all these kids gasping in amazement and laughing with glee is so heartwarming. My own kids are past 10 years old already and can easily be bored by regular plays, but here, they were in rapt attention. Wally's unique combination of magic and comedy worked on target audience!

This was indeed an unexpected treat for the kids and the whole family. Don't let that odd-looking ape-like creature with the bulbous cranium you see on the posters put you off. This is such a fun show for kids and kids at heart -- short (only 45-minute long) but sweet, engaging, spellbinding and happy.

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"Wally Watthead and his Lost Glow" will run for one more weekend from November 21-23, with shows at 10 am and 3 pm at the PETA Theater in Quezon City. Tickets are Php 800 for VIP and Php 600 for regular seats. For tickets, contact Ticketworld at 891-9999 or ticketworld.com. For more details, call PETA Theater Center at 725-6244, local 21-23 or 0915-4933728.

November 26, 2014

I have not been to the Solaire complex before today. First of all, I am not really a casino-goer. When they had concerts at their ballroom, like the Jacksons just earlier this month, the schedule did not fit mine. But today, I was invited to attend the inauguration of a facility which would make me return to Solaire time and time again. This was the Theater at Solaire.

The theater had a spacious and elegant lobby. There were 1,760 seats inside. Its main conceit is its usage of the Constellation Acoustic System, which enables the acoustic properties of the theater fit that of the event being held, all with just a touch of a finger. Theater at Solaire is first and only theater venue with this sophisticated sound system, and only the third such theater in the whole of Asia.

The guests were mostly dressed to the nines as the posh venue seemed to demand. There was a sumptuous buffet cocktail served along the corridor which included roast beef (rare!) and salmon among others. A particularly exciting souvenir given to the guests was a Solaire Swatch Watch, a limited edition made specifically to commemorate this special milestone.

The time in the ticket says 8 pm but the show began about 8:30 already with the assumption on the stage of Mr. Thomas Arasi (President and COO of Solaire), followed by Mr. Jasper Evangelista (VP for Brand and Marketing), with their respective opening remarks. Important people behind the theater were introduced. These were: Ed Concepcion (Theater Manager), Shax Siasoco (Venue Technical Director) and Sandy Hontiveros (Talent Center Manager). Finally, veteran stage performer Mr. Audie Gemora was introduced as Solaire's Director for Entertainment.

Mr. Gemora opened the show with his revue on how to put on a stage presentation, from a blank stage to the sets, costumes, screen backdrop, etc. until the show is ready, all set to the tune of "Putting It Together". Ironically, there were sound glitches in this first number where some lapel mics would lose sound. Not to worry though, these glitches would not happen again in the rest of the show.

Gerard Salonga appeared on screen talking about the theater and its special sound system. He came out on stage to demo the equipment with musician Robert de Pano and his trumpet. You can clearly hear the difference of sound quality with the Constellation on and off. After his short talk, Salonga went back to lead the ABS-CBN Philharmonic Orchestra in a Classical Suite.

The three leading sopranos rendered solos, Karla Gutierrez, Myramae Meneses and Camille Lopez-Molina. Ervin Lumauag provided tenor counterpoint in certain songs, as other members of the Philippine Opera Company joined in others. The big highlight of this suite is the appearance of prima ballerina, Ms. Lisa Macuja-Elizalde and some male consorts from Ballet Manila. She danced a challenging number from "Sleeping Beauty" with her faultless pirouettes.

Maestro Ryan Cayabyab appeared on the big screen to talk about the multi-purpose rehearsal studio located backstage. He would segue to introduce the next suite about Filipino musicals. Robert Sena and the Ryan Cayabyab Singers (including Poppert Bernadas) would sing a song from "Stageshow."Karylle sang a song from "Rama Hari". Myke Salomon sang "Magsimula Ka" from the musical of the same title. Isay Alvarez sang a uptempo boogie number from "Katy!"Aicelle Santos sang "Basang-basa sa Ulan" from the mega-hit "Rak of Aegis". She would be joined by Sena and Salomon for "Halik." Finally, Ms. Isay came back onstage to sing "Minsan ang Minahal Mo ay Ako", later joined in by the others, to end this suite.

Ms. Solaire and Ms. Philippines-World Valerie Weigmann appeared on the big screen to talk about the dressing rooms and the other events which could be held in the theater. Sam Concepcion came out to sing Pharell's "Happy". He would be joined by a number of Solaire models. This segment would showcase different kinds of dancing. First up was Ednah Ledesma and two male partners for a ballroom exhibition. Regine Tolentino was fiery and fabulous in her dance number with the 38 Degrees, who lifted, flipped and threw her around. The Manoeuvres had an interesting dance number with only the LED lights on their costume visible in the total darkness.

Mitch Valdez was the next person who introduced the next act on screen, the OPM Suite. Morissette, Christian Bautista and Yeng Constantino all had their solo spots, which were well and good. However, it was when they got together to sing "Sana'y Wala ng Wakas" that their set was elevated to different level. Their harmonizing sounded so very good indeed.

Martin Nievera came out to sing his solo spot with the song "Kahit Isang Saglit." He then sang a little bit of "Music of the Night" (from "Phantom of the Opera") to introduce the final performer of the night.

Lea Salonga was on fire as she sang for ten minutes or so straight, with a medley of punishing Broadway songs that only she can sing so flawlessly well -- "Memory", "I Dream a Dream", "On My Own", "For Good" and to cap it all off "Defying Gravity". Words cannot adequately describe the power and the passion in her renditions of these iconic songs. You really have to watch the video below from beginning to end to know what I mean!

Audie Gemora came back on stage to reminisce with Lea about the last time they were on stage together, which was when Lea was only 9 years old. Then they led off to sing the Solaire song "Brighter Than the Sun". Everyone else in the cast of performers later joined in as well. The end of the rousing song was greeted by a merry rain of confetti, and this special night was over.

The top-notch production staff behind this show is a Who's Who of current Philippine Theater. The director is Dexter Santos. The writer is Floy Quintos. Production design is by Mio Infante. Lighting design is by John Batalla. The impressive graphic designs were by GA Fallarme. Kudos to all for a great show!

Postscript: There was a bit of a problem for guests on their way out as there is no elevator or escalator going upstairs back to the theater lobby! Everyone had to climb up the steep high escalator or the regular stairs (three flights up!), even the ladies in their high heels (including Ms. Annabelle Rama, who was there with husband, Eddie Gutierrez). I am pretty sure though that the Solaire management will have this problem figured out in time for the big maiden presentation of this theater -- the international touring production of CHICAGO to run by the first week of December.

November 28, 2014

"The Little Prince" by Antoine de Saint-Exupery is a famous and well-loved book. I know I have read it sometime in my ancient past, but I honestly do not remember what is was about at all. Tanghalang Pilipino currently has a Filipino-language play adapted from the beloved novel by prolific playwright Ms. Layeta Bucoy. I brought my daughter to watch with me because she just had a Filipino book report about this same novel.

In this play, Principe Munti is the ruler of a small planet with three volcanos, only two of which are active. It also has only one Rose which the Prince loved. She is of a rare beauty and fragrance, but of a rather self-centered and petulant sort. When his relationship with his Rose sours, the Prince decides to leave his planet to explore other worlds. He goes off from planet to planet, where he meets extreme sorts of people -- a President who always wanted to order others around, an Actress who always wanted people to admire her, a Drunkard, and a numbers-obsessed Businesswoman.

His journey brought him on Earth. There he befriends an Alamid (or Civet) who teaches him a vital lesson of seeing the most important things with his heart, not with his eye. Finally, he finds himself in a desert where he meets a Pilot whose plane crashed there. Before he leave to reunite with his Rose however, the Prince gets to impart to the Pilot the valuable lessons he had learned so far.

The conduct of the play was rather dark and contemplative, in contrast with most productions meant for children which were bright and cheery. The use of shadow puppetry by Teta Tulay (and the Anino Shadowplay Collective) to enhance the storytelling was the novelty here. The lighting effects by John Batalla was essential in delivering the dramatic interaction of live performances with the shadowplay behind the screens. The original music and songs of Toni Munoz was sparse in keeping with the play's style, but very effective in building up mood.

The script by Layeta Bucoy was lyrical and somber in tone like the spirit of the book, but rather uneven. I do not remember the book anymore so the progress of the story felt totally new to me, which was good. There were points when the dry humor could be lost on younger members of the audience. Adults and older kids may find more fulfillment watching this show than very young kids. There were points in the middle when the story would bog down, only dependent on the vitality of the actors to enliven the scenes.

The talented child actor Micko Laurente, all of 9 years old, was on stage the whole time and had to carry the show on his shoulders. This was a formidable role with lengthy lines of dialogue but Laurente pulled it off very well. His character is mostly reactive to the people he meets, so his performance was somehow affected by the performance of the actor with whom he is interacting. (Another child actor Allen Immanuel Ryce alternates in this role.)

Regina de Vera was a true vision of beauty as the Prince's Rose. Her pettiness though became tiresome and repetitive. Those encounters in the four planets with the strange adults went a bit too long for comfort and only mildly funny for the most part. There was a scene with another Rose on Earth that was so dreary and forgettable. The Prince's encounter with a train seemed unnecessarily long and pointless as well. Llorvie Nuevo's performance as the Snake was properly sinister,

However, it was Jonathan Tadioan who really hit it out of the park with his vibrant performance of the Alamid. This was the peak point of the whole show in its effective evocation of true joy and inspiration within his few minutes on stage with the Prince. Marco Viana was also very good as the Pilot. He has very effective chemistry with the Prince which is important to build up to the emotionally-shattering climax. I would say that these last 30 minutes or so contain the very beautiful heart and soul of the whole play, and most worthy of the ticket price paid.

Congratulations to the Director Tuxqs Rutaquio and the rest of the Tanghalang Pilipino cast and crew for creating another innovative and interesting play to develop the love of theater for Filipino children.

"Prinsipe Munti" runs from November 28 - December 7, 2014 with shows at 10 am, 2 pm ad 6 pm at the Tanghalang Aurelio Tolentino (CCP Little Theater). Tickets (P600, P800 and P1,000) are available through Tanghalang Pilipino (832-1125 loc 1620/1621 or 09052544930) or Ticketworld (891-9999 / www.ticketworld.com.ph).

November 29, 2014

We are all familiar with the story of Cinderella from the classic 1950 Disney full length animated film. We know her Wicked Stepmother and Stepsisters who maltreated her. We know her Fairy Godmother who magically helped her get to the Ball. We know about the Prince and his kingdom-wide search for the owner of glass slipper the mystery lady who ran off at midnight left behind. We can see all this and more in the latest offering of Ballet Philippines this holiday season, Cinderella as choreographed by National Artist for Dance, Alice Reyes, who was present last night.

Instead of the traditional Prokofiev score, Ms. Reyes used various pieces by Tchaikovsky to create the perfect musical score for the ballet she had in mind. She added various original elements, like the dance of animals in the garden and the two mischievous brothers of the prince, to lighten the mood for her target audience, the children.

This is already the fifth staging of this original Alice Reyes ballet since she premiered it first in 1981. The restagers this time around are BP Dance School Director and Ballet Master Victor Ursabia and Ballet Master Ramon Victoria.

The sets and costumes were originally designed by Salvador Bernal, himself a National Artist for Theater Design. The palace set was so opulent and grandiose with meticulous details, enhancing the elegance and vibrancy of the dances performed.

Cinderella was played by a young, upcoming soloist Denise Parungao. She has such a pretty smile and and kind face, perfect for her lead role. Her very slim and lithe physique gives her a very light feeling when she dances, even as she performs difficult moves. (Monica Amanda Gana alternates in this role.)

The most elegant dancer on that stage last night was the regal Rita Angela Winder who portrayed Fairy Godmother, certainly younger and more beautiful than the one we know from the Disney cartoon. Her stage presence is riveting, always drawing audience attention to her dignified stance. (Katherine Trofeo alternates in this role.)

The male characters play second fiddle to their female counterparts in this program as they mainly play consorts and dance partners. Even the Prince had to dance in groups of multiple dancers during Act 1. Richardson Yadao is a Principal Dancer of BP but he seemed to lack the regal stature and presence to be the Prince. There were some male members of the company (was that JM Cordero?) looked more "princely" than him, sad to say. He did show why he earned his rank in the company when he danced his solo spots with excellent flourish in Act III. (Earl John Arisola alternates in this role.)

However, definitely the most memorable characters for the audience in this show are the Wicked Stepmother Brunhilda and the comic Stepsisters Griselda and Prunella.

Last night, Brunhilda was played by Isabelle Garachon, the wife of the French Ambassador, who was a professional dancer back when she was younger. Her face was made up to look scary and stern, but she had a natural sense of humor with her facial expressions. Her moves seemed more flamenco-inspired than ballet, very graceful. BP President Margie Moran-Floriendo will alternate in this role, I am very curious on how she would pull it off. There is a third alternate, Butch Esperanza, a guy -- now that might be fun!

The role of the two step-sisters are probably the most demanding of the whole cast. They had to do physical slapstick comedy in balletic style. That is as difficult as it sounds, but it had to look like they were having a lot of fun doing it. Dancing the clumsy and heavy-footed pair last night were Ma. Celina Dofitas (as Griselda) and BP Principal Dancer Katherine Trofeo (as Prunella). They were a riot with the kids and kids at heart in the audience. People were actually laughing out loud at their antics, as unseeming as it may be at a ballet. (Edana Mae Labitoria alternates as Griselda. Rita Angela Winder alternates as Prunella -- now that is something to watch out for!)

I am not really a ballet connoisseur by any measure, but judging this as a casual viewer, this is one full-length ballet my daughter and I truly enjoyed watching. The humorous elements Ms. Reyes added into her choreography really enhanced the enjoyment of the show. I would say that the degree of difficulty of the dancing was heightened because of the sense of comedy it had to project to the audience in the form of dance. This show proved that ballet can indeed be fun to watch!

Here is the cast schedule of performances released by Ballet Philippines:

November 30, 2014

Isoy was left in the care of his strict and grumpy spinster aunt Susing, who made him drop from school and kept him at home doing chores like cooking or minding her chickens. He is at the awkward age of 15, and would rather spend his time peeking at their girl neighbor as she took a bath, or going to the cockpit with his favorite uncle Berning. Once at a drinking spree with the men, Isoy bares his inner turmoil and frustration about his aunt. This results in revelations about Isoy's errant mother who abandoned him and the father he never knew.

"Rite of Passage: Sa Pagtubu kang Tahud" was adapted by Glenn Sevilla Mas from a Kinaray-a short story by Maria Milagros Geremia Lachica. This production by the Tanghalang Ateneo, the second in their current season with the theme of "Navigating Identities," is directed by respected theater playwright, actor and translator Ron Capinding. The set by Gwyn Guanzon has transformed the front of the classroom-like Rizal Mini-Theater into a realistic nipa hut with a "batalan," shower stall and real soil around it. The effective lighting design by D Cortezano enhances the stifling tension of the story.

The script is basically in English with a heavy Visayan accent. There was also a good dose of Kinaray-a (or the dialect in Antique, where the play is set) which most of us do not understand but we could just make an intelligent guess as to what they mean based on the gestures of the actors. Some Tagalog also makes it in there, but not as much. The script is heavy with intense confrontations. There are several uncomfortable situations of a sexual nature, so that this is only for mature audiences. It is reminiscent of Mas' other coming-of-age play "Games People Play."

The central character Isoy is played by college freshman Cholo Ledesma. He had that awkward height and stance that served his portrayal of his disturbed character very well. His highlight should be that sick climactic scene which felt like "Equus" to me, only it involved a chicken instead of a horse. Now how sound guy Jethro Joaquin knew what sound effect to accompany that scene, I'd rather not know.

Despite the fact that Ledesma was onstage for practically the entire play, the more memorable performances come from the supporting adult cast. Veteran actress Frances Makil-Ignacio plays the always glum and negative Tiyay Susing. She may have seemed one-note in Act 1, but it turns out she was just warming up. In Act 2, her character simply exploded with all her pent-up bitter emotion all those years, and Ms. Makil-Ignacio truly displayed radiant bravura acting.

I had to ask an usher who that awesome actor was who played the consenting Uncle Berning. His face and complexion does not really look like he's from a remote barrio, but his natural acting more than made up for the physical disconnect. It turns out that Tiyoy Berning today was played by the director himself! I confess, I knew the name Ron Capinding, but I did not know how he looked like till today. I thought his role ran the gamut of emotions and Mr. Capinding more than effectively pulled it off. (The usual actor portraying this role is Teroy Guzman, a local Shakespearean actor whom I have seen play King Lear in PETA before. His take on this character should be interesting to see as well.)

Honestly, the play is not exactly easy or pleasant to watch. However, the ideas and questions it proposed are thought-provoking and controversial. The metaphors implied within the story and the set well-crafted and well-executed -- the circumcision, the cockfight, the bamboo fences at the end. Isoy's climactic scene with the chicken is sensational in the most disconcerting, upsetting, and disgusting sense. But what a brutal metaphor that was -- the ultimate flip-off!

Kudos to director Ron Capinding and the rest of the cast and crew of Tanghalang Ateneo for daring to stage a sensitive and challenging play like this.

"Rite of Passage" runs November 27-29, December 3-6 and 10-13, 2014. Show starts promptly at 7 pm. Saturday matinees start at 2 pm. All performances will be held at the Rizal Mini Theater of the Ateneo de Manila University. For details about the show and tickets, contact Acel Go at 09164802195. Tickets at P300 each only.

December 4, 2014

"Melanie" is a gay beautician who died from the complications of AIDS. From that tragic start, his friends begin to be aware of their own risky sexual behavior and the reality of HIV infection. They discuss the disease among themselves: its risk factors, its preventive measures, its laboratory testing, its medical management, its urban myths and its social stigma.

The cast is led by Phi Palmos who plays Babes, Melanie's transgender colleague in the beauty parlor. Babes would engage various characters in conversations about various aspects of HIV. There was his nephew Donn (Marco Viana), Donn's lover Jay (JV Ibesate), the promiscuous professor Raul (Jonathan Tadioan), the homophobic girl Nina (Antonette Go), among others.

Tadioan and Palmos talk about risky relationships

Held in the intimate confines of Tanghalang Huseng Batute (or Studio Theater) of the CCP, "Melanie" is a different kind of theater experience. It employs a style called "Forum Theater," where the cast involves members of the audience in their conversations. This way, some members of the audience get to voice out their own opinions and ideas about HIV and AIDS.

Initially, the treatment of the topic was light and humorous. However as the play went on, owing to the critical importance of the play's advocacy, the tone turned serious until the haunting end.

I have seen Phi Palmos before in PETA's big hit musical this year, "Rak of Aegis" where he stole scenes as a gay neighbor. Aside from the lines in the script, he also needed to be on his toes when he engages audience members in extemporaneous conversation. He is lucky if the audience member he picked was gregarious. But if he picked someone reticent, he would have to dig deeper to get that person to talk and to keep the energy of the show up. The big highlight of the show was a hilarious sequence when Palmos picked a girl from the audience to demonstrate how to put on a condom.

Viana, Palmos and audience member put on a condom

I am very impressed with the TP Artists in the cast! Viana, Ibesate, and Tadioan are all in the cast of TP's concurrent production "Prinsipe Munti". How they can juggle two shows and not get their lines mixed up is truly amazing. This is not to forget that they were all fresh from the critically-acclaimed TP production of the formidable "Pahimakas sa Isang Ahente" just last month.

After the show, the cast had a Question and Answer session with the audience members about HIV and AIDS. It was clear that several youngsters are still confused about these matters. Palmos, Viana and the others were all quite adept and knowledgeable to answer the varied questions. The cast it turned out were all graduates of seminars on HIV 101 and Stigma Reduction in order to equip them with the proper information. They forgot the meaning of the acronym ELISA (the test used to confirm HIV infection). It means Enzyme-Linked Immunosorbent Assay.

They mention that they would vary the emphasis of the play depending on the venue where they are showing it and its HIV profile. In Manila and Davao, they focused on gay relationships. In Cebu, they would shift more focus to intravenous drug usage, since most of their HIV cases were related to that.

Palmos leads the Q&A session

Kudos to writer Layeta Bucoy and director Tuxqs Rutaquio (the same team who behind "Prinsipe Munti") for this vital educational program (a joint project with UNICEF) which will probably be a recurrent and touring production for TP. Its premiere was last October 2013. This year, it was restaged this week in line with World AIDS Day last December 1.

Here are some important information about VCT or Voluntary Counselling and Testing given at to the audience after the show:

"Melanie" will have shows on December 4, 6, 7, 10, 11, 12 and 14, all at 7 pm. Tickets are sold at P800 and P600, with 20% discounts for senior citizens, government employees, military personnel and PWDs. Tickets can be bought at the CCP Box Office or via Ticketworld. Call Tanghalang Pilipino for further details 8321125 local 1621.

December 6, 2014

I barely remember the movie that inspired this musical shown back in 1994. I knew it was about three drag queens (played by Hugo Weaving, Terence Stamp and Guy Pearce) who were stranded in the middle of the Australian outback, but I recall nothing more.

This year back in May, "Priscilla Queen of the Desert" returned back to pop consciousness as a splashy big musical theater production at the Resorts World Manila, starring Leo Valdez, Jon Santos and Red Concepcion. Oddly, I did not really get the chance or the urge to watch the show throughout that entire 3-month run. Then in October, we heard the news that this same show went on to play at the Resorts World in Sentosa, Singapore to much acclaim as well. After that success, the show has returned to RW Manila for a final limited 8-show engagement. The right opportunity just came earlier this week, so that finally, I was also able to see it last night.

Tick (a.k.a. Mitzi Mitosis) was a drag queen burning out with his routine in Sydney. He receives a call from his ex-wife Marion who invites him to bring his act to her new casino in Alice Springs in the middle of the Australian desert, and at the same time meet the son he left behind, 8 year old Benjamin. Tick invites his two good friends to come with him, though the two did not really get along at first. Ralph (a.k.a. Bernadette) is a transsexual, who used to star in an old school sophisticated drag queen act called Le Girls. Adam (a.k.a. Felicia) is a brash newcomer in the drag act with more flamboyant routines. They drive from Sydney to Alice Springs in a bus they painted pink which they baptized with the name Priscilla.

RW shows are known for their lavish sets and costumes, and this one is no different. They used the LED backdrop to very effective use to create extra dimensions on the stage. The rotating center of the stage was put to good effect for set changes, character movement and show off their central set piece, the bus Priscilla herself. There was a live band playing the musical accompaniment for all the retro hit songs the actors were singing, which was great. Director Jaime del Mundo had all the ingredients for a successful musical show and he made the best use of them all.

Michael Williams has taken over the role of Tick from Leo Valdez. Williams has this sad face that felt so right for this role. He was great in those dramatic scenes and songs ("I Say a Little Prayer", "True Colors"), especially when he was with Guido Gatmaytan, who played Tick's son Benjamin ("Always on My Mind'). He was also fearless in drag ("I Like the Nightlife","I Will Survive"), though his solo routines ("MacArthur Park") seemed more subdued than other two.

Red Concepcion finally found the role that fit him like a glove as Felicia. I know he is a good actor and singer, but I always felt something lacking or not exactly right. From the first time he appeared on stage with the song "Venus", Concepcion really owned the stage with his flamboyant strutting, big dance moves, skimpy costumes and hyper eyebrow lifting. His other solo spots were also show-stoppers, lip synching to a La Traviata aria and flirting with danger in "Hot Stuff."

I have to confess that I was disappointed that I did not catch Jon Santos as Bernadette last night. Even in the first run, I thought the only big reason to catch Priscilla was to see the comic genius of Jon Santos in action. However, as the play went on, it was clear that alternate Raymond Concepcion can also inhabit the dignified skin of Bernadette very well indeed. His best numbers were "A Fine Romance" with the Les Girls, and its reprise with the mechanic they met on the road Bob (Henry Strzalkowsky). I can imagine his singing is better than Jon Santos'.

We have lead star actors playing in supporting roles and in the chorus. Menchu Lauchengco-Yulo played smart and snappy Marion. Pinky Marquez played a very butch Shirley. To see OJ Mariano transformed into a tall Tina Turner-ish character named Ms. Understanding, with her sequined minidress, high heels and big green shaggy wig was great fun. The three Divas -- Lani Ligot, Tammy Canlas and the always smashing ImaCastro (who had replaced Bituin Escalante from the first run) -- had strong voices and great harmony with each other. I did not know that Red Nuestro could dance so well.

There were some numbers that did not come across too well for me. Act 2 opening number "Thank God I'm a Country Boy" was rather lackluster. Felicia's final solo number "Confide in Me" was a bit of a let-down. They should have done "Like a Prayer" as the Broadway production did. In fact, the lack of songs by gay pop icons Madonna and Cher can be felt. The Filipina mail-order bride Cynthia was played too annoyingly as a stereotype, though her "talent" with the ping pong balls was hilariously staged.

Overall though, this was a very entertaining show. The songs were all so familiar and so fun to hear and see come to life in those elaborate group numbers. For me, the absolute best numbers I was shamelessly singing along to the most were "Don't Leave Me This Way", "Go West"and"We Belong". Everything is so high energy. You will find it hard to resist getting up to dance with the cast at the finale. Even if you are not too much into the drag queen act, the nostalgia of hearing all this great retro music performed live with big production numbers is enough good reason to go catch it.

"Priscilla" has three more shows to go at the Newport Performing Arts Theater. Today December 6 there are two shows, at 3 pm and 8 pm, and tomorrow December 7, one last show at 3 pm. Tickets range from P3,700 to P1,200, with various discount promos you can check out at the RW website.

December 6, 2014

This play is set in London, during a supposedly more genteel era. Harry Horner is a lustful cad who spread the rumor that he is impotent so husbands, mothers and nursemaids will allow their daughters to be left alone with him. His friend Pinchwife just married a provincial lass Margery, and the poor guy is doing all he can to keep her out of horny Horner's sight. Pinchwife's sister Alithea is betrothed to marry an odd man named Sparkish, but Horner's good friend Harcourt has his own designs on her. So, who will end up with whom on this love carousel?

Such are the three of the major stories that are told in the comedy of manners written by William Wycherley in 1675 entitled "The Country Wife." This type of comedy was a satire aimed at criticizing social behavior and beliefs. The version I saw this afternoon was the Filipino translation by Nicholas B. Pichay. I thought the language used by Pichay was easy to understand, sharp and really naughty. You can imagine all the rich variety of metaphors he used to describe Horner's "impotence", for instance. The word play was laugh-out-loud hilarious.

The actors had to act under long heavy curly wigs, thick white make up with rouge, and luxurious silk and satin costumes, and they all did so with over-the-top gleeful delight.

Physically, Martha Comia seemed to be an unusual choice to play Margery. Because she was so petite, she looked like Pinchwife's daughter. You should see how el Tayek lifts Comia up and stands her on a bench like a little girl! Despite that though, she was able to give a very relaxed natural performance for this oddly written character. She has a knack for playing lustful ladies well, as she did in the last play I saw her in, "The Duchess of Malfi" also by DUP, where she played Julia. (Sue Prado alternates in this title role. Her looks and allure are very different from Comia's, so it will be interesting to see how she would do it.)

Neil Ryan Sese has the roguish charm to pull off the irresistible-to-women Horner. Tarek el Tayek was really funny as the clueless Pinchwife, who was the butt of everyone's pranks. I think this is the first Filipino play I have seen the very reliable veteran actor Leo Rialp in, where he played Jasper Fidget, an aristocrat who fell for Horner's ruse.

In an incredible piece of casting, Shamaine Centenera-Buencamino took on the role of a man -- the weird man with strange actuations, Sparkish. She received the loudest ovation for her outrageous performance. (RS Francisco is the alternate in this role, and again I can imagine he would do this in a totally different way.)

I am already a fan of Dolly de Leon who played Lady Fidget, a matron enamored by Horner's sex appeal. Her sense of comedy is faultless, with her little facial expressions saying so much. Carlo Tarobal and Karen Gaerlan played Harcourt and Alithea. Both of them did well enough, but their comedic timing still needed improvement compared to their more experienced co-actors.

Congratulations to Professor Emeritus Tony Mabesa for directing this piece of classic farce about sex, marriage and reputation to still be very entertaining for mature modern viewers, even when translated to the native tongue. He is very ably supported by his talented crew, composed of Shakira Villa Symes (Lights Designer), Jethro Joaquin (Sounds Designer), Clint Ramos (Set Designer), and Eric Pineda (Costume Designer).

(L-R: De Leon, Gaerlan, Buencamino, Sese, Comia, el Tayek, Tarobal, and Rialp take their bows)

"The Country Wife/Ang Misis Kong Promdi" had been running since November 19, 2014. Last day of the show is on December 7, 2014. Both shows left will be in Filipino. For tickets for the 10 AM show, contact Fitz Bitana at 0916 988 8991. For the 3 PM and final show of the run, contact Vincent Pajara at 0936 303 3879.

December 10, 2014

Here are the Hot 100 Singles of 2014 as ranked by Billboard Magazine. (Billboard's year-end music recaps are based on chart performance during between the Dec. 7, 2013 and Nov. 29, 2014-dated charts.)

1 HAPPY Pharrell Williams (#1 10 weeks)
2 DARK HORSE Katy Perry Featuring Juicy J (#1 4 weeks)
3 ALL OF ME John Legend (#1 3 weeks)
4 FANCY Iggy Azalea Featuring Charli XCX (#1 7 weeks)
5 COUNTING STARS OneRepublic
6 TALK DIRTY Jason Derulo Featuring 2 Chainz
7 RUDE MAGIC! (#1 6 weeks)
8 ALL ABOUT THAT BASS Meghan Trainor (#1 8 weeks)
9 PROBLEM Ariana Grande Featuring Iggy Azalea
10 STAY WITH ME Sam Smith

11 TIMBER Pitbull Featuring Ke$ha (#1 3 weeks)
12 POMPEII Bastille
13 SHAKE IT OFF Taylor Swift (#1 4 weeks NC)
14 AM I WRONG Nico & Vinz
15 TURN DOWN FOR WHAT DJ Snake & Lil Jon
16 THE MONSTER Eminem Featuring Rihanna (#1 2 weeks)
17 SAY SOMETHING A Great Big World & Christina Aguilera
18 TEAM Lorde
19 LET HER GO Passenger
20 ROYALS Lorde

21 LET IT GO Idina Menzel
22 WAKE ME UP! Avicii
23 DEMONS Imagine Dragons
24 STORY OF MY LIFE One Direction
25 CHANDELIER Sia
26 BLACK WIDOW Iggy Azalea Featuring Rita Ora
27 BANG BANG Jessie J, Ariana Grande & Nicki Minaj
28 LATCH Disclosure Featuring Sam Smith
29 MAPS Maroon 5
30 LOYAL Chris Brown Featuring Lil Wayne & French Montana Or Too $hort Or Tyga

31 BEST DAY OF MY LIFE American Authors
32 HABITS (STAY HIGH) Tove Lo
33 SUMMER Calvin Harris
34 BOOM CLAP Charli XCX
35 DRUNK IN LOVE Beyonce Featuring Jay Z
36 ANACONDA Nicki Minaj
37 BREAK FREE Ariana Grande Featuring Zedd
38 BAILANDO Enrique Iglesias Featuring Descemer Bueno & Gente de Zona
39 BURN Ellie Goulding
40 WIGGLE Jason Derulo Featuring Snoop Dogg

41 RATHER BE Clean Bandit Featuring Jess Glynne
42 DON'T TELL 'EM Jeremih Featuring YG
43 SHOW ME Kid Ink Featuring Chris Brown
44 WRECKING BALL Miley Cyrus
45 NOT A BAD THING Justin Timberlake
46 ROAR Katy Perry
47 AIN'T IT FUN Paramore
48 THE MAN Aloe Blacc
49 THIS IS HOW WE ROLL Florida Georgia Line Featuring Luke Bryan
50 CLASSIC MKTO

51 A SKY FULL OF STARS Coldplay
52 DON'T Ed Sheeran
53 NA NA Trey Songz
54 HOT BOY Bobby Shmurda
55 HOLD ON, WE'RE GOING HOME Drake Featuring Majid Jordan
56 SING Ed Sheeran
57 RADIOACTIVE Imagine Dragons
58 MY HITTA YG Featuring Jeezy & Rich Homie Quan
59 COOL KIDS Echosmith
60 HEY BROTHER Avicii

61 TRUMPETS Jason Derulo
62 ANIMALS Maroon 5
63 BURNIN' IT DOWN Jason Aldean
64 PLAY IT AGAIN Luke Bryan
65 2 ON Tinashe Featuring ScHoolboy Q
66 DIRT Florida Georgia Line
67 LOVE RUNS OUT OneRepublic
68 BOTTOMS UP Brantley Gilbert
69 SHOWER Becky G
70 ME AND MY BROKEN HEART Rixton

71 ANIMALS Martin Garrix
72 LIFESTYLE Rich Gang Featuring Young Thug & Rich Homie Quan
73 AMERICAN KIDS Kenny Chesney
74 BRAVE Sara Bareilles
75 SWEATER WEATHER The Neighbourhood
76 LEAVE THE NIGHT ON Sam Hunt
77 NEW FLAME Chris Brown Featuring Usher & Rick Ross
78 LOVE NEVER FELT SO GOOD Michael Jackson & Justin Timberlake
79 DRUNK ON A PLANE Dierks Bentley
80 BIRTHDAY Katy Perry

81 BARTENDER Lady Antebellum
82 LA LA LA Naughty Boy Featuring Sam Smith
83 BLURRED LINES Robin Thicke Featuring T.I. + Pharrell
84 DO WHAT U WANT Lady Gaga Featuring R. Kelly
85 CAN'T REMEMBER TO FORGET YOU Shakira Featuring Rihanna
86 AMNESIA 5 Seconds Of Summer
87 NO MEDIOCRE T.I. Featuring Iggy Azalea
88 COME WITH ME NOW KONGOS
89 BELIEVE ME Lil Wayne Featuring Drake
90 23 Mike WiLL Made-It Featuring Miley Cyrus, Wiz Khalifa & Juicy J

91 BEACHIN' Jake Owen
92 WHITE WALLS Macklemore & Ryan Lewis Featuring ScHoolboy Q & Hollis
93 SHE LOOKS SO PERFECT 5 Seconds Of Summer
94 STAY THE NIGHT Zedd Featuring Hayley Williams
95 PARTITION Beyonce
96 STUDIO ScHoolboy Q Featuring BJ The Chicago Kid
97 0 TO 100 / THE CATCH UP Drake
98 I DON'T DANCE Lee Brice
99 SOMETHIN' BAD Miranda Lambert Duet With Carrie Underwood
100 ADORE YOU Miley Cyrus

December 12, 2014

"Kailan at Bakit" is a set of three one-act original Filipino plays held at the Studio Theater on the 3rd floor of the PETA Center. (I never knew they had a small intimate theater venue up there before.). This show is the first production of Dalanghita Productions. One of the producers, Pertee Brinas, gave a very short introduction about their company which aims to produce all original local plays or musicals. This one weekend run of "Kailan at Bakit" is just a soft opening of sorts for this fledgling company. The big one comes in summer next year with the musical "Kung Paano Ako Naging Leading Lady."

1. BETANG (Written by Joanna L. Katanyag; Directed by Ed Lacson)

I had already seen this one-act play last July during the Virgin Labfest at the CCP. Here was how I reviewed the play back then:

"The situation in this play is so deceptively simple that the synopsis can be summarized in a single sentence: Octogenarian Lola Betang waits for her former lover boy to fetch her with him in the next life. However, the multi-layered performance of Ms. Sherry Lara as the title character Betang was able to show us so much more than that. If there was a best actress for the festival, she would probably be one of the top contenders. The audience audibly responded to her, even when she was just batting her eyelashes or smiling coyly.

There was intense chemistry felt between Ms. Lara and the actor who played her long-awaited "sundo" (or, in Philippine superstition, a fetcher to the afterlife), Chino Veguillas. Veguillas possessed a palpable charisma that made many females in the audience swoon with Betang. That theme song of theirs, "I Wanna Be Loved By You" by Marilyn Monroe, was so hauntingly perfect. When they delivered those killer lines at the end, you'd have to be made of stone if you were not emotionally moved. Beautiful."

The luminous Ms. Sherry Lara reprises her role here as Betang. In the Virgin Labfest, Juliene Mendoza only played the minor third character, Betang's nephew Norberto. In this new staging, Mendoza takes on the main character of Betang's ghostly "sundo". Mendoza has always been a reliable actor and this time is no different. However, I do not know if it is because I had already seen this play before, but the romantic chemistry between Lara and Mendoza did not affect me as much as it did back in July. Maybe it was because I was already aware of how perfectly it had been portrayed the first time around.

2. MGA BULONG NI RARA (Written by Pertee Brinas; Directed by Claudia Fernandez)

This play is set in a house inside a subdivision. Houseboy Nitoy is washing clothes and doing all the household chores because housegirl Gemma is in her first month of pregnancy. Her condition was the result of a one-night stand with hunky security guard Yuri, whom Nitoy also fancied. Their love triangle reaches a head when something disturbing happens to Yuri which had diabolical consequences.

The script throws us a weird curveball. From a funny love triangle story, it went to a totally unexpected direction that was not funny. Instead, it went from something light to something totally dark. This shift was so radical and sudden, with no clear explanations given. By the way, I also did not really get who the titular Rara is.

The three new actors all did well in their roles nevertheless. Flamboyantly and helpful Nitoy was played by EJ Patacsil. The clueless guard Yuri was played by TJ de la Paz. The two of them have good playful chemistry together. The annoying Gemma was played by Ina Azarcon. I am sure we have all met employees like her in real life. These three realistic characters as charmingly portrayed by these actors really made the supernatural twist come out of totally nowhere. I think the same initial premise of the play could be reused for a totally different and more interesting rom-com type of play, or even a musical.

3. FRESHMAN (Written and Directed by Chris Martinez)

Bonn is struggling to study for their Statistics finals the next day. He asks his classmate Ryan to his house to help him in his review. In the course of this study session, their conversations turn from small talk about school to unsettling discussions about the most bizarre of subject matters.

I had the most expectations for this play because Chris Martinez is well-known for his well-written, very funny films like "Here Comes the Bride" and "Kimmy Dora". There was nothing light or breezy or funny about "Freshman". The whole play is strange, and very uncomfortable to watch. (I did like that reference to a certain "review center", brought back memories of my own college days in Diliman.)

Ryan is a manipulative weirdo genius with repressed desires and violent tendencies. I guess there are really crazy people like that in college. Gio Gahol got all his character's idiosyncrasies down -- from the way he eats his potato chips, to his calculator rituals, to the secret of his "ballpen". He was totally committed to his role, did not fall out of character, no missed beat.

It was Bonn though that was unrealistically written, as portrayed here by Brian Sy. Is desperation to pass a subject enough reason to bear such indignities as this character was made to endure? In the first place, why does he not have his own calculator? The two of them can't be sharing this quirky calculator during the exam, can they? Two sick violent events happen to him that night, and both times, this supposedly macho jock just gets up to resume his review. I would have told that guy to get the hell out of my house after the first one. Of course, maybe I just did not get it.

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"Kailan at Bakit" will run only for this weekend, December 12-14, 2014 at the PETA Studio, 3/F PETA Theater Center in Quezon City. There will be two shows on Saturday and Sunday, 1 pm and 5 pm. The 5 pm show is perfect appetizer for those who are watching "Rak of Aegis" in the main theater at night. The 5 pm show ends about 7:30 pm, just as Rak will begin at 8 pm. Each ticket costs P 600 inclusive all three plays already. For ticket reservations, contact number is 09985311389.

January 1, 2015

Last year, I had seen and written about 36 theater productions: 12 musicals, 16 straight full-length plays, 8 one-act plays.

Still, that is only a fraction of everything the very active local theater scene has offered for the general public in the past year. I had not been able to see "Dani Girl", "Grease" and other productions running in Makati in the second half of the year because of the problematic traffic situation. I was out of town when "Imaginarium" was shown.

I will recount here what I feel were the best among those theater shows I have seen and written about for 2014.

I. FILIPINO MUSICALS:

Best: RAK OF AEGIS (My Full Review)

This musical play, based on the lyrics of Aegis songs, is set in Barangay Venezia, a poor community wallowing in flood waters for several months now. Aileen Dimaraan loves to sing, and wishes her singing will bring her fortune when she gets noticed by Ellen Degeneres. When her Youtube music video goes viral though, her dreams for fame and fortune are caught between familial, personal and even societal conflicts.

Aicelle Santos beautifully essays the charming but flawed role of Aileen. Her singing is undeniably strong, as we have heard before. Those punishing wailing high notes of the Aegis girls were actually given more class and pathos when Aicelle sings their songs.

Honorable Mentions:

Ang Nawalang Kapatid (My Review)
Ang Huling Lagda ni Apolinario Mabini (My Review)
Filipinas 1941 (My Review)

Notable Performances:

Aicelle Santos and Julienne Mendoza (Rak), Roeder Camanag and Poppert Bernadas (Mabini), Teetin Villanueva (Ang Nawalang Kapatid), MIcko Laurente (Kleptomaniacs, Prinsipe Munti)

II. NON-FILIPINO MUSICALS:

Best: SHREK THE MUSICAL (My Full Review)

The swamp home of the grumpy green ogre Shrek was overrun by fairy tale characters who were exiled there by Lord Farquaad of Duloc. Shrek with his new friend Donkey accepts the challenge set by Farquaad to save the Princess Fiona from her imprisonment in a tower guarded by a fire-breathing dragon. However, Fiona has a dark secret of her own that needs true love's first kiss to solve. Who will set her free from her nightly curse? Will it be Farquaad? Or can it be Shrek?

Franz Imperial was actually very good as Shrek! His singing voice was full and very solid. He had Shrek's Scottish accent down. He had excellent buddy chemistry with the Donkey and romantic chemistry with Fiona, such that he did not feel like a short-notice replacement at all. Imperial was able to project the inner goodness of the gruff ogre from under all of that green rubbery make-up. This pinch-hitter hit a home run! As Princess Fiona, Shiela Valderrama performed like I had never seen her perform before. Her songs showed off her comic flair on top of her flawless strong vocals.

Honorable Mentions:

Ghost the Musical (My Review)
Priscilla Queen of the Desert (My Review)

*** Foreign Touring Production: Wicked (My Review)

Notable Performances:

Franz Imperial and Shiela Valderrama-Martinez (Shrek), Cris Villonco and Ima Castro (Ghost), Red Concepcion, Michael Williams and Raymond Concepcion (Priscilla), Nikki Gil and Joaquin Valdez (The Last 5 Years)

III. FILIPINO PLAYS:

A. One-Act:

Best: ANG NAGHIHINGALO (My Full Review)

Intoy suddenly suffers a stroke and needs P300,000 for brain surgery to drain the hemorrhage. Being an ice cream seller who was just recently laid off from work, he did not have the money for this. Intoy's wife Felisa seeks the help of Intoy's three elder siblings, Guido, Doreen and Ate Linda. As Intoy lies critically in the ICU, his three siblings end up squabbling over past family issues instead of coming up with the cash.

At first, this play did not seem so promising because of the rather common and morose initial premise. However, as the play progressed, especially with the entry of Bong Cabrera as loud-mouthed Guido, the play's hilarious over-the-top nature revealed itself. The entry of Dolly de Leon as Linda, the flamboyant loan shark eldest sister, further upped the comedy scale even more.

Honorable Mentions:

Betang (My Review)
The Missing Peace (My Review)

Notable Performances:

Sherry Lara and Chino Veguillas (Betang), Dolly De Leon and Bong Cabrera (Ang Naghihingalo), Sarah Salazar (Bago Ilibing), Gio Gahol (Freshman)

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

Best: PAHIMAKAS SA ISANG AHENTE (My Full Review)

The play is about Willy Loman, a travelling salesman and also family man happily married to Linda, with two grown sons, Biff and Happy. As he gets older though, his boss takes him out of the company payroll and makes his earnings per commission-basis. With this demotion at work, his own sanity begins to unravel. Willy's stubborn pride makes him resist help from his family and friends. Ghosts from his past, like his elder brother Ben and the mysterious woman from Boston, insidiously creep into Willy's present dementia, throwing his family into a major turmoil.

"Pahimakas sa Isang Ahente" is no doubt a formidable play. It runs for about three and a half hours long. The main characters all have lengthy soliloquies, made more difficult by being in delivered Filipino. Some lines can be awkward to say in Filipino because they possessed a distinct American flavor in the words. The innate complexity of this play automatically makes the actors who take on this big challenge a notch above other actors.

Honorable Mentions:

Rite of Passage (My Review)
Ang Misis Kong Promdi (My Review)
Hakbang sa Hakbang (My Review)

Notable Performances:

Nanding Josef, Yul Servo and Gina Pareno (Pahimakas), Frances Makil-Ignacio and Ron Capinding (Rite of Passage), Guelan Luarca and Dolly de Leon (Middle Finger), Delphine Buencamino (Hakbang sa Hakbang), Tarek el Tayech and Shamaine Centenera-Buencamino (Ang Misis Kong Promdi), Ana Abad Santos and JC Santos (Fluid)

IV. NON-FILIPINO PLAYS:

Best: AUGUST: OSAGE COUNTY (My Full Review)

This play is set in a small Oklahoma town on one warm summer. Violet Weston reunites with her three willful daughters, Barbara, Ivy and Karen, when there was an unexpected death in the family. Fireworks fly when family secrets are revealed as mother and daughters clash, dragging the rest of the family along in their downward spiral.

The role of Violet, the dysfunctional wife and mother made worse by her dependency on drugs given for her oral cancer, was played by Sheila Francisco. Ms. Francisco had us all mesmerized by the sadistic web she is spinning. She owned that pivotal second act set around the lunch table completely.

Honorable Mentions:

Rabbit Hole (My Review)
Wait Until Dark (My Review)
Cock (My Review)

Notable Performances:

Sheila Francisco (August), Liesl Batucan (Wait Until Dark, August), Agot Isidro (Rabbit Hole), Cherie Gil (Full Throttle), Topper Fabregas and Jenny Jamora (Cock), Carla Laforteza-Guevara (Noises Off)

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Looking forward to more vibrant productions of the various local theater companies and more scintillating performances from multi-talented Filipino theater artists this year 2015!

January 19, 2015

Our country the Philippines is the only majorly Catholic country in the whole of Asia. Despite this, only two Popes had visited us. The first was Pope Paul VI in 1970. The next two Papal visits were by the same long-serving Pope, Pope (now St.) John Paul II.

Pope John Paul II came here in 1981 and again in 1995. I was a fan of this Pope. I remember following his life and career back then. I even had a scrapbook about newspaper articles about him, and all about his first visit here. Sadly, I have no idea where that scrapbook is now. I had no idea how to access any of his events back then as a young student. However, I was able to see him on the street in the Malacanang Palace area. In 1995, he came again as part of World Youth Day celebrations. He was already much older and weaker. I saw him again on the street in the Malacanang area again.

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Now its 2015, 20 years later. We finally have another Papal visit. The current Pontiff, Pope Francis, visits the Philippines for five days. As days approached his arrival, I had no idea where and how I will go see him. The security precautions for this Papal visit were so much more stringent compared to the 1995 visit. Here is a summary of his schedule:

DAY 1:

On the morning of the Pope's arrival January 15, I was still at work when I suddenly gathered guts to call my high school classmate who lived in the San Miguel area and asked him if I could stay overnight at his place. Fortunately, he accepted my request. I went to meet him at his place of work via LRT and went to his home with him. There was a directive that only residents of the San Miguel area will be allowed to be in the secured area the next day. So therefore, thanks to my friend, the next day January 16, I was able to see the visiting Pope in person in the Malacanang area yet again.

Believe me, the Pope was seated beside the apostolic nuncio whom we see in the window.

DAY 2:

I actually saw him twice this day. The first one was on his way to Malacanang along JP Rizal St, as his convoy came in from Nagtahan. Unfortunately for all us waiting, he was not on his Popemobile, but only in a black Volkswagen sedan. We were doubly unlucky because the Pope was seated on the right side of the back seat, and all of us were only allowed to stand and wait on the right side of the road! So all we caught was a fleeting glimpse of the Pope's profile as his car drove by quickly. My phone camera only caught Apostolic Nuncio Archbishop Giuseppe Pinto seated beside him. Lucky that my friend's SLR camera caught the Pope's face, albeit in shadow (which he would later enhance). It was explained that he rode a closed vehicle because he was on his way to a state function. He rode Popemobile en route to his duties of a pastoral nature.

Thank you Dennis and Florence Teo for this enhanced photo of that first quick glimpse we had.

I was unsatisfied, so I decided to walk over to the other side of Malacanang Palace, on the corner of Aguado St. near San Miguel Church. There were only four rows of people in front of me so I thought it was a cinch for me to get a better picture here. Unfortunately as the Popemobile drove by, everyone in front of me raised their phones, cameras and iPads! No picture I took caught the Papal face. However, MY EYES AND MY HEART CLEARLY CAUGHT HIS MAGNIFICENT SMILE since he was facing squarely in my direction. I was tired and hungry by the end of that but the joy and exhilaration of seeing the beloved Pope in person and so close carried me through my long walk to my ride home.

Believe me, the Pope is behind that camera in front of me! You can see him on the LCD screen.

From Malacanang, the Pope was driven straight to the Manila Cathedral where he celebrated his first Holy Mass for the Religious community. Later that afternoon, the Pope had a meeting with selected families at the MOA Arena. I was so tired from my activities that morning that I slept the whole afternoon when I got home. I totally missed the live broadcast of those events, and just caught excerpts on the news.

DAY 3:

The Pope went to Tacloban on this day when the city was under Signal #2 as Typhoon Amang just had its landfall there in the Eastern seaboard of the Visayas. I had to work that day so I was not able to witness his Mass which was delivered in the airport open air as it rain was pouring with strong winds. The images from that Mass of the pope and the congregation all wearing yellow raincoats were very moving. His day trip, which was supposed to have lasted up to 5 pm, had to be cut short because the plane had to leave by 1 pm because of the bad weather. He humbly apologized profusely as he took his leave.

While the Pope arrived safely back in Manila, there were accidents that happened in the Tacloban airport. The private plane carrying Cabinet officials skidded off the runway because of the strong winds. Luckily, there were no major injuries. Worse, a young female volunteer was killed when a scaffolding with a speaker fell on her head. This would be the one sad event that marred an otherwise positive and successful Papal visit. The Pope would be able to personally commisserate with the distraught father bereaved of his only child.

DAY 4:

I had wanted to attend the event at the Pontifical University of Santo Tomas in the morning. However, the gates open at 4 am, but the people were already lining up as early as the night before! In fact, people were also lining up already for the Luneta Mass event scheduled at 330 pm also as early as the night before. Because of this and the very real threat of rain, I decided to forego going to UST or Luneta already and just watch the proceedings on TV.

It rained during the UST event. It started with the testimonies from various youths. First up were two ex-street children. The girl could not control her emotions and burst into tears when she asked the Pope why bad things happen to children. A new engineering graduate who volunteered in Tacloban after Yolanda also spoke about the problem of the youth with too much technology and information.

During his speech, Pope first talked about 27 year-old Kristel Mae Padasas, who lost her life in the Tacloban airport the day before and offered her a moment of silence. Then he deviated from his original prepared speech and delivered a response to the statements of the youths in Spanish.

The Pope blesses the children who sing for him.

Important lessons learned during the Pope's talk at UST:

"If you don't know how to cry, you cannot be a good Christian!"

"To think. To feel. To do. And we should use these three languages harmoniously."

"You lack only one thing: To learn how to beg. To learn how to receive. To learn how to be evangelized by the poor. Do you know you are poor? This is what you need to serve. To offer your hand out of your own poverty. To learn how to love, and to learn how to be loved."

The event ended with children doing hand gestures to the 1995 World Youth Day anthem "Tell the World of His Love" amazingly sung live by Darren Espanto. With the Pope there holding the children's hands for the entirety of the song, this was a most touching finale.

I'm awed by the multitudes who braved the rain and the cold to attend this special Mass.

The final Mass at 3:30 in the afternoon was a mammoth event. An estimated 6 million people attended that Mass. To think that this was able to happen on a very wet and cold day is nothing short of a miracle. The stage and altar was beautiful. The ritual services celebrating the uniquely Filipino feast of the Sto. Nino (Christ Child) were very solemn. The first reading was remarkably read by a blind girl reading in Braille!

The homily of the Holy Father was very meaningful as ever. He reminded us the the meaning of sin is that we have forgotten that we are children of God.

Pope Francis listens to the Words of Thanks for him.

The messages of thanks delivered by Archbishop Soc Villegas, president of the CBCP and Archbishop Luis Antonio Tagle of the Archdiocese of Manila were also very inspiring. Fr. Villegas described the Pope as "typhoon-proof" and called him "our sunshine". Fr. Tagle told the Pope to "send us Filipinos out to spread the light of Christ."

DAY 5:

Pope leaves by a PAL direct flight to Rome at around 9:30 am. At almost 7:30 am, my dad suddenly wanted to go see Pope Francis one last time. So, the two of us drove out, braved the crowd at Quirino Ave. near Adriatico St., waited for about an hour, and was rewarded with one last final fleeting glimpse as the Pope rode his Popemobile en route to his Shepherd One.

My Papa is all smiles as he awaits El Santo Papa.

Here is my video of our last Papal encounter. I started recording when the motorcycle escorts passed by. The Pope appears only in the last ten seconds of this short clip. Really a fleeting quick glimpse, but another memory to cherish forever.

By the time we reached the house, the Papal plane had already taken off. He will reach Rome in 14 hours. I pray for him as he has repeatedly asked us to do in all his speeches. I pray for his safety and health. The world needs his charismatic presence and inspiring wisdom. I pray that we, the Catholics of our country, cherish and apply this renewing experience we just had. It has to be lasting and transformative, as the Pope said: in our thoughts, in our feelings and most importantly, in our actions.

January 31, 2015

We had a family event to attend earlier in the evening, so we got to the MOA Arena area by around 8:15 pm. I thought there was still enough time to catch the concert. However, I never imagined that the whole Arena parking building would or could be totally filled up. The open parking areas nearby were also all full. I had to make a major roundabout to make it back to the main mall parking. It was already past 9 pm when I got a parking slot. We still had to rush to the Arena and climb up flights of stairs.

We reached our seats by around 9:20 pm already. I was happy to see that the people really left our reserved seats vacant despite our tardiness. I was very relieved. I had a feeling maybe we already missed about three or four songs already when we arrived. (Friends would tell me later that I missed the front act performance of Naturally 7 and the two songs (namely "Fever"and "Haven't I Met You Yet?") Buble began his concert with.)

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We caught Michael Buble smartly dressed in a snappy black tux (which he would be wearing for the whole show) towards the end of a joking spiel. The stage had three big screens behind him to ensure that everyone can see him. The center screen had some nifty graphic designs to serve as his backdrop. The first song we heard him sing "Try a Little Tenderness." He introduced the next song as a 1948 song written by Sarah Geronimo (?!). No one reacted so I thought I simply heard wrong. The song was Sinatra's "You Make Me Feel So Young." Then he sang Van Morrison's "Moondance" and another Sinatra song "Come Dance with Me." Buble finished this set off with "Feeling Good" and "I've Got the World on a String." He started off in very good voice.

Then he began to joke around again, introducing his band mates with bizarrely funny stories. This guy is a comedian, an irreverent one at that. He confessed that he cracked a Sarah Geronimo joke that no one got. He was told that Sarah G. was actually in the house, and the camera showed her on the screen. He is not afraid to bring race into his jokes! He introduced his pianist as a Fil-Am guy which of course got the audience excited. Then he took that back, saying, "(he) was just a "stupid" Chinese guy. He introduced the next song as something no Filipino would ever sing. It turned out to be Journey's "Don't Stop Believing," obviously goofing off, and letting the audience fill in the high notes. I did not notice if Arnel Pineda was also in the audience that night.

The loud applause began when the audience heard the intro to his recent hit song, "Everything." Following this, he sang another popular standard "That's All." He then talked about collaborating with Barry Gibb, then sung his cover of "How Can You Mend a Broken Heart?" Then he said he will sing the wedding theme song of his grandparents. Surprise, surprise, he sang "Everybody (Backstreet's Back)" (VIDEO)!

He mentioned that he owes his career to the reception he got during his first Manila stint back in 2003. My wife and I were one of the lucky ones to have been there at the Podium for his free mall show back then. He talked about his time spent with Kris Aquino the night before, and complimented her for being so nice. Apparently, Kris mentioned that her favorite among his songs was"Hold On", so he sang it for the audience even he did not really sing this in concerts.

The next song was the very popular hit "Home" (VIDEO) which was accompanied by video of different types of families on a sofa. Great song. However, I do not know if Buble was having difficulty with the songs or it was the sound system where we were seated, but his voice sounded thin at points and a number of high notes were being dropped from this point. We did not mind too much as the show was going so well.

He announced he will now do his fast songs. He unexpectedly sang "Get Lucky" by Daft Punk! Then, he surprised the people in the VIP seats by going down the stage and making his way into the aisles. Of course everybody wanted to touch him and shake his hands as he did this. He went to a secondary stage set up at the back of the orchestra section and this made the people around this stage to go wild. There he worked the crowd more as he sang with a great-sounding acapella singing group called Naturally 7 to cover Motown hits like "Who's Loving You" and "Ain't Too Proud to Beg."

He then sang "To Love Somebody" and everybody was singing along. He made his way back to the big stage via the song "All You Need Is Love". This number ended in a arena-wide confetti shower with red and white hearts. Certainly a most beautiful and festive sight to see! I thought he would end it there, but he went on to sing "Burnin' Love" (with Buble dancing like Elvis) and another of his sprightly originals, "It's a Beautiful Day."

Then, Buble bid the audience goodbye and exited the stage. We all knew better though -- the house lights were still off, so we know there is more to come. So we clamored for more.

Buble came back on stage with a big over-the-top flourish with his dramatic and stormy version of "Cry Me A River." This ended in a fantastic stunt on his stage backdrop as you will see in the video above. He then went on to sing"Save the Last Dance for Me". He ended everything softly with "A Song for You" (by Leon Russell). The ending was rather unusual. He shut off his microphone and began to sing the last lines of the song acapella, powerfully projecting his voice over the din of the crowd. We could hear that he was singing something where we were seated, but the words were not so clear. It might have sounded great in the orchestra area but I would not know.

That ended an excellent evening with wonderful music and songs. His voice may not have been as strong as expected the whole night, but his genuine friendly personality, goofy charm, sharp showmanship and generosity as a performer were more than enough to carry him through to make this a most memorable concert.

February 20, 2015

I went to watch "Manhid" tonight at the CCP Main Theater with no clear idea what the storyline would be like. The subtitle "The Pinoy Superhero Musical" is most intriguing. I have seen photos of the cast of actors, singers and ballet dancers in various colorful "hero" costumes. This is a 45th anniversary production of Ballet Philippines, so it is fair to expect dance to be a major component of the show.

It turns out that these "Pinoy superhero" characters would be thrust into a political plot. This original Filipino musical was first staged in UP Diliman back in 1991 when the US bases were the issue of the day. Writer Kanakan-Balintagos (then more popularly known as Auraeus Solito) wrote this play as "a protest against the apathy of the Filipino people." As the play progresses, you will get a sense that it was inspired by the mutant X-Men of Marvel comics and films, the battles between the good and bad among them, and their conflicts with non-mutants, all in a decidedly Filipino context.

Some of the music was composed by Vincent de Jesus, who is still a popular movie, TV and theater musical director to this day. It is also very interesting to note that THE Pinoy rock band of the 90s, the Eraserheads (Ely Buendia, Raymund Marasigan, Buddy Zabala, Marcus Adoro), also composed music for this musical, and also played as the in-house band onstage in the original production. This was before they eventually broke through to massive mainstream success and icon status. In fact, I was surprised to hear one of the E-head's big hits "Kailan" sung in this show!

Sandino Martin and Teetin Villanueva

The play is about a future in the Philippines when Mamalahi-ma, the evil megalomaniac Minister of Humanity, wants to kill 99 "children of protest" who were born with special powers, so she can control the whole country. She surrounds herself with a bunch of them who have turned to the dark side, calling themselves the "Tulisan ng Bayan," led by the spear-wielding Gen. Apolaki. Also under her thumb was the mesmerizing shapeshifter and seducer Radia Indarapatra.

They target to eliminate the "Maragtas", the rest of the children of protest who remained to be on the side of good. Among them were Bantugan (with the power of dreams), Lam-Ang (with the power of wind), Urduja (with the power of insects), Dilim (with the power of song) and Alunsina (with an extraordinary power with her profane tongue). The musical climaxes with a battle-royale to the death between these two rival groups, where only the strongest and most powerful ones survive.

Mayen Estanero and Fredison Lo

The singing is very strong and powerful. I was really surprised that indie film actor Sandino Martin (as Bantugan) can sing so well. He gets to sing "Kailan", the only familiar tune in the show, and that number between Bantugan and Alunsina was one of the most memorable moments of the whole show. Teetin Villanueva (as Lam-Ang) and Jean Judith Javier (as Dilim) I already know are great singers, as I have heard them sing in Dulaang UP productions before. Javier in particular had to hit some pretty killer notes. I knew he could sing very well, but Fredison Lo surprised me in his daring and sensual portrayal of Radia Indarapatra.

The most powerful vocal performances come from three ladies I have never seen before. These were Kim Molina (as foul-mouthed Alunsina), KL Dizon (as the alluring Urduja) and Mayen Estanero (as the despicable Mamalahim-Ma). These three ladies were powerhouse vocalists with their own unique styles. Molina and Estanero were also very funny. Looking forward to seeing and hearing them in more musical productions in the future.

Jean Judith Javier

The dancers from Ballet Philippines played able supporting characters to the singers and actors in this production. Since I recently just watched BP's "Cinderella", it was interesting to watch them dance a totally different, interpretative type of modern dance. Choreography was by Alden Lugnasin and Paul Alexander Morales.

Richardson Yadao (as Apolaki) even had spoken lines which he delivered in an American drawl since Apolaki was supposed to be a West Point graduate. Very funny indeed. The other two male BP principal dancers Jean Marc Cordero and Earl John Arisola also stand out marked roles as the winged Sarimanok and the dark puppet master Malyari respectively.

Two beautiful and elegant female dancers, Katherine Trofeo and Rita Angela Winder, may have no lines, but they danced the two most sinister and powerful evil characters, Gonoglenda (with the deadly touch) and Rasagadang (with the voodoo doll) respectively. Really amazing transformations for these ladies.

The Creative Team (De Veyra, Buendia, Evangelista, Kanakan-Balintagos, De Jesus)

Admittedly, it was not too easy for me to immediately understand what was going on in the beginning of the play. There were a lot of characters onstage at the same time, and it was not easy to catch the story told in songs. Just when you think you finally figured out what was going on, a major character dies and Act 1 ends already. However, from Act 2 and Act 3, the characters, the story and even the songs become easier to follow and understand. Even then, you may feel you really need to buy its very detailed souvenir playbill to fully know the characters and understand everything that is going on on that big stage.

"Manhid" is ambitious and it pulls it off. Director Paul Alexander Morales effectively manages his big cast of singers, dancers, actors, and a live band (Radioactive Sago Project) to fill up the expansive stage and create truly a unique and exhilarating theater experience. The message still hold true now as it did back in 1991. Can the youth of today take on the challenge posed by this play?

"Manhid" runs at the CCP Main Theater Fridays (8 pm), Saturdays (2 pm and 6 pm) and Sundays (2 pm and 6 pm) from February 20 to March 8, 2015.

February 21, 2015

Anton Chekhov is one of Russia's greatest playwrights. There are three plays he is most remembered for. These are "The Seagull" (1896), "The Three Sisters" (1901) and his last play, which debuted only months before his death in 1904, "The Cherry Orchard." PETA's latest offering "Arbol de Fuego" is a Filipino adaptation of "The Cherry Orchard" written by the prolific Rody Vera.

The story of "Arbol de Fuego" revolves around the decline of a landed wealthy family . The play is set during the Martial Law days in Talisay, in Negros province. Enriquetta Jardeleza-Sofronio returns home after five years of living in Madrid, only to discover that their family now stand to lose their their beloved farm and estate known for its titular grove of flame trees. Nonoy Tiking, a son of the Jardeleza's former sugarcane farm hand who became rich with his businesses, suggests big plans to save the land by cutting down the flame trees and making a subdivision. Enriquetta simply cannot accept this solution, but it appears inevitable.

Luna and Gil

Cherie Gil was flawless as Enriquetta. She is tall, beautiful, classy, the perfect insulares aristocrat. She possess the whole stage whenever she was on it. Her comic timing was impeccable and so charming. There was even a scene when the spotlight was on something else, but Ms. Gil can still draw audience attention with her dancing antics in the dark on the side of the stage. I had seen Ms. Gil in two one-woman shows before, where she inhabited big diva characters Maria Callas and Diane Vreeland. "Arbol" proves that she also be part of a big ensemble, but really she can't help but stand out. Best Actress awards are definitely forthcoming for this performance.

Rialp, Bayani, Gil and Macapagal

Jake Macapagal, with his tough exterior and moreno complexion, did not seem to be the right actor to be cast as Adjie, the effeminate brother of Enriquetta. But again, he effectively went against type and imbued this character with so much delightful idiosyncrasies. Another transformative performance was that by Leo Rialp. This tall Hispanic actor usually played haughty rich men, and he can play those with his eyes closed. Here in "Arbol", he played family friend Chitong, an unkempt man with disheveled clothes with a bad reputation for borrowing money and a bad comb-over. He totally nailed this sadsack character so much against what we knew him for.

Bayani and Tejada

Angeli Bayani is perfectly cast as Charito, a mousy spinster but nonetheless, an efficient caretaker of the estate. Her character is being teased with that of Nonoy Tiking, everyone thinking they are a couple bound for the altar. Her frustration with his failure to commit and propose to her was portrayed so well. Raffy Tejada did not immediately seem to be the correct actor to portray Tiking because of physical mismatch (long hair, beer belly), but he eventually grew into the role as the play went on.

Enriquetta's optimistic daughter Carmen was played by the upcoming indie actress Anna Luna. Her character's partner onstage is Dante, an idealistic perpetual college student, played by Riki Benedicto. The two don't really look like they make a good pair at first, but their parts were written and played out so well, with much romantic thrill.

Benedicto and Luna

What drama about the aristocrats would be complete without the servants, who are also with their own little dramas. The scene-stealing standout is really Divine Aucina, who was hilarious as Ling-ling, the flirtatious maid. I have to say though that I was confused as to what role Anthony Falcon played here. His good looks and stylish clothes seem to go against his character Caloy's social standing. He would probably be better suited in the Dante role. Bembol Roco plays the role of Manoy Iking, the mayordomo, who is already slowly becoming senile. The role was awkward as written, but Roco played him with dignity.

Aucina and Falcon

I was expecting "Arbol de Fuego" to be a heavy drama, especially when I saw that top rated dramatic actors are playing the leads. However, I was very pleasantly surprised that there was so much humor in it. Writer Rody Vera's Filipino adaptation has brought out the farcical elements of Chekhov's drama, chock full of sociological sarcasm. The actors really took their roles to heart. They delivered their kilometric lines in thick Bacolod accent with so much heart and passion, with their sense of humor fully intact. The dynamics between the actors on the stage are riveting and a joy to watch.

Congratulations to director Loy Arcenas and the rest of the PETA cast and crew for another excellent and memorable production. This play should be amply rewarded come awards season later this year.

February 23, 2015

"Dangerous Liaisons" is one of my favorite movies of all time. It was shown back in 1988, but the performances of Glenn Close, John Malkovich, Michelle Pfeiffer, Uma Thurman and Keanu Reeves in this complex web of social intrigue remain unforgettable. This film was in turn based on a controversial French novel first published in 1782, "Les Liaisons Dangereuses" by Pierre Choderlos de Laclos. There had been other film versions of this story set in 18th century Korea, or 1930s China and even 1999 New York (as "Cruel Intentions"), showing how adaptable the story was for any culture or any time in history.

Tanghalang Pilipino is currently staging a Filipino adaptation of this timeless story, set in the late 1800s in Manila. Entitled "Juego de Peligro", the cruel and manipulative French aristocrats Marquise de Merteuil and Vicomte de Valmont in the original story are now Spanish peninsulares Senora Margarita and Senor Vicente. The victims of their sadistic games of sexual hijinx are convent-bred virgin Cecilia, her indio music teacher Daniel and the very virtuous Senora Teresa. Watching these dangerous liaisons unfold live on stage in vibrantly scintillating Tagalog as adapted by Elmer Gatchalian remained to be as entertaining and absorbing as the film it was based on.

Arnold Reyes and Shamaine Centenera-Buencamino

Sharmaine Centenera-Buencamino was an excellent choice to play Senora Margarita, a truly challenging and ruthless role only the best actresses can play. She delivers her lines with just the right amount of classy naughtiness it was a brilliantly convincing portrayal. She was thoroughly delightful despite the many sins committed by her character. Her worldly maturity and innate confidence makes her a perfect Margarita, dominating the stage whenever she is on. I wish they could have had more people in that final ballroom scene in order to make the sting of humiliation more powerful and more painful than how it appeared.

Arnold Reyes definitely has the requisite irresistible masculine charm to seduce the ladies as Senor Vicente. At first, he did seem too young for the role especially when side by side the magnificent Ms. Buencamino, but he gains believability as the play went along. Vicente is the busiest character in this play, with scenes happening one after the other, entering from various parts of the set, in various states of dress (or undress) in some of them. Reyes ran through these difficult transitions seamlessly. His interpretation of the classic "It is beyond my control" scene is as hateful as it should be.

Arnold Reyes and LJ Reyes

LJ Reyes plays Senora Teresa. With her small doll-like face with porcelain complexion, she seemed to be so young for her role. I always imagined that Margarita, Vicente and Teresa should approximately be of the same age. The delicate Ms. Reyes does succeed in looking pitiful in her virtue. However, because of LJ's childlike looks, Vicente looked more like a lecherous pedophile. (The alternate for this role is Valerie Concepcion, whom I believe is the better choice based on age and maturity of mien vis a vis Arnold Reyes' Vicente. That should also be interesting to see.)

Adrienne Vergara was a joy as the foolish Cecilia. She was unafraid to make a fool of herself, from her very first scene "singing". She has a lot of chemistry with Reyes' Vicente, which was a lot of fun to watch. The actress who played Cecilia's mother Senora Violeta, Raquel Pareno, also a delight. Lharby Policarpio as Daniel, was hardly seen in Act 1. But he certainly gets more "exposure" in Act 2. He has the required youthful naive face, and the willingness to bare. He seemed a bit tentative, unsure in his delivery of lines at this point, but will probably improve as the play's run continues. (TV5 actor Vin Abrenica alternates in this role.)

Arnold Reyes and Adrienne Vergara

Being a sex comedy of the vicious sort, this is for mature audiences only. There is some nudity from three male characters, even from Jonathan Tadioan (as Vicente's manservant), but the ladies were more modest. The very elegant costumes for the aristocratic characters by James Reyes, particularly those for the ladies, were so meticulous in detail. The complex set design is by no less than the play's director Tuxqs Rutaquio. That wide balcony looks so real from where I was seated -- it was breathtaking. The lights designed by John Batalla, vital for the sensitive parts of the play, were faultless. However, there were some sound effects which seemed to have been mistimed in that show I watched.

Congratulations to Director Tuxqs Rutaquio and the rest of the Tanghalang Pilipino cast and crew for another bold and entertaining production.

"Juego de Peligro" is the closing production of TP's 28th Theater Season. It opened on February 20 at the CCP Tanghalang Aurelio Tolentino (Little Theater). It runs for two more weekends, Feb. 27-28, and March 1, 6-8 at 3 pm and 8 pm.

March 14, 2015

Usually, by this time of the year, Repertory Philippines already had two plays done in its current season. However, oddly this year, Rep was very quiet. There was no grand announcement last December as they usually did. Frankly, I was concerned they would not be having a season this year. It was only this month when the Rep announced that it had a play coming up, and I was very relieved.

The title of the show is "4000 Miles." It is a play written by Amy Herzog that had its off-Broadway debut in 2011. It won the 2012 Obie Award for Best New American Play. It won the 2012 New York Times Outstanding Playwright Award. It was #1 on Time Magazine's list of 2012 Plays and Musicals. It was also a finalist for the 2013 Pulitzer Prize for Drama. I am happy that Rep has chosen more recent material this time around. Fans notice that they frequently stage material from the 1960s or 70s which tend to be very dated in style.

21-year old Leo Joseph-Connell was on a cross-country bike ride when a major tragedy struck. He sought out and bunked with his 91-year old grandmother Vera in her New York City apartment. This decision led to a month-long bonding stay around which the story of "4000 Miles" revolved. The play is just a series of conversations between grandmother and grandson in Vera's apartment. There is no real unifying theme in these conversations, just random topics with no clear relations to each other. The off-putting sex talk (hardly a topic grandmas and grandsons really talk about) and the occasional expletives make this show inappropriate for young teens.

Being a simple talky play with hardly any physical action nor major histrionic moments, it really just depends on the talents of the actors to make the audience listen and pay attention. If we were given any lesser actors to bring this type of script to life, it would be so easy for the audience to just tune out or even nod off. Fortunately it was not the case in this production.

The esteemed Ms. Baby Barredo herself, one of the pillars of Repertory Philippines, played Vera Joseph. I missed Ms. Barredo's performance as Violet Weston in last year's Rep production of "August Osage County" (though I was thoroughly enthralled by the riveting performance of her alternate Sheila Francisco), so I made sure I did not miss this one. You really cannot separate actor and character here. It seems Ms Barredo and Vera are one person. It seemed that every deep breath Ms. Barredo drew or every frown her face formed is exactly what Vera would do in that situation.

However, the character of Vera though did not have any big moment. She was not even the central character of the play at all. Ms. Barredo graciously allowed her newcomer co-star Jeff Flores to shine on center stage. Tall, lanky with a long mane of hair, Flores perfectly fit the bill of the slacker Leo, a young man who is at a crossroads in his life and had seemingly no idea what to do next. By the time he was delivering Leo's big moment -- an emotional 10-minute-or-so monologue in Act 2, I was very impressed. Flores nailed that difficult scene with no sense of pretense at all. This was certainly an auspicious and star-making dramatic debut for this new actor.

The liveliest scene of the play is that one featuring Cara Barredo as Amanda, a chirpy Chinese party girl whom Leo brings home to the apartment. She was simply so naturally delightful and fun to watch, unmindful of her racy lines and revealing costume. She was a welcome breath of fresh air in what was becoming a heavy-handed serious talkfest.

Caisa Borromeo is also in the cast as Leo's girlfriend Bec. Even if she has two longer scenes than Amanda, Bec did not have anything memorable about her at all. This is not Borromeo's fault though but the thankless way her character was written. Borromeo does her best with the rather lifeless and underwritten part.

The set is beautifully planned and executed, really looking like a real NYC flat, especially with that hallway that allowed us to see the door of their neighbor. The lighting was very effective in those intense dramatic moments. Director Bart Guingona comes up with a well-staged production. Even with the limitations of the script, he was successful in drawing inspired performances from his talented cast.

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"4000 Miles" runs this weekend up to March 29, 2015, Fridays, Saturdays, Sundays, 3:30pm and 8:00pm at the OnStage Theatre (2nd Floor, Greenbelt 1 Paseo de Roxas, Makati City).

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