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

Recap of ONE DIRECTION Live in Manila 2015 (Day 1): Biggest Concert Event Ever!

March 21, 2015, 5:40 pm
$
0
0
March 21, 2015



When One Direction announced that they will be having a concert in Manila early last year, their local fans were thrown in a frenzy. One the day the tickets were released, everything from VIP to Gold were sold out. Silver and Gen Ad seats were sold out by the next day. To assuage crying fans who missed out, a second date was announced. This was good news which was received with open arms and parents' wallets.

Well today March 21 was my daughter's recognition day when she received 2 medals. The ceremony was held in the afternoon, so we only got out of school by 3 pm. We had to rush over to the MOA in order to get decent parking being a Saturday with an extra-big event coming. All the seaside parking areas were already full. We parked in the mall, already on the 5th floor. The lines were already very long. We decided to eat an early dinner first before joining the line at around 5 pm. An even longer line formed behind us as we waited. Many enterprising people were selling 1D merchandise from glow sticks to T-shirts.

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

By 6:30 pm, loud screaming was heard from beyond the corner in front of us. Turned out it was because the gates were already open. Fortunately, despite the high level of excitement, everyone was very disciplined and followed the lines into the venue. We decided to just stay at the back of our section while everyone it seems were already crowding the front part of the section when we came in. It afforded us a great view of a wide screen. This was our only way to see the 1D boys since our view of the stage was already so miniscule. There was an empty space in front of us which made our concert time quite comfortable as we rested our back on the back divider of our section. 



By about 7:30, there was a DJ named KC who played a lot of dance music from Rihanna to Zed in order to build up excitement in the audience. There were even fireworks in the sky during his first song! I am thinking that there in our section were many young girls there who are attending a concert for the first time. They were really very excited with this DJ and were already dancing non-stop with taking videos and photos. After this DJ's set, they played music videos of other boy bands like 5 Seconds of Summer (the lyrics of whose songs the audience also knew by heart). They were also playing a lot of dance music to keep the mood up, from "Macarena" to "Single Ladies" to "Locked Out of Heaven." The excited fans were also screaming when their heard their idols' voices during a concert safety video they were flashing on the screens. 




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

At around 8:30 pm or so, the lights on the stage started coming to life. The concert is starting!  From our section, I hardly saw what going on on stage, but this colorful video started showing on the screens. Then we hear the One Direction boys were already singing live. The screaming of the girls around us was deafening. They were positively singing out all the lyrics of each and every song! 

As already announced the day before, there were only four guys on that stage. Zayn Malik really did not show up, begging off from the rest of the tour because of "stress". His name was not even mentioned at all during the show. Of course, his diehard fans missed his presence. For me, the four boys performed as if they were only really four in the group. I certainly did not notice anything amiss in the arrangements, though I am sure all the true fans knew which Zayn parts were sung by alternates.


Liam

Niall

Harry

Louis

Harry Styles stood out in his yellow shirt with floral designs and electric bad-boy stage presence. During the encore, he came out wearing a black t-shirt and his hair tied up, much to his fans' delight. He seemed to be performing separately from the others. Niall Horan (and his trusty guitar), Liam Payne (and his mic flipping), and Louis Tomlinson (with his white sleeveless shirt) all had their own big moments. These three were always seen interacting, goofing off and having fun with each other. Every boy had his own group of dedicated fans. Different groups of girls were screaming when their faces were being shown on the screens.

These are the songs they sang:

1. Clouds
2. Steal My Girl (VIDEO)
3. Little Black Dress
4. Where Do Broken Hearts Go
5. Midnight Memories (VIDEO)
6. Kiss You
7. Stockholm Syndrome (VIDEO)
8. Ready To Run
9. Strong
10. Better Than Words
11. Don't Forget Where You Belong: From our area, we only saw videos of the boys in their previous tours. Some fans in the audience were holding up Philippine flags.
12. Night Changes (VIDEO) 
13. Little Things (VIDEO): The guys sat down side by side to sing this gentle ballad.
14. Alive
15. Diana
16. One Thing: From our area, we only saw a video game cartoon with the boys as pixelated characters.
17. What Makes You Beautiful (VIDEO)
18. Through The Dark: A light rain started falling during this song. Of course the boys onstage and fans on the field seemed to pay no mind. 
19. Story of my Life (VIDEO)

Encores:

20. You and I
21. Little White Lies
22. Live While We're Young
23. Best Song Ever (VIDEO)

The boys kept on repeating over and over how this was their best show ever and how much they love Manila and the Philippines. They apologized for the difficulty fans had to endure to get to the concert. Harry even thanked the parents, grandparents, husbands and boyfriends who brought their fans over. 

I must say that of all concerts I have attended (and I have watched a lot), this must be the biggest one I have ever seen. Not even those big outdoor concerts I've seen of Stevie Wonder, Bon Jovi, Sting, Phil Collins, or Beyonce could match it in terms of sheer rabid fan numbers and power. I don't know, but maybe we have to really look back to the Manila concerts by Beatles in 1966, or those of Michael Jackson in 1996, or F4 in 2003 (three  shows that I didn't witness) to find something that could match this event in those terms. I am sure all those screaming fangirls just had their most exciting and memorable night of their young lives. The spectacular extended fireworks display after the show ended the show with a big colorful bang, making sure we will long remember this show.
↧
Search

Recap and Videos of BEST OF BEST in the PHILIPPINES: K-POP x 4 at the Philippine Arena!

April 12, 2015, 5:24 pm
$
0
0
April 13, 2015




I went to watch this concert only as a companion to my daughter who likes Korean telenovelas and pop songs. I, on the other hand, do not know anything about K-Pop except those two big hits by Psy and the Wonder Girls (both of which I am sure you also know very well). Of the four acts, I only know Super Junior because of the fervid publicity of their past concerts in Manila. But honestly I could not name any one of the members nor recognize any of their songs. This concert is my first actual introduction to Super Junior as well as KPop itself as a musical genre.



Adding another point of interest to this concert is that it will be held at the new Philippine Arena (of the Iglesia ni Cristo) in Bocaue, Bulacan. Because I was apprehensive about the traffic situation, I decided for us to try taking the shuttle buses the organizers have provided to get to and from the venue. The shuttle bus was only P50 for a round trip, and came from various points like Trinoma in QC, Makati and Alabang. In Trinoma, the shuttle left from the bus terminal outside the supermarket area at 3:30 pm. We reached Philippine Arena by 4 pm. The bus parking area was quite a distance away, so people had to line up to ride another shuttle bus provided by the INC to get to the arena proper. They need to organize this service as some people would still cut in the queue.




There was a fiesta atmosphere outside the venue as there were already so many people there. We first took time taking pictures with the grand Arena. Organizers have set up a stage where local KPop cover acts performed. The fans were already very excitedly screaming their hearts out. They knew all the lyrics. They were also taking pictures with the emcees, who were also dressed in KPop style. My daughter was giving me various information and trivia on the side as we were watching the sideshow as I was completely clueless. We ate an early dinner at the area provided, then we realized we should already be lining up to enter. 




The queues were already very long, almost up the complex entrance. There were two main lines, one for those who bought from Ticketworld and another for those who bought from SM Tickets. It was an arduous wait, much longer than our queue for the OneD concert. As the sky turned dark on us while lining up, we saw the multicolored Philippine Arena lights turned on. It was a relief when we finally saw the audience gates after maybe an hour or more in line. Again, they should improve this system of letting people in as it got a bit confusing near the gates. You really need to protect your position in line as some people can take advantage of the merging lines and cut in. The line took time because they were quite strict in checking those people with bags. Those without bags got in much less time.




Once we got inside, we can really feel the excitement of the fans as they were running up the stairs. I am not sure if there are escalators or elevators to the higher floors as we went along with those in the stairwell. When we reached the doors of our designated level, there was suddenly a big shout heard, and we saw fans were rushing out of the auditorium and started running down the stairs! Apparently, organizers have allowed fans to transfer to the next lower level. So Gen Ad people were running down to Upper Box, and Upper Box people were running down to Lower Box. We just went with the flow of the fans and settled into our new, and better seats. We can see why the venue did not get filled up even with the huge turnout of fans. The audience area was so enormous indeed with seats in the INC colors -- red, white and green. It may not have been a full house last night, but the energy level of the audience was really pulsating.

*********




When the house lights turned dimmed down and the introductory video played on the big screens, multicolored lightsticks up the darkness as fans were screaming like crazy. 

The first act to take the stage was the five-girl group called RED VELVET who opened the show with their new hit song, "Ice Cream Cake". They were dancing in front of a massive video wall that exploded into different colors and cool designs. This would be the presentation style for the subsequent performers as well.  After a couple of songs, they spoke with their fans -- well, at least they tried to with their limited English. Fortunately, someone provided the English translation from offstage (probably by emcee Sam Oh). The RV girls were very cute in their swag hiphop tops, short denim shorts and blond hair. They only sang four songs, including the sweet ballad "Candy" (VIDEO), and their finale "Happiness" (VIDEO) which made their fans very happy indeed.




Next up was BTOB, short for their full name "Born to Beat". This is a seven-man boy group also with a big following all over the world. Their set opened with a bang as they emerged rising up from beneath the stage, and they went on to sing their hit song "Thriller" (VIDEO). The boys were all dressed in black hiphop-style oversized shirts. Their next numbers would also be in signature energetic style, with fans screaming wildly for their personal favorite members as their porcelain faces were flashed on the screen as they were performing. Again, the spiels were a bit repetitive and awkward because of the limited English, but the fans certainly did not mind. The boys sang seven songs, including "Second Confession" (VIDEO) and their finale "Wow" (VIDEO). 




The next act was superstar girl group GIRLS' GENERATION. For their grand entrance, they seemed to pop out of a brightly-lit screen. They were dressed in delightful matching pink tutu-like mini-dresses that moved so well with their dancing. Their opening song number was the very eclectic "Mr. Taxi" (VIDEO), then followed by"Genie" (VIDEO). Their video backdrops were more elaborate and colorful, very feminine in slower songs. The eight girls had more distinct faces, each with a unique beauty about them. Too bad they did not get to change costumes at all, which would have been so nice. Their English spiels were limited like the others, but they were all so pretty to look at, so it was cute. Each of them also had their own group of fans screaming for them as their faces were given a close-up on the big screens. Of their seven songs, I liked their old hit "Gee" (VIDEO) and their finale number "Mr. Mr." (VIDEO).




The biggest and most famous act in the lineup was also the finale act -- SUPER JUNIOR. Out of the 13 members, there were only eight guys on the stage as their silhouettes first showed up on the stage in their spectacular opening number "Shirt" (VIDEO), immediately followed by "This is Love"(VIDEO). My daughter said some of them had to fulfil their mandatory military service for their country. The boys (men really, since these were the same guys ten years ago when they first exploded on the pop scene) were in smart black and white tailored suits with different patterns. Each of them had their own hordes of adoring fans who were really going wild with their blue lightsticks. Their slick high-energy style and showmanship were so evident in every number. It was clear why they have lasted this long in this business. Kyunhyun was given a solo spot for his soulful ballad "At Gwanghwamun". SJ saved their best songs for last -- "Mr. Simple" (VIDEO) and "Mamacita" (VIDEO). The concert ended suddenly though after the latter song, just when the crowd was getting more excited. I think they sang only seven songs -- a very short set for what was supposed to be the top act. People thought there would be more, but realized it was really the end when the house lights came back on. 

***********

As everyone was filing out of the Arena, our concern was how to get back to the parking area of the buses. There was already a very long line at the Sports Arena where the shuttles were supposed to pick passengers up. My daughter and I decided to just join the horde already making their way back to the buses on foot. Luckily, we encountered shuttles along the way whose drivers stopped to pick up walking patrons. We got on and reached the parking area in no time. We got on on the first bus bound for Trinoma which left in a few minutes after the bus was filled up. I think this post-concert aspect can still be improved for future concerts.

I had fun bonding time with my daughter in this concert.  I can see why they connect with various audiences the world over despite the language barrier. These K-Pop songs were all so relentlessly fun to groove to with very catchy and infectious beats. Watching the whole K-Pop phenomenon unfold in front of me (complete with the rabid and loyal fan love all around) made this one a memorable concert experience in its own right even if I did not know ANY of the songs performed at all. 


↧
↧

Recap of Our WORLD VOICE DAY 2015 Musical Theater Project: Adrenalized Exhilaration!

April 20, 2015, 6:26 pm
$
0
0
April 19, 2015

April 16 is World Voice Day (WVD). Every year, the Dept. of ENT-HNS with the Voice and Swallowing Center in my institution join colleagues the world over to celebrate this advocacy. WVD reminds us about the importance of our voices in our daily lives. We should strive to acquire and maintain good voice habits in order to preserve this vital vehicle of self-expression, communication and occupation.



For this year, our Department had a big project in mind for WVD -- to stage a musical theater play. However, it was already March when I heard anything concrete plans about it. I was told that the play would be"Mamma Mia" and that I had been cast to be Harry, one of the three possible dads of the young lead character Sophie. I had been singing in public before so that part did not really worry me. However, the dancing and the acting parts really scared me. I know myself -- I do not know how to dance, and I sure do not know how to act.

The project seriously got underway by the last week of March. My family and I were away on a trip to a place where I had no access to social media nor my email so I had no idea what was going on. When I came home, it was already Holy Week. I had a call that we will have our poster photo shoot on April 1. That was the first time I met up with the rest of the cast members and we had our first line readings and song practice.

Honestly I was not so sure this play could push through as planned on April 17, barely two weeks to go. Because the cast and crew are composed of consultants and residents of our Department, it was really hard to gather us all together to practice. It was also summer vacation, so several people already had prior weekend getaways planned ahead of time. We only had certain afternoons after 5 pm to practice on weekdays. Our first dance practice with the choreographer Ferdie was only on April 8 in the cramped space of our department office. Luckily April 9 is a national holiday, so we were able to practice longer in a bigger space at our stage director's grandma's house nearby. 



It was only on the afternoon of April 14 that we finally saw the actual venue at the SV More Building. It was just an empty room, and the stage was not yet set up. We practiced on a "stage" marked on the floor with tape. Still we had to practice with an incomplete cast and crew everyday even that very week of the show already.  That final week my throat was having issues of irritation and impending hoarseness, which was another worry on top of my lines and steps. In the second run-through on April 15, my voice gave out so someone was actually singing for me as I only mouthed my lines. That was scary.

April 16, the day before the show, was the first time we saw the 2-ft high stage there, with our makeshift backstage/dressing room on one side. It was also only then that we got to work with our headset microphones. We finally had our first run-through with props and costumes that Thursday night, and that was the first time the scenes really came alive for me. The voice was not perfect, but it held on. The performance that night felt like the actual one already, even if we were still incomplete.


(Photo from Narciso Diaz)

April 17 is D-Day! It was about lunchtime that we met at the venue supposedly to have a couple more run-throughs. However, the erratic sound quality of the microphones as well as the lackluster lighting effects were delaying our practice even later. I am sure our musical director Dr. Arlene Bongosia and our stage director Dr. Jaclyn Leigh Vidal were at their wits end at this point. 

We just spent the time practicing our individual scenes and dance steps to make good use of the time just waiting for the technical aspects to be tweaked to perfection. Some were already having their make-up put on them. The props managerDr. Chezca Padua and Dr. Michaelsam Econ were making sure everything was complete and in good working condition. We only had two run-throughs that afternoon, only with props but no costume changes anymore. 


(Photo from Argyll Bongosia)

By 6:30 pm, guests were already being let into the venue. It was a full house. It was actually hard for me to look for tickets for some guests who decided to watch just that morning. The cast gathered in the lounge to eat and get ready.  By a little past 8 pm, we made our way to "backstage". The Invocation was sung by Dr. Crissy Pefianco and her multi-talented brothers Thomas and Marco, both valuable members of our Company. Our Chairman was called to the front to deliver his Welcome Remarks. Then, the overture began to play. It was actually showtime!

Scene 1 ("I Have a Dream"/ "Honey Honey") featured a winning ingenue performance by Agatha Leigh Bongosia as Sophie, ably supported by Dr. Christina Sio-Tuano and Dr. Hycel More (as Ali and Lisa respectively). Scene 2 ("Money, Money, Money") was the first of several tough solo numbers for Dr. Mari Berioso-Enecilla as Donna. These two scenes seemed to just float by so fast for me as I was waiting for my turn backstage. 


(Photo from Argyll Bongosia)

My first appearance on stage was in Scene 3. Sophie meets her three possible dads for the first time. I will lead in the singing of "Thank You for the Music," later to be joined by Sophie and the two other dads Bill (Dr. Noel Colmenar) and Sam (Dr. Nato Pascual). Later in the scene, Donna will see us for the first time and she sang "Mamma Mia". I felt our scene went along quite well and was quite relieved. These three actors onstage with me were such natural actors, I felt like such an awkward neophyte beside them. Scene 4 ("Chiquitita"/"Dancing Queen") featured Donna being comforted by her friends Tanya (Dr. Crissy Pefianco) and Rosie (Dr. Dona Devilleres-Mendoza). There was a 10-minute interval after this scene. Halfway done!

Scene 5 is a major one. It began with Donna and pals singing "Super Trouper". We dads enter the stage mid-song. This is followed by Bill and Sophie singing "The Name of the Game" (my personal favorite among the ABBA songs). What a great scene that was! The major dance number for the whole cast "Voulez Vous" comes next, with its vital confrontation scenes, first between Sam and Sophie, and later my character Harry and Sophie, interrupting the song. Timing was very critical in the delivery of our lines in this segment. It's funny, but I believe the whole cast already knew my lines by heart, after hearing me fumble through it during all the practice sessions. I thought this complex climactic scene came off with only minor hitches.

(Photo from Argyll Bongosia)

Scene 6 only had one song -- "Lay All Your Love On Me" featuring a charismatic duet between Sophie and her bearded beau Sky (the future Dr. Matthew Reyes). These two youngest members of our main cast registered very strongly onstage, gaining so much positive reaction from audiences. Some guests even thought they were professional actors. Scene 7 opens with me going onstage strumming a guitar. I led in the singing of "Our Last Summer" (the song that made me choose this role), later to be joined by Sam and Bill, then Sophie. I had to pretend to "play" the guitar during the song, not too realistically I think. Wish I had more time to practice to strum more convincingly. 

Our light number was followed by a serious and vocally-challenging 1-2 punch for Donna -- "The Winner Takes It All" and her duet with Sam "S.O.S." I have to say, the intense acting of Dra. Enecilla and Dr. Pascual in this scene was top-notch!  "Winner" was only incorporated into our show two days ago after being initially dropped. Glad it was re-included because that song is considered the centerpiece of the original musical. This immediately went on to the romantically-thrilling Wedding Scene that concluded the play. The cameo appearance of our chief resident Dr. Neil Apale as the Priest was a big hit! There was short ballroom-type dance bit to the tune of "I Do, I Do, I Do, I Do, I Do" for the Dads and the Dynamos which luckily went off without no major problem, I think.


(Photo from Narciso Diaz)

Before this, I only had to add a vest, then later a coat over my first shirt to vary my outfit. After the wedding and during the "Mamma Mia" finale dance by the younger cast, I had to change into my bright violet "retro"-style shirt which I was supposed to wear unbuttoned enough to expose chest skin. This was a gutsy style outfit  that I just had to grin and bear as we went onstage in the middle of the "Dancing Queen" finale number and join the rest of the cast onstage. We just gave our all already at this point as the adrenaline was already at full dose at this point. We had our curtain call, and sang an encore rendition of "Thank You for the Music". And with that our cherished World Voice Day project had ended. 

The loud applause and numerous congratulatory messages received after the show were very gratifying indeed. So, that was how it felt just after a successful first stint for a musical theater production -- big relief and adrenalized exhilaration! Everything seemed to flow so seamlessly in that actual performance, unlike in our rehearsals where we would still flub our lines and lyrics or have missing or falling props. Even the lights and the microphones seemed to all work perfectly, at least from our point of view onstage and backstage. 


(Photo from Argyll Bongosia)

Reality set right back as I had cinic work to get back to the next day, and it was a busy one that Saturday. I also had my Society newsletter editor-in-chief duties to get back to since the printing deadline was Sunday morning. At the end of this experience, I still do recognize my limitations as a performer though. I know that my (daddy-)dancing and acting skills were admittedly atrocious, as was my stage presence. But I am happy to just get this opportunity to perform in a musical play for the first time with friends and colleagues who would not mind too much. Happy World Voice Day to all!


↧

Review of Repertory Phils RUN FOR YOUR WIFE: Frolicking Farce

April 25, 2015, 4:32 pm
$
0
0
April 25, 2015




The second offering of Repertory Philippines this year is an all-out farce. This was written by Ray Cooney and first staged back in 1983. However, despite the obvious detail that they do not yet have the technical advances of our current time in this, the play did not feel dated at all. As brought to life by the ever-reliable actors of Repertory Philippines, this absurd British tale of bigamy was one hilarious riot!

John Smith is a taxi driver. He lives with his prim and conservative wife Mary in their flat in Wimbledon. However, John is not as ordinary as he would seem. It turns out he was keeping a second wife in Streatham district, the younger and sexier Barbara. However, one night when John was injured in a mugging incident, his neat little wife-juggling schedule was totally messed up. From there, a most complicated comedy of errors ensues that threatens to blow John's little secret wide open.

Jaime Wilson is very charming and so deadpan funny as the caddish cab driver John. This versatile actor is really perfect for the madcap comedies I have seen him in before. It was so good to finally see him as the lead star in one of his very own. His big expressive eyes convey so much of the panic his character was boiling in as he tries to weasel himself out of his sticky predicament by fabricating lie upon lie. His best scene was that one right before the intermission break where he was desperately trying to prevent people from seeing his picture in the newspaper. 

I have never seen Goldie Soon in a play before. She was pretty much the straight woman in the first act, but she really hit her stride in the second act as her dear little uptight Mary Smith goes wild. I had seen Mikkie Bradshaw before in the titular role as telepathic teenager Carrie, and I know she can deliver the goods. However, at first, she struck me as miscast as the libidinous Barbara. As the play went on though, she eventually eased into her role.

The ever-dapper actor Jeremy Domingo was totally deglamorized as John and Mary’s bum of an upstairs neighbor, Stanley Gardner. He was almost unrecognizable with his disheveled upswept hairstyle, his disgusting stained undershirt and bulging beer belly. Domingo gave an outstanding, positively shameless supporting performance that kept the audience in stitches as his character got more and more enmeshed in John's web of lies.

Contributing major laughs in the mix are the two policemen from the two districts where John lived. They are the suspicious Detective Sergeant Troughton (played by James Stacey) and the fatherly Detective Sergeant Porterhouse (played by Paul Holme). Stacey is the straight man in the whole farce and it was so funny how he was so enraged about the whole maddening situation. Seeing the venerable Mr. Holme in that frilly apron is already worth the price of admission. 

Completing the cast is Steven Conde as the John and Barbara's gay upstairs neighbor Bobby Franklin. He could be a little too loud and too flamboyant for comfort. 

Repertory Philippines loves this smartly-written play so much, this is already the third time they are staging it. Director Miguel Faustmann in fact had played John Smith in the previous two incarnations in 1986 and 2001. The stage direction is really ingenious as there was only one set to represent the two houses with the characters just using specific doors and props on either side. The couch in the middle is shared by both "addresses". It was so enjoyable to see that merry mix-up unfolding in front of us in very unexpected ways. The way the witty British humor was delivered by all the actors was so on point and perfectly timed.

Although the story of two wives has been on tv soap operas ad nauseam lately, the topic of this play is still considered for mature audiences only. But it shows us this double set-up in a most ridiculous light. The audience at the matinee this afternoon were all really engaged in the silly story and were laughing out loud. I noted the center orchestra section was filled mostly with senior citizens and they were not shy in their guffaws. I swear the elderly couple beside me was snickering non-stop at the naughty, irreverent, politically incorrect humor as I was. A good laugh is guaranteed!

This was such a fun show to watch despite all the sensitive, potentially offensive buttons it pushed in such a light-hearted delightful way. There was a dry British film version of this play released in 2012, but don't bother with that at all. This live version is SO MUCH better!

"Run For Your Wife" only runs for one more weekend next week up to May 3, 2015 at the Onstage Theater in Greenbelt 1. Ticket prices are very reasonable, ranging only from P400 to P600. For more details regarding RUN FOR YOUR WIFE, call Repertory Philippines at 843-3570. You can also book tickets through TicketWorld at 891-9999 or visit their website at www.ticketworld.com.ph. 
↧

Review of SABEL: LOVE AND PASSION: Deeply Dramatic Destiny

April 30, 2015, 10:32 am
$
0
0
April 30, 2015




The proceedings started around 8:15 pm, when Mr. Rico Hizon was called onstage for his welcome address. The programme called him Production Adviser. He recounted that tonight's show had its seed planted way back in 2003 when they saw a painting of National Artist for Visual Arts Benedicto Cabrera in a coffee-table book. The creative process between him, musical director Louie Ocampo and writer of book and lyrics cum stage director Freddie Santos would take the next 12 years before finally seeing the light of the stage tonight at the Theater at Solaire. Tonight was its World Premiere Gala.

The story started from Sabel's birth to her parents Miguel and Consolacion. We will be taken through the World War II, the gay '50s cabaret scene, up to a couple of decades later. We will follow Sabel from her idyllic childhood, through her darker days as a comfort woman, amazon fighter, nightclub star dancer, then destitute mother. Finally she becomes the crazy dancing street lady who in turn inspired a young painter's masterpiece. Her eventfully dramatic life rivets the audience to its many twists and turns.

Ms. Iza Calzado

The narrator was in the person of the statuesque and glamourous Ms. Iza Calzado, who donned an elegant black gown adorned with flowing peach cape. Her narration of the story would be in the form of rhyming lines delivered with a musical lilt, yet so pregnant with emotion. We would later realize that she is actually the title character of Sabel, telling the story of her life. In the ending sequences, Ms. Calzado would embody the character of mature Sabel in an exquisite, deeply moving, career-defining performance.





The story is presented onstage in the form of dances by talented dancers from the Philippine Ballet Theater. Selected soloists danced the main roles of Sabel (an outstanding Bianca Trocino), her father Miguel (Lemuel Capa), paramour Luis (Ian Ocampo) and the painter Miguelin (an athletic Matthew Davo). While they were dancing, powerful songs were being sung from the side by the rich and exciting voices of theater star par excellenceAudie Gemora, belter Aicelle Santos of "Rak of Aegis" fame, veteran balladeer Bo Cerrudo, comebacking former child star Antoinette Taus and recent The Voice favorite Timmy Pavino. 


Antoinette Taus and Timmy Pavino

Audie Gemora

Aicelle Santos and Bo Cerrudo

Of all the songs, the one that caught my attention first was the poignant "Look at Her" first sung by Audie Gemora after Isabel was born. The centerpiece nature of this beautiful song would be confirmed when it was reprised two more times in two more important moments of her life by Cerrudo and Pavino. This will be the song this show will be most remembered for. This is a Filipino theater song classic in the making, possibly in the tradition of "Minsan Ay Minahal Mo Ako" from "Katy!" or "Magbalik Ka Na, Mahal" from "Rama Hari".

The stage was spare in set pieces, with only several geometric panels above and in the back serving to be the screen upon which photographs and various lighting and graphic designs would be projected. This was a very efficient set by Light and Space Corporation, designed by Joselito Tecson. Those beautiful scenes when the painter was painting his artworks were executed using an amazing special visual effect I have never seen before on Philippine stage. The lighting design of Shax Siasoco was mesmerizing. 


BenCab himself (in beret) joins the cast to take a bow.

Freddy Santos and Louie Ocampo joins the final bow.

As an integral part of the celebration of BenCab's 50 creative years, "Sabel: Love and Passion" will have its regular run on June 26 and 27 at the Music Museum. Do not miss it!
↧
↧

Review of UP Repertory Company's KARITAS AT DAMASO: Intent to Insult

May 1, 2015, 6:08 am
$
0
0
May 1, 2015




The advertisements I see in Facebook about this twinbill of plays intrigued me. The invitations seem to be for a big summer party instead of for a theatrical play. They even exhort audiences to come dressed in summer musical festival attire! I am not really so sure what to expect here.

Showtime for the matinee today is 3 pm. The venue is Tandang Sora Hall, a building I had never been into when I was a student in UP Diliman years back. It is where the College of Social Work and Community Development is housed. I reached the place already a little past 3 pm, But the audiences are still lining up in the sweltering heat outside. 

When we were let in, people can sit freely anywhere they wanted. The seats were just plastic stacking chairs arranged in a big oval, in three rows.  Too bad though that the airconditioning was not adequately strong enough to cool the whole room, especially because it was a full house at the Bulwagang Tandang Sora today, despite being a holiday. 

The first play presented was ISANG MAGSASAKA by Eshei Mesina. It was about a farmer trying to pick his life back up after a violent attack on their community left several of his friends raped, maimed or dead. Completing the triumvirate of characters was his daughter who was an activist, and a male nephew who was a soldier. It was my bad that fatigue and the heat got to me during the running time of this play. The material felt like I had heard this in many a UP play or indie film I had seen before. So before long, I began to drift and feel really drowsy. In fact, I was startled when the all talk-no action play just suddenly ended. 

There was a 15 minute break after the first play was over. While they were setting up for the next play, they played loud dance music that assaulted our ears, while strobe lights relentlessly assaulted our eyes. I tried my best to tune out the music and keep my eyes closed the whole time, but 15 minutes seemed to last so long.

Before the second play KARITAS AT DAMASO by Dax Carnay started, they announced that the play was rated SPG (Special Parental Guidance) for containing controversial or lurid material. The play began with a man and a woman (clothed in tights with reflectorized accessories) began simulating sexual positions and acts on center stage, while three cross-dressers and a girl gyrated on all four corners of the stage area. When the lights came on, it was obvious from his collar that the guy is a Catholic priest (named Damaso), and the girl is a Catholic nun (named Karitas). Another nun (named Salve Regina) brought in a young girl who was raped by another priest so they can "help" her recover her virginity. 

From there, the play then went into unthinkable and outrageous acts and songs about rape, sex and Jesus which were supremely salacious and malicious, in the guise of "humor". I cannot see any reason why a script like this was even written in the first place, except perhaps to insult the Catholic Church (in particular) and all Christianity (in general). Is that why an organization for atheists and agnostics was one of their major sponsors? OK, I admit I may not be within the age demographic targeted by this play, but I dread to consider that something decadently nihilistic and wantonly hedonistic like this fits the current standard of what's "cool" or "fun". 

I learned to love the theater when I was a student in UP Diliman. This is a love that I have up to now, and I have been blogging about the theater shows I watched regularly for several years now. I thought that at my age, I am already mature enough to watch all kinds of plays. However, this one is something else. It still repelled me with its total lack of redeeming value. I actually felt physically sick after watching this piece of shock theater. I originally had a party to attend afterwards, but I went straight home instead to try and recover from extreme disgust. I fear though the bad taste it left may take days to wear off.





↧

Review of KUNG PAANO AKO NAGING LEADING LADY the MUSICAL: Solid Superhero Spectacle!

May 6, 2015, 5:12 pm
$
0
0
May 7, 2015




Mely Moran is a homely hardworking 35-year old woman who gets hired to be the maid of Fuerza Filipinas. This group of elite English-speaking superheroes is composed of their sword-wielding leader Madre de Dios, along with wind-controlling Windang Woman, the healer Nene Babushka, the soldier Bazookaman, and the cat-like acrobat Popoy Pusakal. Things get complicated when their newest recruit, the power-ringed telepathic Leading Man, appears to be falling in love with Mely.

Mely's younger, sexier and lazier sister Viva, on the other hand, gets recruited by a nefarious group of supervillains on the pretense of saving Mely, whom they claim was in danger. Calling themselves the Kayumanggilas, this group was led by the megalomaniac Senor Blanco and his minions. Powered by the Chemical Q, this rival group plots to destroy Fuerza Filipinas and become the premiere superbeings of the world. Clueless and foolish Viva fit right into their evil plans of world domination.

Mely and Viva had long been at odds with each other since childhood because of their disparate personalities. However, with this latest and biggest misunderstanding, their unstable and adversarial relationship as sisters results in a conflict that would threaten the lives of all the superheroes, as well as the very safety of the whole world. 


Flores, Ocampo, Lauchengco-Yulo, Borromeo

The plot of this musical is derived from Carlo Vergara's one-act play of the same title, which was an audience favorite during the Virgin Labfest 9 held at the CCP two years ago. Vergara has expanded that original one-act play into a big musical production with two complex acts, each act lasting almost an hour and a half each. 

The first act took its time to establish the multiple characters and their relationships. Momentum would occasionally dip at certain points and it felt as if this act could need some editing and streamlining. However, when the second act came, all of that is forgotten as each scene was a showstopping highlight. The audience could be jarred as the seemingly light-hearted first act takes a turn to the very dark, even showing a very grim massacre happening somewhere in there.

However, whatever shortcomings the very complex script may have with all the characters it had to deal with, it is the talent and charisma of the actors that become the crowning conceit of the whole show. Every actor just seemed to embrace their character perfectly, possessing voices that were able to soar with the punishing arrangements. It was one of those rare productions that brought together actors more known for their English plays and those more known for Filipino plays. I found this very exciting.  


Cabico, Molina, Lim

Bituin Escalante fit her role as Mely so well, from the unsophisticated looks to humble demeanor. Her singing voice was impeccable as always, on point in pitch and emotion. Her acting was painfully poignant. Escalante's struggle with her Segway is a quite a sight to see. Her alternate in this role is another big-voiced belter, Frenchie Dy. Since these two singers would appear to have very different personalities (Escalante being more serious, and Dy more wacky), it would really be interesting to see Ms. Dy's attack on this role as well.

Kim Molina, whom I did not catch in "Rak of Aegis," surprised me with her powerful voice as Viva. It is her character who went through the most complicated development in the play, sometimes even feeling more like the central character than Mely. Molina's alternate in this role is Natasha Cabrera. Escalante and Molina had a powerhouse trio number with May Bayot (who played their mother), which was one of the best songs in the show. 

It seemed effortless for Markki Stroem to draw attention to himself when he is onstage as Leading Man because of his charming smile and strong stage presence. He was also given a lot of scenes with romantic thrill, which he pulled off quite well. Compared to previous plays I have seen him in like "Carrie" and "Next to Normal", his work here is a very marked improvement. His alternate in this role is Hans Eckstein, who was the original Leading Man in the Virgin Labfest one-act run. 


Escalante, Lauchengco-Yulo, Stroem

It was my first time to see Menchu Lauchengco-Yulo on the PETA stage, and it would be as the kickass Madre de Dios. I thought we would actually hear her speaking in Tagalog, but as it turned out, her role was still totally in English. She gets to display her toned body in the fight scenes, as well as her powerful voice in her featured song in the second act. It is surprising to learn that this is Ms. Menchu's first appearance in an original Filipino musical in her long and storied career as "First Lady of the Philippine Stage". (Her alternate in this role is Astarte Abraham.) 

Among the Fuerzas, Gianina Ocampo stood out in her friend-zoned role as Nena because she got to deliver one beautifully sad and self-denying ballad. Jeff Flores, who was so good in Rep's recent show "4000 Miles", registered strongly as Bazookaman. Caisa Borromeo and Chesko Rodriguez complete the roster as Windang and Popoy respectively. Kakki Teodoro managed to steal scenes as the Fuerza's Robot.

Nar Cabico had the most memorably funniest scenes and lines of the whole show as the evil Senor Blangko, who prided himself with his hifalutin yet mangled English. He delivered hilarious lines like "Like a flower, you will smell" with confident gusto and aplomb. (His alternate in this role is Domi Espejo.)


Santos, Cabico, Nuestro, Concepcion

Red Concepcion (as the g-string clad Itak-Atak) and Red Nuestro (as the heavyweight boxer Marakas Marko) did their best with their funny villain roles. JC Santos makes a charming canine villain Jeryc Sans Rival. Vince Lim surprised us with his unexpectedly amazing vocals in his scientist character Henyotik's one featured song number. (Mikoy Morales would alternate in this role). Their Kayumanggilas group song which opened the second act was one of the show's most applauded song and dance numbers.

The PETA stage was transformed into a most futuristic-looking set. It came complete with a rotating circular stage in the foreground. The first time we see it rotate was during that scene when Mely initially meets a towel-clad Leading Man, drawing big cheers from the audience. The costumes by Tuqxz Rutaquio ranged from the X-Men inspired Fuerza leather garb to the most "jologs" Kayumanggilas attire. The songs and musical score were signature Vincent de Jesus. The exciting lighting effects of John Batalla were so critical during the battle scenes.

Congratulations to Director Chris Martinez and the young triumvirate behind Dalanghita Productions (Ansis Sy, Claudia Fernandez and Pertee Briñas) for this solidly entertaining show! It managed to weave an intimate family drama between sisters with a superhero battle-royale of a much bigger scope, while delivering a positive message of recognizing our inner gifts and rising up to challenges. While doing that, it bridged both sides of the Philippine theater scene into one grand production. 


Cast and Crew

"Kung Paano Ako Naging Leading Lady the Musical" opens today May 7 and will run until June 7 from Friday to Sunday at 8 pm, with 3 pm matinees on Saturdays and Sundays. Venue is at the PETA Theater Center in New Manila, Quezon City. For ticket inquiries, call Ticketworld at 891-9999. Tickets are at P1500, P1200 and P800. They are offering big discounts during the opening weekend.
↧

Recap of KATY PERRY PRISMATIC IN MANILA: Colorful and Celebratory!

May 7, 2015, 6:42 pm
$
0
0
May 8, 2015




My daughter and I attended a concert at the new Philippine Arena last month with the Best of Best K-Pop concert. That time we decided to take the shuttle bus from Trinoma Mall, for P50 per ticket. This time for the Katy Perry concert, since I am bringing my whole family with me, we decided to try and drive ourselves to the venue, and compare the pros and cons first hand. 

We arrived a little past 6:30 pm. It was not really that hard to find a parking slot, although there was need to walk a distance. Parking fee is  It seems they are strict about unloading beside the Arena. Entering the Arena proper was not difficult at all this time. There was no long lines to be seen unlike before. People simply walked in as they arrived. So far so good.



By 8;15 pm, a couple of quirky ladies appeared on the stage. They were The Dolls, composed of international DJ Mia Moretti along with the charismatic violinist, Margot. During their initial spiel, Mia Moretti actually had a scary fall off the narrow ramp of the stage (VIDEO)! Luckily she recovered from her fall with a big smile on her face. Their set was very energetic and entertaining. They played their enchanting brand of electronic music for about 40 minutes.

After The Dolls, we had a very long wait. I was afraid Ms. Perry would arrive past 10 pm already as she did in her previous Manila concert at the MOA Arena grounds. My kids were already very sleepy. Fortunately, we did not wait that long. By about 9:45 pm, the lights dimmed down again and the screaming began. This is it! The Prismatic show is beginning!

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

On the darkness of the stage, we begin to see some things that looked lit-up spears. Then the introductory strains of the rousing anthem "Roar" (VIDEO) was heard and Katy Perry came out in a stylized dark-colored outfit with glow-in-the-dark bright neon highlights on her hair, chest and skirt. This number was marked by Katy jumping a glowing neon jump rope to great effect. Using the same costume and dancers, Katy went on to sing two more big hits, namely "Part of Me"and "Wide Awake".

A video about stars and space played on the screens. Then the stage lights came back on to reveal an elaborate golden Egyptian-inspired set and costumes. We see Katy in a glittering gold short dress, with a skull cap on her head and a whip in her hand, sitting on the back of an elegant horse powered by two dancers underneath. That elaborate song number "Dark Horse" would be one of the most exciting of the night. Using the same shining costume, Katy went on to sing two more electronica-tinged songs, namely "E.T." and "Legendary Lovers". 




After a short pause, the red lights bathed the stage. Still wearing her headgear but just her shiny leotards without the skirt this time, Katy shouted that the next song was for the ladies. It was her breakthrough hit song "I Kissed A Girl". Her backup dancers were notably wearing pads to exaggerate their breasts and bottoms. 

There was a cute video showing cats with the cool Snoop Dogg song "Gin and Juice" in the background shown on the screen. Then, dancers in furry cat costumes began to tap dance on the stage. Katy rose out from under the stage wearing her own glittering cat ears and catsuit with tail, standing on a huge golden ball. She sang a sultry version of "Hot N Cold."This was followed by "International Smile". Towards the end, her dancers donned silver sleeves and lattice-petticoat on Katy. She then surprisingly segued into a short cover of Madonna's "Vogue" to end the segment. 



After another short pause, slow music was heard coming from a sunflower-adorned piano on the ramp of the stage. The two backup singers came out wearing sunflower design skirts. Katy then came out looking ethereally gorgeous, wearing a platinum blond wig and a flower-power inspired outfit with sunflower-decked long skirt and and bosom. This was going to be the slow set where we get to hear the strong clear pipes of Katy unplugged. Her first song was the inspirational ballad"By The Grace of God."

Then, Katy wanted someone to teach her how to speak Tagalog. She spotted a guy in the VIP section who was wearing the same silver sleeve and petticoat she had on in her last set! Obviously a big KP fan, the young man was overcome with excitement, jumping up and down, and hugging Katy. He introduced himself as Marty, 20 years old from Rizal. Katy was delightful in this funny segment, and seemed genuinely friendly and sincere. (VIDEO)




Going back to the music, she then sang "The One That Got Away" and "Thinking of You" as an acoustic medley. In her spiel, she said that last night May 7 is the anniversary of the kickoff of the Prismatic tour in the UK a year and 137 shows ago. Calling everyone to shine their gadgets in the darkness, she sang "Unconditionally" with the audience seen as a sea of bright lights. This was a beautiful and serene part of the concert, though personally I did not really like that last song too much because of the awkward pronunciation of the title in the song.

There was an interlude of high-energy dance music from the past. The two backup singers came out singing CC Peniston's "Finally" to the amusement of the audience, since that song was being used for a popular Ariel TV commercial lately. Katy came out wearing a sexy neon-colored cleavage and midriff-baring top and short skirt, with a green wig and neon-yellow knee-high socks. She sang "Walking On Air", followed by "This Is How We Do" into which she incorporated the chorus of "Last Friday Night". Her two big Number 1 hits followed one after the other, "Teenage Dream" and "California Gurls" (VIDEO), winding up the main show.




The lights were off but the audience simply knew this show was not year over. There was still one big song left unsung, and every one knew what the encore number would be -- "Firework"! For her final song of the night, Katy came out wearing a voluminous multi-colored ballroom skirt. Using so-called "Prismatic glasses" given outside for free before the show, the laser-lights during this number exploded into to fireworks like displays. This song provided a powerfully emotional end to a most memorably colorful concert.

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

We reached our car by about 11:30 pm. Then the most unfortunate traffic nightmare began. For unknown reasons, we were caught within the Philippine Arena grounds for the NEXT TWO HOURS!  Most maddening of all, we were sent on a long detour going northward, supposedly going out to Bocaue, only to be made to make a U-turn back to the same spot where we were two hours ago! 

I also saw the shuttle buses still stuck in traffic and mostly empty. I wonder how late the shuttle bus riders got home? During the K-Pop concert, we rode the shuttle and were back in Trinoma before midnight. Things were definitely not that smooth tonight.

When we finally made our way to the exit going back to the NLEX, we found out that cars were being let out only in a SINGLE FILE. So that is why movement was practically a standstill. When we were already on the side of the NLEX going back to Manila past 2:30 am, there was still a long line of cars waiting to go out. This grossly mis-managed post-concert traffic issue should be addressed promptly and properly if this place will be a major events venue. 
↧
Search

Review of PENTATONIX LIVE IN MANILA 2015: A Cappella on Adrenaline!

June 6, 2015, 4:41 pm
$
0
0
June 6, 2015




Thanks to the popularity of the Pitch Perfect films, acapella singing groups are back into vogue in the mainstream. Arguably the most popular of these a cappella groups out there in the recording music business now is Pentatonix (or PTX for short). 

Since we just saw and enjoyed Pitch Perfect 2 (which actually featured PTX in a cameo role) I decided this would be a great experience for the whole family to watch a real acapella concert live. It helped that the tickets were not too expensive, only P5800 for the VIP seats to P850 for the Upper Box seats!


AVI

KEVIN

MITCH

SCOTT

KIRSTIE

Pentatonix is a group of talented young vocalists from Arlington, Texas. The original three members were Scott Hoying, Mitch Grassi and Kirstie Maldonado. They recruited bass profundo Avi Kaplan and beatboxer Kevin Olusola to complete their group when they joined the TV competition, "The Sing Off." PTX won the third season, but did not really get mass recognition until their Youtube channel went viral, now with more than 8M subscribers.


I have seen a lot of concerts in my life, but this may be only time I have seen a concert begin almost exactly on the time stated on the ticket, 8 pm. The screams were so unexpectedly loud when the house lights were dimmed and the quintet appeared on the stage. Their first number was a mashup featuring Ariana Grande's hit "Problem." This was immediately followed by an exciting Beyonce Medley incorporating songs from her career in Destiny's Child to soloist, from "Bills, Bills, Bills" to "Halo". 

They told the audience that this is their 4th year as a group and they just recently celebrated their anniversary. While they were talking, it was so incredible to hear Mitch's childlike squeaky high-pitched voice contrasting with Avi's solid, full, heavy bass voice. These two guys seemed to have the most fans when you based it on the screams they received when they took their turn on the mic. They related their backstory and introduced the next song as the first song they ever arranged, Lady Gaga's "Telephone," which they submitted as an entry to a radio contest. 




Their next song is their tribute to their favorite artist Sam Smith, "La La Latch." This was followed by their rendition of Jazmine Sullivan's "Love You Long Time." With scenes of busy Tokyo in the background video, the next song sung was Clean Bandit's song "Rather Be." These songs were also so amazingly arranged and perfectly rendered.

While the others took a break offstage, Kevin came on stage carrying his cool-looking cello. He impressively performed his cello cum beatbox solo number entitled "Julio." The others then joined him again onstage to perform a catchy foreign language song entitled "Papaoutai," a big hit by Belgian musician Stromae. Unfamiliar as that song was, their versatile vocals were really in full display in that song. It was also so true in the next number called the "Opera Moment", immediately segueing to a cover of Imogen Heap's "Aha!" So complex and so good -- my favorite part of the concert!




PTX sang their version of "4,5 Seconds," Kanye West's collaboration with Rihanna and Paul McCartney, while they went down the stage to shake hands with their fans in the VIP seats. After they this, they sang a mashup of Ariana Grande's "Break Free" with their original song "See Through." 

As we hear them sing the opening strains of "Uptown Funk," Avi thrilled the girls in the front row when he announced that he was going to pick one of them to go onstage. They picked an excited girl in a red blouse and short skirt named Eve. The guys serenaded her mashing that Mark Ronson hit up with Marvin Gaye's "Let's Get It On" (VIDEO). After the song, the lucky Eve got to hug each PTX member, and even got to take a selfies with them right there on the stage.

The next number was an amazing mash-up of music from the 1600 to the present, from Beethoven to Carly Rae Jepsen. This was an incredible and fun arrangement of hit songs they called The Evolution of Music. You have to hear it to believe it. 




They ended their main set with two original songs. The first one was called "Standing By." For the final song, "On My Way Home", (VIDEO) they divided the audience into three sections and taught us a tune to sing each section. The result sounded so fine indeed. After this song, PTX thanked the audience and left the stage. 

Of course, the audience shouted for more. Later on, we were chanting the tunes that they taught in the last number on our own, which really sounded so good. PTX excitedly reentered the stage, saying how great the audience sounded. They declared that they wanted to do something special, but that there had to be total silence. Then they put their microphones on the floor and sang "That's Christmas to Me." The audience cooperated allowing the pure voices of the PTX to conquer the immense size of the Araneta Coliseum. Incredible vocal feat, incredible aural experience. (VIDEO)




For their final encore number, PTX sang their awesome Daft Punk Medley. The original music video of this medley has already hit 130M views to date and it also won them their first Grammy earlier this year for Best Arrangement, Instrumental or A Cappella. The very energetic number sounded so much better performed live, and was a most memorable ending to a great concert. Incredibly, we were actually leaving the Araneta Coliseum by 9:30 pm. For most concerts, the concert was only gaining heat by that time.

In the beginning I was imagining how minimalistic this concert would be, since PTX only brought their voices with them, no need for a live band or any accompanying music. However, PTX were true masters of their vocal instruments. Their voices combined in ingenious harmony enveloped the whole coliseum with a wall of beautiful sound like it had not experienced before. 
↧
↧

Recap of IDINA MENZEL LIVE IN MANILA 2015: Bravura Belting

June 7, 2015, 3:47 pm
$
0
0
June 7, 2015




I first heard of Idina Menzel as the green witch Elphaba on the Broadway hit musical "Wicked," a role which would win her a Tony for Best Actress in 2004. Later I would later learn that she was the original Maureen on the Broadway hit musical "Rent" back in 1996.

More recently, Menzel got more mainstream recognition playing Shelby, the mother of Rachel Berry (Lea Michele) on the hit TV show "Glee." She became more well-known when she sang the ubiquitous "Let It Go" from the Disney hit film "Frozen." Hers was one of the few original Disney soundtrack songs that hit the top 10 of the Billboard Hot 100, even doing better than the pop version by Demi Lovato. After John Travolta's infamous mistake on Oscar Night calling her a "Adele Dazeem", people now know exactly who Idina Menzel is.



When Ms. Menzel's concert was first announced earlier this year, the theater world in Manila became abuzz with excitement indeed. For one rare chance, a legitimate Broadway star is coming to Manila for a concert! Theater friends on FB were excitedly posting updates about the concert, especially those with inside connections, especially on the day of the concert itself. The anticipation for this star cannot be denied.

The audience in the MOA Arena cheered when the musicians came on stage to occupy their seats at around 8:15 pm. Ms. Menzel had her own musicians with her live band. However, she also had some members of the ABS-CBN Philharmonic Orchestra to further accompany her on strings.




The concert started around 8:30 pm. When she appeared on stage wearing an emerald dress, she immediately sang the first line of "Defying Gravity"! This iconic Broadway song which Menzel herself originated, never sounded better. It was delivered with confidence that only the original owner of the song could possess. Then she segued to her version of "Don't Rain on My Parade". This was really a masterful version of this Broadway classic from "Funny Girl". It was amazing how she began the show with two showstoppers!

Menzel then sang two songs from her third studio album, namely "Brave" and the title song "I Stand". Admittedly the audience seemed to be more excited when she would sing her Broadway songs. The audience lustily cheered and even sang along when she sang another song from "Wicked" -- "The Wizard and I". (VIDEO)

For the subsequent number, she sang a gorgeous version of "River" originally sung by Joni Mitchell. She followed that up with a sultry version of Cole Porter's "Love for Sale" (from the 1930 musical "The New Yorkers"), which was wonderfully mashed up with the sexy Police song "Roxanne". (VIDEO)

She proved she can be as brassy as Broadway grand dame Ethel Merman by singing a medley of  the latter's signature songs: "There's No Business Like Show Business" / "Anything Goes" / "Everything's Coming Up Roses". Menzel also sang the title song from her debut album from 1998, "Still I Can't Be Still."




For me the next number showcased Menzel at her most emotional and vulnerable. She was barefoot and sitting, writhing and even lying on the floor while singing Radiohead's haunting ballad "Creep". Here, she unexpectedly dropped the first of a handful of "F-bombs" in lyrics in other songs that followed. This painfully raw performance is what I would consider the most unexpected highlight of the night.

For the next song, Menzel went down to the audience area to look for some people to sing her character Maureen's song from "Rent", the bouncy and sassy "Take Me or Leave Me." The first one she chose in the VIP area was familiar. It was Timmy Pavino, whom we recognized as one of the contestants in the second season of "The Voice Philippines." There were two girls who volunteered from the Lower Box on both sides, Andrea and Carla. To their credit they also sounded very good indeed. I am sure Menzel was impressed.




She followed that up with another song from "Rent" that meant a lot to her, "No Day But Today" dedicating the song to the writer of "Rent", Jonathan Larson, who died before their Broadway opening, never living to see his show's immense success.  The next song is from Menzel's latest Broadway project "If/Then" -- the powerful "Always Starting Over".  These were two very emotional songs delivered with so much passion.

For the third time in a concert, I saw an artist sing one song a cappella without a microphone, and just let his pure voice fill the concert hall. For Idina last night, she sang "For Good" from "Wicked". While the idea was sweet, I thought the song may have been too soft on its own for this feat to work well. From where we were seated higher up in the arena, we could barely hear her during the initial verses. It was only toward the end of the song when we really heard her voice. 

For her final song in the main set, what else could it be but "Let It Go" from "Frozen"? To make this song more special, Ms. Menzel suddenly started to sing Filipino lyrics for one of the choruses! We could barely make out what she said. So she repeated it and asked the audience to help her sing the Tagalog words: "Bumitaw, bumitaw, di ko na matatago. Bumitaw, bumitaw, isarado ang pinto... Lamig ay di ko alintana!" She was simply so dear in this song as she ended it by going down to the audience to shake their hands, even carrying a cute little girl wearing an Elsa costume along the way, before leaving the stage. 




The audience did not let her go yet, asking her to sing an Encore or two. She returned and sang two more songs. The first is an original song she wrote about her son Walker whom she brought along the tour with her, a sweet tune entitled "Child". For her second and finale song of the whole night, she went back to her own  childhood to sing her first favorite song, "Tomorrow" (from "Annie").

Idina Menzel was such a delightful performer. Her show tunes belting was very impressive to hear live as we expecting. But her friendly and even quirky nature definitely endeared her to the audience. She had some recurring jokes in her spiels: like how the three empty seats in the front row bothered her (so asked her PA to pick three lucky viewers to fill those seats), and how her legs were aching because of a past injury (maybe why she decided to take off her high heels midway in the show and complete the concert in her bare feet?). 

The poster may have suggested a stuffy formal affair, but it turned out to be a funny, relaxed show where not only Ms. Menzel's powerful voice, but also her warm personality, will be fondly remembered by all who were there.


↧

Recap of GAWAD BUHAY 2014: Awards Flood "Rak of Aegis"!

June 11, 2015, 8:21 pm
$
0
0
June 11, 2015




Last night, I was a witness to the seventh edition of Gawad Buhay Awards.  This local version of the Tony Awards as PHILSTAGE honors the best performances of the previous theater season among its members. 

Philstage is an umbrella organization of professional performing arts companies in the Philippines, including Ballet Manila, Ballet Philippines, Gantimpala Theater Foundation, Organisasyon ng Pilipinong Mang-aawit, PETA, Repertory Philippines, Tanghalang Pilipino, Trumpets, Actor’s Actors, 9 Works Theatrical and Philippine Opera Company. New among the roster of members are: Resorts World Manila’s Full House Theater Productions (eligible this year), Red Turnip Theater (eligible next year), and the newest company to join, Philippine Ballet Theater.

The show started promptly at 8 pm.   I could hear the show was already starting inside when I was still getting my ticket outside the Little Theater of the CCP. The emcee is the versatile and very funny actor Topper Fabregas. 

Nikki Gil (smashing in her body-hugging, bright orange gown) and her partner StevenSilva were already handing out the first set of awards.

Female Featured Performance in Classical Dance
Celina Dofitas, “Cinderella” (BP)
Edana Mae Labitoria, “Cinderella” (BP)
KATHERINE TROFEO, “Cinderella” (BP) (MY REVIEW)
Rita Winder, “Cinderella” (BP)

No nomination were cited for Male Featured Performance in Classical Dance.

Male Lead Performance in Classical Dance
Richardson Yadao, “Cinderella” (BP)
EARL JOHN ARISOLA, “Cinderella” (BP)


Denise Parungao

Female Lead Performance in Classical Dance
DENISE PARUNGAO, “Cinderella” (BP)
Monica Gana, “Cinderella” (BP)
Dawna Mangahas, “Nutkraker” (BM)


Philippine Ballet Theater number

Topper came out in a basketball jersey with a huge V in front and the name Tolits at the back. He is wearing one of the costumes from the first nominee for costume design, "Rak of Aegis". He introduced the special number from the newest member of Philstage, the Philippine Ballet Theater, who rendered a dance number.


Liza Magtoto and Margie Moran-Floirendo

Ballet Phils. president Ms. Margie Moran-Floirendo introduced the sole nominee and winner of Outstanding Original Libretto, LIZA MAGTOTO, “Rak of Aegis” (Peta). Ms. Magtoto dedicated her award to her "original Tolits", her Dad. There was no nominee for Outstanding Original Script.  Then, both of them presented the next award.

Outstanding Translation or Adaptation
Virgilio Almario and José Lacaba, “Mga Ama, Mga Anak” (TP)
ROLANDO TINIO, “Pahimakas sa Isang Ahente” (TP) (MY REVIEW)


Topper in his "Scrooge" costume. Unwashed since the run?

Topper came out in a nightgown with nightcap and scraggly beard worn in the next costume nominee, "Scrooge" by Rep. He joked that in true Rep tradition, that costume had not been washed since the show ended its run. 

The next presenters were Joaquin Valdes and Mailes Kanapi. 


Tami Monsod. "I'd like to say something in Filipino, but next year na lang."

Female Featured Performance in a Play
Pinky Amador, “August: Osage County” (Rep)
LIESL BATUCAN, “August: Osage County” (Rep) (MY REVIEW)
Sheila Francisco, “August: Osage County” (Rep)
TAMI MONSOD, “August: Osage County” (Rep)
Madeleine Nicolas, “Mga Ama, Mga Anak” (TP)

Male Featured Performance in a Play
Richard Cunanan, “August: Osage County” (Rep)
Hans Eckstein, “August: Osage County” (Rep)
YUL SERVO, “Pahimakas sa Isang Ahente” (TP)
Dido dela Paz, “Pahimakas sa Isang Ahente” (TP)
Marco Viaña, “Pahimakas sa Isang Ahente” (TP)


Bituin Escalante. To her sister Kalila who lost to her, "Sagot ko drinks mo mamaya."

Female Featured Performance in a Musical
BITUIN ESCALANTE, “Priscilla, Queen of the Desert” (Full House)  (MY REVIEW)
Kalila Aguilos, “Rak of Aegis” (Peta)
Antoinette Taus, “Grease” (9WT)


Pepe Herrera dedicates his award to his mom who encouraged him to follow his heart. 
I did not catch his performance as Tolits in "Rak", may have to try to catch him in the re-run.

Male Featured Performance in a Musical
PEPE HERRERA, “Rak of Aegis” (Peta)  (MY REVIEW)
Jerald Napoles, “Rak of Aegis” (Peta)
Myke Salomon, “Rak of Aegis” (Peta)
Juliene Mendoza, “Rak of Aegis” (Peta)
Micko Laurente, “Kleptomaniacs” (TP)


A scene from "Sinta" by Dulaang Sibol

Next up was the presentation of the first Natatanging Gawad Buhay award, which is a lifetime achievement award. Before that, an excerpt from one of the awardee's works by his brainchild Dulaang Sibol, the musical "Sinta", was presented. 


Sir Onofre Pagsanghan, with Paul Dumol behind him

The first awardee was introduced and extolled by prominent playwright Paul Dumol. He is Mr. ONOFRE PAGSANGHAN, fondly called "Pagsi" by his students. Mr. Pagsi was very articulate, delivering his well-worded speech confidently without a script, calling himself a "very happy old man."


Nicco Manalo and group present a number from TP's "Kleptomaniacs" (MY REVIEW) (VIDEO)

Topper in his "La Revolucion Filipina" costume. For more audience impact. It worked!

Topper next came out on the stage practically naked with only a loin cloth and pencil-drawn abs on. This was from the nominated costume collection from the Ballet Philippine opus, "La Revolucion Filipina." 

The next presenters were Richard Cunanan and Shiela Francisco.


Carissa Adea

Female Lead Performance in Modern Dance
Dawna Mangahas, “Shutter” [from “Heart2Heart: Ballet & Ballads”] (BM)
Monica Gana, “Duet” [from “Art of Dance”] (BP)
Kris-Belle Paclibar-Mamangun, “Salome” [from “The Blue Moon Series”] (BP)
CARISSA ADEA, “Songs of the Wayfarer” [from “The Blue Moon Series”] (BP)
Jessa Balote, “Sari’t Bahag” [from “Kay Ganda ng Ating Musika: An OPM Festival”] (BM)


Richardson Yadao

Male Lead Performance in Modern Dance
Elpidio Magat, “Shutter” [from “Heart2Heart: Ballet & Ballads”] (BM)
Earl John Arisola, “Duet” [from “Art of Dance”] (BP)
Rudy de Dios, “Aramica” [from “Heart2Heart: Ballet & Ballads”] (BM)
Jean Marc Cordero, “La Revolucion Filipina” (BP)
RICHARDSON YADAO, “La Revolucion Filipina” (BP)

No nominations were cited for Male and Female Featured Performance in Modern Dance.

Outstanding Choreography for a Dance Production
BAM DAMIAN, “Aramica” [from “Heart2Heart: Ballet & Ballads”] (BM)
Denisa Reyes, “Muybridge Frames” [from “Art of Dance”] (BP)
Bam Damian, “After Whom” [from “The Blue Moon Series”] (BP)
Alice Reyes, “Bungkos Suite” [from “The Blue Moon Series”] (BP)
Agnes Locsin, “La Revolucion Filipina” (BP)


The cast of Kanser @ 35: The Musical

Following these awards, there was an operatic song number by the cast of the upcoming revival show from Gantimpala Theater Foundation, "Kanser @ 35: The Musical" featuring members of Viva Voce. 


Topper in his Full Gallop garb. He fit into Cherie Gil's costume?

Topper came back out wearing a black suit with a flowery shawl around him. This was a costume by Rajo Laurel from the third costume nominee"Full Gallop". He mentioned that he is different from Neil Patrick Harris because he is not paid for this gig, and that he only had one dresser with him. 

Karla Gutierrez from the Philippine Opera Company sang "You'll Never Walk Alone" to accompany the "In Memoriam" slideshow for departed members of the Philippine theater community. This list included young actor Aaron Ching and director Kokoy Jimenez.


Toots Tolentino (and his red shoes!) and Leloi Arcete

The next presenters were publicists Sir Toots Tolentino and Leloi Arcete to acknowledge their invaluable contributions to the theater world.


Happy Constantino and Myke Salomon

Outstanding Sound Design
Jethro Joaquin, “Noises Off” (Rep)
Jethro Joaquin, “Wait Until Dark” (Rep)
MYKE SALOMON and HAPPY CONSTANTINO, “Rak of Aegis” (Peta)
Bart Guingona, “Venus in Fur” (AAI/The Necessary Theatre)
Ryan Cayabyab (remastered by David Theo), “La Revolucion Filipina” (BP)

Outstanding Lighting Design
John Batalla, “Wait Until Dark” (Rep)
Katsch Catoy, “August: Osage County” (Rep)
Martin Esteva, “The Last 5 Years” (9WT)
Bart Guingona, “Venus in Fur” (AAI/The Necessary Theatre)
KATSCH CATOY, “La Revolucion Filipina” (BP)


Ballet Philippines number

A beautifully haunting and athletic modern dance excerpt from "After Whom" followed performed by Ballet Philippines followed. 


Topper in his "Priscilla" costume. In his own words, he looked like a "green p*n*s"!

Topper came out wearing a neon green outfit with huge green afro wig from the fourth costume nominee "Priscilla Queen of the Desert."



The next presenters were Menchu Lauchengco-Yulo and partner RobieZialcita.


Red Concepcion. His best role and performance ever!

Male Lead Performance in a Musical
RED CONCEPCION, “Priscilla, Queen of the Desert” (Full House)
Joaquin Valdes, “The Last 5 Years” (9WT)
Nicco Manalo, “Kleptomaniacs” (TP)
Michael Williams, “Priscilla, Queen of the Desert” (Full House)


Kim Molina. She looked genuinely shocked to win. 
I did not get to catch her as Aileen in "Rak", but I marveled at her voice as Viva in "Leading Lady". Hope to catch her in the rerun of "Rak".

Female Lead Performance in a Musical
Aicelle Santos, “Rak of Aegis” (Peta)
Joan Bugcat, “Rak of Aegis” (Peta)
KIM MOLINA, “Rak of Aegis” (Peta)
Nikki Gil, “The Last 5 Years” (9WT)
Tippy Dos Santos, “Grease” (9WT)


Maribel Legarda. "No, Myke Salomon and I are not having an affair."

Outstanding Stage Direction for a Musical
MARIBEL LEGARDA, “Rak of Aegis” (Peta)
Jaime del Mundo, “Priscilla, Queen of the Desert” (Full House)
Robbie Guevara, “The Last 5 Years” (9WT)

The next presenter was actress Sheenly Gener from Tanghalang Pilipino.


Mio Infante. On creating "ulan" and "baha".

Outstanding Set Design
MIO INFANTE, “Rak of Aegis” (Peta)
Miguel Faustmann, “August: Osage County” (Rep)
Miguel Faustmann, “Noises Off” (Rep)
Mio Infante, “The Last 5 Years” (9WT)
Mio Infante, “La Revolucion Filipina” (BP)


Carlo Pagunaling. The most emotional acceptance speech of the night!

Outstanding Costume Design
CARLO PAGUNALING, “Rak of Aegis” (Peta)
Edgar San Diego, “Priscilla, Queen of the Desert” (Peta)
Rajo Laurel, “Full Gallop” (My Own Mann Productions/AAI and The Necessary Theatre)
Victor Ursabia, “La Revolucion Filipina” (BP)
Valeen Vicente, “Scrooge” (Rep)


The cast of "Kung Paano Ako Naging Leading Lady" perform

The cast of the recently-concluded hit musical "Kung Paano Ako Naging Leading Lady"by the newest theater company Dalanghita Productions presented an excerpt from their show. I daresay this show will be raking in its own awards next year.


Puppetry and Song number by Teatrong Mulat

A delicate puppet performance from Teatrong Mulat followed. This theater company was the brainchild of the second Natatanging Gawad Buhay awardee,  AMELIA LAPENA BONIFACIO. 


Ms. Bonifacio, with her former students behind her

She was lovingly introduced by Bibeth Orteza and Dennis Marasigan, who were her students in UP.  Ms. Bonifacio was also still very sharp, delivering her speech without a script. She recounted her encounter with Jim Henson, and how she told him to avoid showing on Sesame Street scenes showing wastage, like throwing pies in the face or breaking plates, since these are against Asian sensitivities. 


Joaquin Valdes and Nikki Gil

An excellent song number, an excerpt from "The Last 5 Years" (MY REVIEW) followed, featuring a pair whom Topper called "the most good-looking couple", Joaquin Valdes and Nikki Gil. (VIDEO)

The next presenters were Eladio Pamaran and May Bayot.


Chris Millado. Thanked both families he had the privilege to direct last year. They put the "FUN" in "DYSFUNCTIONAL."

Outstanding Stage Direction for a Play
CHRIS MILLADO, “August: Osage County” (Rep)
Miguel Faustmann, “Wait Until Dark” (Rep)
Bart Guingona, “Full Gallop” (My Own Mann/AAI)
Chris Millado, “Pahimakas sa Isang Ahente” (TP)
Bart Guingona, “Venus in Fur” (AAI/The Necessary Theatre)


Gio Gahol

Outstanding Choreography for a Play or Musical
Nancy Crowe, “Priscilla, Queen of the Desert” (Full House)
Gio Gahol, “Rak of Aegis” (Peta)
Nestee Mamaril Gamilla, “Kleptomaniacs” (TP)


Myke Salomon. Winning for his first gig as Musical Director.

Outstanding Musical Direction
MYKE SALOMON, “Rak of Aegis” (Peta)
Inday Echevarria, “Priscilla, Queen of the Desert” (Full House)
Joseph Tolentino, “The Last Five Years” (9WT)


Jon Santos, Michael Williams and Red Concepcion sing "True Colors"

The next number was an excerpt from "Priscilla Queen of the Desert" with Jon Santos, Red Concepcion and Michael Williams singing Cyndi Lauper's "True Colors" in their drag queen glory. I'd call this the best excerpt performance of the night. (VIDEO)

The next presenters were Sandino Martin, Bart Guingona, and Juilliard-bound TP actress Regina de Vera.

Female Lead Performance in a Play
Baby Barredo, “August: Osage County” (Rep)
CHERIE GIL, “Full Gallop” (My Own Mann/AAI) (MY REVIEW)
Liesl Batucan, “Wait Until Dark” (Rep)
Jennifer Blair-Bianco, “Venus in Fur” (AAI/The Necessary Theatre)
Gina Pareño, “Pahimakas sa Isang Ahente” (TP)

Male Lead Performance in a Play
Spanky Manikan, “Mga Ama, Mga Anak” (TP)
ROBERT AREVALO, “Mga Ama, Mga Anak” (TP)
Jonathan Tadioan, “Pahimakas sa Isang Ahente” (TP)
David Bianco, “Venus in Fur” (AAI/The Necessary Theatre)


Winners tonight Kim Molina and Pepe Herrera sing "Mahal Na Mahal Kita"

Three pairs from the long-running musical "Rak of Aegis" took the stage to sing selected songs from the show: Aicelle Santos and Jerald Napoles, Kim Molina and Pepe Herrera (both winners tonight) and finally, Kalila Aguilos and Lorenz Martinez. (VIDEO)


Antonette Taus and Guji Lorenzana

The final set of presenters were Antonette Taus (decked in an immaculate white gown with a deep plunging neckline) and Guji Lorenzana.

Outstanding Ensemble Performance for Modern Dance
“ARAMICA” [from “Heart2Heart: Ballet & Ballads”] (BM)
“Muybridge Frames” [from “Art of Dance”] (BP)
“After Whom” [from “The Blue Moon Series”] (BP)
“Bungkos Suite” [from “The Blue Moon Series”] (BP)
“La Revolucion Filipina” (BP)


The winning ensemble of AUGUST OSAGE COUNTY

Outstanding Ensemble Performance for a Play
“AUGUST OSAGE COUNTY” (Rep)
“Venus in Fur” (AAI/The Necessary Theatre)
“Pahimakas sa Isang Ahente” (TP)


The winning ensemble of RAK OF AEGIS. 
Rak is the biggest winner of the night -- winning 11 of its 17 nominations!

Outstanding Ensemble Performance for a Musical
“RAK OF AEGIS” (Peta)
“The Last 5 Years” (9WT)

No nomination was cited for Outstanding Ensemble Performance for Classical Dance


Chris Millado and Audie Gemora thanks the audience.

The show running more than three hours already, longer than "Leading Lady" as Topper wittily put it. Philstage president Audie Gemora hurriedly thanked everyone on and behind the stage for all the services rendered gratis, all for the love of Philippine Theater. 

These are the other winners for important awards.

Outstanding Modern Dance Production
“Aramica” [from “Heart2Heart: Ballet & Ballads”] (BM)
“Muybridge Frames” [from “Art of Dance”] (BP)
“LA REVOLUCION FILIPINA” (BP)

Outstanding Production of Existing Material for a Play
“AUGUST OSAGE COUNTY” (Rep)
“Full Gallop” (My Own Mann/AAI)
“Pahimakas sa Isang Ahente” (TP)
“Venus in Fur” (AAI/The Necessary Theatre)

Outstanding Production of Existing Material for a Musical
“PRISCILLA, QUEEN OF THE DESERT” (Full House)
“The Last 5 Years” (9WT)

Outstanding Original Musical
“RAK OF AEGIS” (Peta)

There were no nominations cited for Outstanding Original Musical Composition, Outstanding Classical Dance Production, Outstanding Original Play and Outstanding Production for Children. 

Several stage performances were not eligible for awards because they were not staged by Philstage member theater organizations.  I hope university productions, like Dulaang UP or Tanghalang Ateneo, as well as other professional theater groups, like Atlantis or PhilStagers, will also be included in the Philstage roster in the future.

Mabuhay ang Teatrong Pilipino!


↧

Review of BITUING WALANG NINGNING The Musical: Nostalgic '80s Melodrama

June 17, 2015, 7:34 pm
$
0
0
June 18, 2015




"Bituing Walang Ningning" is best known to me as a Sharon Cuneta movie back in 1985. Christopher de Leon plays her discoverer and manager Nico Escobar. Ms. Cherie Gil turned the villainess role Lavinia Arguelles into an iconic character of Philippine cinema, with an immortal line about a "second-rate, trying hard copycat" that everyone knows by heart. I have vague memories about this film. Not really a fan of this type of films back then, I am not even sure I ever watched it completely. 

However, it turns out, "Bituin" started its life as komiks serial penned by the prolific writer, Nerissa Cabral. In 2006, this was also made into a TV series, starring Sarah Geronimo, Ryan Agoncillo and Angelika de la Cruz in the lead roles.

This time the multimedia hit takes on another incarnation -- a stage musical with a script written by Freddie Santos, who is also the director of this production by Resorts World Manila (RWM), Full House Theater Company in cooperation with Viva Communications, Inc. (Viva). The script includes 11 songs by Filipino pop maestro Willy Cruz. 

The show was first announced six months ago in January 2015. It did not even have a lead actress to play Dorina yet. A nationwide search was launched to search for this new star. And in March 2015, 19-year old Monica Cuenco from Leyte won the lead role. Cuenco seems to have lived the life of Dorina. She had been an orphan since age of eight and grew up with an aunt, making ends meet by selling puto and joining singing contests. She narrowly missed the big prize, placing second in the 2011 ABS-CBN reality talent show “Star Power: Sharon’s Search for the Next Female Superstar” (won by Angeline Quinto).

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

Luckily I was able to leave work by 4:15 pm, earlier than usual. There was a very strong downpour that afternoon and since it was the rush hour, there was very heavy traffic most of the way. I had to buy a burger to eat along the way for my dinner. I reached the Resorts World Newport Performing Arts Theater already 8:10 pm! 

Fortunately, they decided to delay the opening of the show to 8:30 pm since maybe there are notably still several empty seats in the supposedly sold out venue that gala opening night. Ceremonies were kicked off by RMW Chief Entertainment Officer Colin Kerr and Ms. Menchu Lauchengco-Yulo. Their introductory speech was entertaining, because Kerr would sing the title every time he would mention it, and later Ms. Menchu did the same. 

Director and scriptwriter Freddie Santos confessed how nervous and pressured he was feeling, especially since the original writer of the story Nerissa Cabral and the composer of the 11 songs in the show Danny Cruz were both in the audience that night. I was half hoping Sharon Cuneta would be there, but no dice. 

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

Dorina Pineda is a poor but spunky young girl who was also an obsessed big fan of singing pop-dance superstar Lavinia Arguelles. Lavinia's manager and boyfriend Nico Escobar discovers Dorina's own hidden prowess in singing. Nico decided to build Dorina up to provide competition and impart a lesson to the bratty and swell-headed Lavinia. However, as Dorina's star begins to rise, can she handle the intense intrigue that comes with success in show business?

All eyes are on newcomer Monica Cuenco in the lead role of Dorina. Her nerves and inexperience were quite evident in her acting and singing performances on this opening night. Even if they were melodically beautiful, her big showcase numbers "Pangarap na Bituin" and "Bituing Walang Ningning" did not possess not the flawless showstopping song deliveries you would expect for her to be convincing as the rising star seriously able to threaten the career of an established star. 

Her counter water-splashing scene did not work out perfectly as she again got water splashed on her as well. Her climactic conversation with Nico about their relationship in Act 2 meandered for a bit as she (and Mark) seemed to have missed some lines, as the English translations on the widescreen would betray.

It would not not fair to compare Monica with the previous Dorinas Sharon Cuneta and Sarah Geronimo, who were already big experienced stars when they got to play this role. Monica is experiencing an actual Dorina moment this night. This is only opening night and I understand the pressure she must have been feeling. She comes across as earnest and determined as she showed in her initial scenes. I hope she would be able to shake off these nerves and deliver more polished performances in the shows to come. As to matching Cuneta's and Geronimo's charisma and presence, that may be too much to ask.

Cris Villonco was the best overall performer in the show as she tackles Lavinia with such ferocious bitchiness, perpetually arched eyebrows and all. This showy role easily makes her the most explosive and memorable performer since everyone else was basically playing bland goody-goody roles. Villonco had measured campiness in her Lavinia that was delightful to watch, especially in that iconic water-splashing scene. I do wish she was given better songs to sing. While she sings them well, I did find it hard to accept her "Magandang Gabi sa Inyong Lahat" and "Ang Boyfriend Kong Baduy" as big '80s pop-dance hits though.

Mark Bautista also had very strong stage presence. However, he seemed trapped in restraints the way his Nico Escobar was written as a character who had an eternal frown on his face as he grapples with deep thoughts. He definitely shines more when he gets to sing. His first song was the ballad "Sa Duyan ng Pag-Ibig" (originally a midtempo 1980 Metro Pop entry by Passionata) which was not too familiar. But his next two other songs were both very popular and Bautista delivered them with so much passion. This guy's voice was perfect for these classic Filipino pop ballads.

Menchu Lauchengco-Yulo obviously had fun with her featured role as entertainment journalist Edith, a role created to break the monotony of melodrama in the show. She mixed her intrigue-digging Inday Badiday character with touches of Maurice Arcache flair and Ogie Diaz cattiness, if you can imagine that. The "True or Untrue" segment in her show "Exclusively Edith" was hilarious, as she injected some Kris Aquino's "Deal or No Deal" into the mix. I was expecting Ms. Menchu to rip through a Willy Cruz ballad herself, but that was not to be as Edith did not have a song to sing.

Pinoy Dream Academy (2006) alumnus and finalist Ronnie Liang also had his share of the spotlight in his first musical theater venture as pianist and composer Garry Diaz. Liang had the height, looks and a good singing voice, but I felt his costume and makeup somewhat hampered his stage presence. Liang got to sing "Init sa Magdamag" (a duet with Karina Joy Macaspac) and an upbeat solo "Paikot-Ikot" (originally by Randy Santiago). 

Expect Jon Santos to steal all his scenes as Auntie, Dorina's flamboyantly gay uncle and guardian who ran his own sampaguita business. He gets to sing Cebuano folk song "Usahay" in an early scene with Dorina. In more minor non-singing roles were Michael Williams (who played Larry, a record company owner), Jay Roa (who played Zosimo, Nico's new business partner) and John Nite (who played Kuya GermsGerman Moreno with relish in his glittery coats and trademark accent). 

Unlike "Mamma Mia" and "Rak of Aegis" which took songs from one artist and incorporated them to tell the story of the play, "Bituing Walang Ningning" uses the songs of Willy Cruz mostly as song numbers of the singer characters only, not really material to the story being told at that moment. The only exceptions would be "Sana'y Maghintay ang Walang Hanggan" (sung by Nico, Dorina and Gary) and "Mahawi Man ang Ulap" (by Nico) which seemed apt for the situations when they were sung. The title song "Bituing Walang Ningning" was sung three times all in Act 2, but it was only at the final concert scene that it was in more meaningful in context.

Those huge stars that adorned the stage during final concert scene were spectacular. However in some scenes, the huge stage could feel awkwardly empty. The colorful backdrop projections provided much needed help to keep things interesting. The occasional advertisements projected (notably) Aristocrat restaurant and Champion detergent) can be rather distracting. I also like the idea of having the actors also engage some members of the audience as they walked among the seats in the auditorium and shook their hands as if the audience were in attendance of the events portrayed during the show.

The live musical accompaniment was provided by the Manila Philharmonic Orchestra under the baton of Maestro Rodel Colmenar. The lighting director Shakira Villa Symes was able to create perfect dramatic atmospheres for the showstopping ballad song numbers. The effort by the production designers to create an 80s atmosphere was commendable. Those huge cell phones were remarkable.Thankfully for those seated on the sides, there were live projections on both sides with English subtitles, which can be entertaining in themselves (like "baduy" is "hokey" and "pangarap na bituin" is "wished-for star").

Being opening night, there were still a number of mic glitches which marred some scenes.  I am sure the production has observed and noted down the opening night hitches in the acting styles, blocking issues, excess or awkward dialogue and various tech problems and correct them accordingly in order to further streamline the show.

With modern Filipino theater going into exciting new directions with "Sa Wakas", "Rak of Aegis" and "Kung Paano Ako Naging Leading Lady", an old-fashioned melodramatic musical like this may find it hard to attract the younger audience who look for angst and excitement. The attraction of a musical like this though is very different. "Bituing Walang Ningning" evokes nostalgia for '80s showbiz and OPM, which is always fun to revisit for those who have lived it. (It was nice to hear "Kumusta Ka?" and "Points of View" again.) The multimedia success of this story is testament to its appeal among Filipinos. And as always, the musical talents of our Filipino artists cannot be overlooked. Kudos!


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

"Bituing Walang Ningning" runs up to July 18, 2015 at the Newport Performing Arts Theater, Resorts World Manila, at 8 pm on Thursdays to Saturdays, and at 3 pm on Sundays. Tickets are care of TicketWorld and sold at these prices: SVIP PHP3,300, VIP PHP2,500, Gold PHP1,900, Silver PHP1,400 and Bronze PHP1,000. 


↧

Review of VIRGIN LABFEST XI - SET B: Bitterness and Bravado

June 25, 2015, 5:21 pm
$
0
0
June 25, 2015




Last year was the first time I had watched the Virgin Labfest in its 10th edition. I watched some pretty thought-provoking one-act plays then, and I would really like to watch more this year. This festival is all about giving the playwrights an opportunity to showcase their newest unstaged works. This year's 12 entries were selected from 156 plays submitted, the best of the best.

The 12 selected plays were once again divided into four sets of three.  For each ticket you buy, you get to watch three one-act plays staged in the intimate Tanghalang Huseng Batute.  I can only watch on Thursday matinees given my work schedule. Tickets were selling out very early on given the popularity of this theater festival. I bought my tickets as early as a month ago, May 21.



For today, I caught Set B. As before, I watched these plays without knowing what they were about and who would be acting in them. It turns out this is the most in-demand ticket of this festival as all remaining time slots showing Set B are already sold out!

1. MACHO DANCER A MUSICAL

Written by: Nicolas Pichay
Directed by: Ralph Pena

I have a feeling this particular play is the reason why Set B is the most popular set of the Labfest. The title alone makes it stand out. First it is a musical. I'm not sure if there had been musicals in the Labfest before, but I think being a musical is a plus among Pinoy audiences. Second, the bold, controversial and very provocative topic of macho dancers stirs up a lot of curiosity and interest.

The noted tandem of Nicolas Pichay as playwright and Ralph Pena as director is a dream pairing. Pichay is well-known as a Palanca Award hall of famer for his plays and poetry. Pena's directing credentials are Stateside as he had directed off-Broadway projects, even winning an Obie for "The Romance of Magno Rubio." However, with this project, the earthy and sensual topic of the material by itself upstage their illustrious credentials.

Before the play began, some macho dancers already took to the stage grinding their hips to a sleazy Boyz II Men song. Probably everyone in the audience were trying so hard not to look at the dancers straight in the eye in discomfiture. After they made their exit, the Philippine flag was brought out onstage for the National Anthem. This elicited nervous laughter among the audience.

The play was about a group of macho dancers in a seedy joint called The Tutubi Club: the brash Bert (Jojo Riguerra), the hirsute Daks (Tarek el Tayech), the young Juicy (Alexis Yasuda) and their aging elder Kuya Rudy (Paolo O'Hara).  Their former colleague Paul (Riki Benedicto), who had left the club a year ago for training for post modern ballet choreography, is called back to teach them new dance styles for a big show. However, their savings were depleted, their club is shutting down and their last sponsor backed out. How can the guys get through this very low moment in their lives?

Even though the storyline sounds serious, the treatment is lighthearted and humorous. The rhythmic songs have absurd lyrics about India and elephants, which do not really make much sense. Only the climactic hiphop style song by Kuya Rudy at the end had proper context in the story. The staging still looked rough. I do not know if this was just because it was their first show, or it was really done that way on purpose to immerse the audience into the sordid world where these characters lived. There is no clear closure in the ending, leaving this material open perhaps to be expanded further in the future.

The five main actors have excellent chemistry with each other, coming off as real good friends. I have only seen El Tayech in those elegant Dulaang UP productions of old British plays, so it is a surprise to see him looking as hefty and grungy like he does here. I have seen Riguerra before as a young gay boy's fantasy in "Maxie the Musical", so his role here is a bit down the same alley. Fair and clean-cut Yasuda had strong stage presence and comic timing. O'Hara came across like everyone's favorite elder brother. It was Benedicto though who really shone as a lowly macho dancer who got thrust into snooty high society dancing with less than happy results. His raw performance as Paul was very natural and effortless.



2. HULING HULI

Written by: Herlyn Alegre
Directed by: Lawrence Fajardo

The team of Herlyn Alegre and Lawrence Fajardo was also responsible for one of the standout plays of VL IX entitled "Imbisibol". This had recently been turned into an award-winning indie film, also directed by Fajardo. The controversial material of "Huling Huli" also has a lot of cinematic potential.

This play deals with how some womenfolk in a small fishing village on an isolated island make a living by selling sexual favors in exchange for fish. It is said to be based on the recently exposed practice in Kenya called "joyoba," where sex is used as currency. They never mentioned if this practice actually exists here in the Philippines or not.

Melanie is an elderly lady still very actively selling sex to fishermen to earn money. She also pimps out the other women in town, and she earns a hefty commission from this. Stressed-out and sickly, Teresa wants out of this type of life already. However, young virginal NingNing is getting tempted to give in to the lure of money. The nets they are working on clearly signify that these women are trapped in this unenviable situation.

Ms. Peewee O'Hara is so grandmotherly in looks you'd be shocked by the language her mouth spews out as Melanie. Too bad the first time she makes a sexual trade with a fisherman was done offstage. It would have been more shocking if done onstage. Angelina Kanapi looks so sick as Teresa. I thought her cough was for real as it sounded so real. Turns out to be amazing acting because this cough was gone by curtain call. Martha Comia gets another sexually-charged role like what she usually does for Dulaang UP. She has got that right mix of innocence and worldliness in her face and body for these types of roles. 



3. ANG NANAY KONG EX-NPA

Written by: Genevieve Asenjo and Mario Mendez
Directed by: Rody Vera

The final play of Set B is the quietest and most intimate. If you think the title alone already suggests that this is one serious play which will tackle very serious issues, you'd think right. This play was adapted from a scene in "Lumbay ng Dila," an award-winning 2010 novel by Genevieve Asenjo . 

Sadyah ran into her estranged mother Teresa in a mall. They go to Sadyah's posh condo unit to catch up on things. Sadyah is now a successful published poet. Teresa is a respected NGO worker now, but she used to be known as Kumander Rafflesia of the NPA in Central Panay. Their reunion started awkwardly with small talk. Later, this led to long-kept secrets being revealed and long-held bitterness being openly expressed.

This purely conversational play only depended on the skill of its actors to make the words come alive. There were still a little missed lines here and there, but this is only their first show so I am sure their delivery will get better. Kat Castillo plays Sadyah, but her character was mainly written to set-up the perfect acting showcase for Marichu Belarmino, who was positively luminous and riveting as Teresa. 






↧
↧

Review of Actor's Actors' THE NORMAL HEART: Heavy HIV Heartbreaker

June 30, 2015, 5:52 pm
$
0
0
July 1, 2015



Actor's Actors is a theater company that started more than 20 years ago in 1992 by theater stalwarts Bart Guingona, Jaime del Mundo, Michael Williams, Menchu Lauchengco Yulo and four other partners. Since 1998, they started producing a series of provocative straight plays which they dubbed The Necessary Theater. 

I have heard about their productions, but I realize I have never watched a single one of their shows at all, not even their last two Gawad-Buhay award-winning plays: "John Logan's "Red" and David Ives'"Venus in Fur". Luckily, this year, I was finally able to catch one, and it had to be one of the more devastating plays about HIV, "The Normal Heart." 

HIV and AIDS are diseases that are so rampant in the Philippines now, especially among the young, yet we only hear about it every once in a while. Truth is, latest 2015 statistics already show that a whopping 22 new cases are diagnosed EVERY DAY! Despite being written and first staged in the 1985 when AIDS was a big health scare which had yet to be understood, "The Normal Heart" remains very relevant up to these days in our country where a stifling social stigma is still continually hangs above HIV/AIDS patients.

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

The setting is 1981 in New York City. Writer Ned Weeks is very distressed that many of his fellow gay friends have been dying of a mysterious disease affecting the immune system. Initial evidence points to promiscuous sexual practices of homosexuals as the possible mode of infection. Harassed wheelchair-bound physician Dr. Emma Brookner advised him strongly that the only way to stop the spread of infection is to stop risky sexual activity. 

Ned begins his aggressive and active educational campaign. When a suspicious lesion was seen on the sole of the foot of Ned's new boyfriend Felix, Ned had to work overtime to draw more public attention to their cause. However, the gay community of that time, including Ned's friends, was very resistant to this idea of changing their habits. The government was not inclined to help in their marginalized cause. The death toll continued to rise.

Author Larry Kramer wrote this play out of his own personal experience during the HIV crisis and his heart is bared in the play's fierce words -- the turmoil, the humor, the compassion and the insights. It started as an Off-Broadway play in 1985, with Brad Davis, and later Joel Grey, playing Ned Weeks. It debuted in London's Royal Court Theater in 1986 with Martin Sheen as Ned. It only made its Broadway debut recently in 2011, with Joe Mantello as Ned, Lee Pace as Bruce, and Jim Parsons as Tommy. This play won the Tony for Best Revival of a Play, while Ellen Barkin (as Dr. Emma) and John Benjamin Hickey (as Felix) received Tonys for Best Featured Actors in a Play that year.

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

In last night's staging held at the Carlos P. Romulo Auditorium of the RCBC Plaza in Makati, the caliber of the acting in this ensemble piece of theater was astounding. Every actor in the eight-member cast had their big difficult dramatic moment which they attacked with such deep-seated emotional ferocity. 

The heartbreaking drama is guaranteed to bring sympathetic audiences to tears of recognition and identification. It is also powerful enough to move even the most unsympathetic audiences to a deeper understanding of the losing plight faced by an HIV/AIDS patient from the 1980s to the present. Its devastating message is evidenced by the warzone-like mess that the stage looked like by the end of the play. This play and its potent cast will definitely be rewarded come awards season.

Bart Guingona and Topper Fabregas


With Bart Guingona's raw and passionate performance, you can feel the boiling frustration within Ned Weeks. Ned always antagonized everyone around him with his abrasive attitude brought about by the the cavalierness of the people around him, and Guingona succeeds to convey just that. He was practically onstage the whole play going through the whole gamut of emotions with intricately-worded kilometric lines, and he nails them. Guingona also directed this play. Not only was he was able to get the best performances from his actors, the energy of the play never felt bogged down by the heavy drama. 

Bart Guingona and Richard Cunanan


You can witness the gradual withering away of Felix Turner from a vibrant bon vivant into a pale white ghost, with Topper Fabregas' sensitively delicate performance. Richard Cunanan again shines with a flawless laidback effortless performance as Ned's lawyer brother, Ben Weeks. Since he is more known for his TV and movies, I did not expect TJ Trinidad's proficiency in stage acting as Bruce Niles. We can clearly feel the inner conflicts of a closeted homosexual in his subtle performance. 

Red Concepcion and TJ Trinidad


This is my first time to see PETA staple Nor Domingo in an English-language play, and he blew us away with the powerful monologue of his character NYC health officer Mickey Marcus, filled with angst and pain. In multiple smaller roles, Red Concepcion and Jef Flores once again display their acting versatility. Concepcion shone most as compassionate Tommy Boatwright. Flores' best moment was as the infuriating NYC Mayor representative Hiram Keebler. It is amazing to note that these three actors all have another theater projects ongoing this same week (Domingo in "Rak of Aegis", Concepcion and Flores in "Leading Lady").

Nor Domingo and Jef Flores


My favorite performance of the night was that of Roselyn Perez as polio-stricken, wheelchair-bound Dr. Emma Brookman. She is a veteran of the stage, and even one of the founding members of Actor's Actor, but I will have to confess that this is the first time I have seen her in a major role. While she was excellent in all her scenes, Perez' Dr. Emma in Act 2 Scene 12 was her memorable highlight. It was such a tour de force performance, unforgettable in its sheer bravado, seething with pulsating anger. My own personal background makes me identify with her mission the most, the desire to bring only the best possible quality of care to patients.

Roselyn Perez in Scene 12 (with Jef Flores in background as Examining Doctor) 


The stark and simple stage design was perfectly executed by Coco Anne and Baby Imperial. The lighting design of Meliton Roxas was likewise able to highlight the dramatic scenes so well with his expert play of light and darkness. There was a prop malfunction regarding a telephone at a crucial scene that distracted the audience, but I am sure they will make sure it won't happen again. 

Despite the period nature of this play, the topic is hardly a historical footnote. The issues tackled in the play are still very true in this day and time, especially in our country. Sadly, this powerful and thought-provoking play will only run for five shows in three days this weekend July 3, 4 and 5, 2015. Kudos to Actor's Actor for its initiative and civic responsibility in staging this important play for local audiences. I think it is a very educational and informative piece that deserves to be toured throughout our country to bring to the forefront the HIV/AIDS situation our country is in right now.

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

A Q&A session after the Press Preview featured a lady guest from Pinoy Plus. This is a locally-based support group for PLHIV (people living with HIV). This epilogue brought the play to its proper context in the present day in the words of an actual person who has been living with HIV for the past 24 years. She is physically well and socially confident because of the strong support she receives from her family and support group. Unfortunately, this is not true for all PLHIV, especially those belonging to marginalized groups. The main thrust of their organization is to reach out to all PLHIV in the country to provide them psychosocial support and to be their advocate in community and governmental matters.

The whole cast pose with the Pinoy Plus rep after the post show Q & A session
↧

Review of VIRGIN LABFEST XI - SET C: Crucial Conversations

July 2, 2015, 4:12 pm
$
0
0
July 3, 2015



Yesterday was the second Thursday of of this year's Virgin Labfest XI, and I was able to catch Set C during the 3 pm matinee slot.  What is striking about these three one-act plays in this set is that all of them involve only two characters and we witness a particularly crucial conversation between them. 

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

1. BIRTWAL

Playwright: Jose T. Garcia
Director: Audie Gemora

A nameless 29 year old man and a nameless 18 year old lady have been engaged in a texting relationship for nine months. For their "monthsary," they decided to meet up at the foodcourt of a mall. However, they were not honest about how they described themselves, a game of evasion ensues. Will their relationship go on to the next stage?

The conceit of this play is that majority of the conversation is in the form of text messages projected on TV screens onstage.  Thanks to the charm of Ron Capinding (as Lalake) and J-mee Katanyag (as Babae), they were able to catch the audience sympathy with their largely silent performances. Capinding I have seen before in a markedly different light, as the director and as Uncle Berning in "Rite of Passage" in Ateneo. Katanyag I have seen in PETA's musical "William" and as director of "Betang" in the VLF last year.

The timing of the two guys on the side manning the laptops where the text messages came from was crucial and they pulled their critical parts off, fully deserving the ovation accorded them come curtain call. It must have been quite a challenge for Director Audie Gemora how to keep audiences interested in what's going on. It was obviously a formidable task to to sustain the audience's attention for the full 50 or so minutes of the play's running time just reading off the monitors.

Admittedly, there were some moments when the text messages were getting redundant, only to be saved by the antics of the actors. Yet those antics would also feel repetitive after a while as well. The idea of writer Jose T. Garcia felt like it would work better as a short film than a play, but the production efforts displayed in staging this play were very much commendable.


2. KUBLIHAN

Playwright: Jerome Ignacio
Director: Guelan Luarca

Two high school boys talk about various things when they met in a secluded bench on a hill overlooking Marikina. One of them Julio (Abner Delina Jr.) was graduating already while the other one Mike (Joshua Tayco) is only a freshman. 

A purely conversational play like this is fully dependent on the cast, and this cast of two really delivers. The chemistry between Delina and Tayco was undeniable. I have seen Delina before playing characters younger than his real age in PETA and Ateneo, and he can really pull this off credibly with his boyish countenance and energy.

However, for me, I confess I could not seem to get the drift of the stream-of-consciousness, flight-of-ideas type of conversation these two guys were having. Sorry but I don't really get what the dinosaur was all about. It relied much on bad language to liven things up and jolt audience attention. To their credit, those profanities did work to help keep me awake during this play. 

Despite my opinion, the audience reaction after the play seemed positive as the cast was met with rousing applause. The young lady seated beside me was actually wiping off tears (though I cannot be sure they were because of the play). So maybe It is just me. Maybe it is an age thing. I could not relate to the teen angst in this play.


3. HINTAYAN NG LANGIT

Playwright: Juan Miguel Severo
Director: Raffy Tejada

This play is set in purgatory where souls get prepared to go to heaven. Lisang has been here for two years because of her bad temper and quarrelsome ways. Even her husband Nestor had gone ahead to heaven and was waiting for her to join him there. One day, a new soul and old friend, the tall and handsome Manolo, joins Lisang in the waiting room. They catch up on things which had transpired since they last met.

Now, talk about saving the best for last. This one act play by Juan Miguel Severo is a beautiful theater experience -- funny, insightful, moving. I did not want the banter between real life husband and wife -- the ever-elegant first couple of Philippine ballet, Nonoy Froilan and Edna Vida Froilan -- to end. When he was called up on stage during the curtain call, I was so surprised to see Severo so young, when he so effectively captured the essence of senior citizens in his script. 

I am sure there is no dry eye in the theater when Lisang delivered her climactic line, and then Manolo countered with one of his own. Their timing was so exquisitely perfect. I have never seen the Froilans act on stage before, so I was really pleasantly surprised at their acting performances. I even caught director Raffy Tejada wiping his eyes in this scene, and he must have seen and heard this scene countless times already. 

In last year's VLF X, there was another play entitled "Betang" which was also about senior citizens waiting to be called to heaven, and pining for their one great love. I also loved that play. In that play, the nostalgic "I Wanna Be Loved by You" sung by Marilyn Monroe had a major role. In "Hintayan", there was also a song that played an important part -- "Am I That Easy to Forget" by Engelbert Humperdinck. The two stories may share similarities, but the execution is very much different, both very special in their own ways.
↧
Search

Review of TP's MABINING MANDIRIGMA: "Steampunked" History Lesson

July 4, 2015, 4:52 pm
$
0
0
July 4, 2015




I love the title of this play -- "Mabining Mandirigma". Literally, it means "The Gentle Warrior" and this is the formal English translation of the title. But it also means "Mabini, the Warrior,' referring to Gat. Apolinario Mabini, the central character this play is all about. Aside from that smart title though, there is so much more to love about this play from the story, the music, the performances to the technical aspects I do not know where to begin. 

Written by Dr. Nicanor G. Tiongson in rich Filipino, the story followed of the political career of Apolinario Mabini during the Philippine Revolution after the declaration of independence in Kawit, Cavite on June 12, 1898. Respected for his legal and nationalistic wisdom, Mabini is a trusted confidante, adviser and Cabinet member of President Emilio Aguinaldo. 


Buencamino and Ferrer as Mabini and Aguinaldo

When the revolutionary government was forced to move the capital to Malolos, a Congress was formed under the leadership of turncoat illustrados like Pedro Paterno and Felipe Buencamino, who were only too willing to kowtow to the Americans. Outvoted, Mabini was exiled to Guam. Shortly after his return home and resignedly signing allegiance to the US, Mabini succumbed to cholera in May 1903.


Mabini and the Illustrado villains

The Mabini story is still rather familiar to me, especially since I recently watched another musical about Mabini entitled "Ang Huling Lagda ni Apolinario Mabini" staged by Dulaang UP just last October 2014. The former play (written by Floy Quintos, starring Roeder Camanag) used Mabini's exile in Guam as take off point, an event which only had brief mention here. I felt we got more details of the political intrigues experienced by Mabini in this production.

I realized that watching this play on the Fourth of July was so ironic. We see American icons like Mark Twain, Uncle Sam and the Statue of Liberty on the stage. We hear Mabini converse with American authorities like William Howard Taft, Gen. Franklin Bell and Gen. Arthur McArthur, with their Western-twanged English. While staged with humor, these imaginatively out-of-the-box scenes so bluntly explained Mabini's anti-American sentiments.


QueenMia as Anti-Imperialist Mark Twain 
singing her version of "Battle Hymn of the Republic"

The first thing you notice when you enter the Little Theater of the CCP is the awesome design of the stage. This classic-looking yet very contemporary set was designed by acclaimed multimedia visual artist Toym Imao. Marked by huge gears of an industrial machine, they made the whole stage feel like the inside of a clock for me. The set pieces were oddly charming, like the backrest of Aguinaldo's chair that looked like the front of a jeepney.  The edgy costume designs of James Reyes and the video projections of GA Fallarme worked very well with this set. The lighting design of Katsch Catoy made the gears of time and drama come alive.

The Striking Stage Design by Toym Imao

The musical themes for this play by the award-winning musical director Joed Balsamo was generally audacious and bold. The core rock opera-style score was admixed with various other musical styles. There were some variations of American songs to accompany anti-Imperialist sentiments. There was also a sweet gentle lullaby in the mix, reminiscent of Balsamo's work in "Sandosenang Sapatos," another TP production. One of the magical production numbers was a song sung in total darkness, with the stage only lit by flashlights held and danced around by the cast, which I guess was inspired by "Pitch Perfect 2".


Delphine Buencamino and Marco Viana in an intense scene

Remarkably, the lead role of Apolinario Mabini is being played by a woman, Ms. Delphine Buencamino. According to the production notes, this gender-bending casting was borne out of musical necessity, to set Mabini's voice apart from the dominantly male voices in the cast. Yet, secondarily, this casting choice also emphasized Mabini being the ostracized odd-man out. I had seen Buencamino act last year in UP and in Virgin Labfest X. Her role and performance here in "Mabini" should by far be her most challenging and her most memorable. She totally captured Mabini's intellectual brilliance, principled conviction and later, his bitter disillusionment. Beyond the initial adjustment about her feminine and youthful festures, Delphine Buencamino became Mabini. (Coincidentally, Ms. Delphine's celebrated mother Shamaine Centenera-Buencamino also did a gender-bending role in Dulaang UP's "Ang Misis Kong Promdi" last year, but only in a supporting role. Daughter trumps mom in this regard.)


Arman Ferrer in the Flashlight number

Arman Ferrer continues to impress his audience with his vocal agility. His Aguinaldo was commanding both in physical bearing and in vocal timber, standing out from the rest of the cast. Carol Bello gave an emotionally-rich performance as Dionisia, Mabini's mother. The Tanghalang Pilipino Actors Company members, Jonathan Tadioan (as Buencamino), JK Ibesate (as Paterno), Aldo Vencilao (as Mabini's loyal caretaker and ward Pepe) and Marco Viana (as young and still able Pule Mabini) also give outstanding acting and singing performances.


Carol Bello sings a lullaby for her son

The direction of Chris Millado is very vibrant. The history tale never becomes stale, with anachronistic details which were either delightful (like cellphone selfies) or jarring (like punk hair and fashion). He calls this style of making the stories of the past become relevant to the viewers of today "Steampunk." This "steampunk" spirit is heard in the music and seen in the sets, costumes, makeup and choreography (by Denisa Reyes). The repurposing of the Mabini story to apply to modern societal and political issues was also spelled out for us at the end, the scathing message reminiscent of TP's own "Kleptomaniacs" from last year.


The Company

This technically elegant production is obviously the fruit of a lot of hard work. More people should know and watch this beautiful and very polished show. Not only is it very entertaining, it is also very enlightening, with a noble purpose and message. This is a visual and aural spectacle that should not be missed. Kudos to the cast and crew of Tanghalang Pilipino for another first class original Filipino theater production!

"Mabining Mandirigma" runs at the CCP Little Theater from July 3 to 19, Fridays (8 pm), Saturdays (3 and 8 pm) and Sundays (3 pm). Tickets at P1000, P800 and P600 at the CCP Box Office or via TicketWorld.
↧

Review of VIRGIN LABFEST XI - SET D: Destitution, Doubt and Delight

July 8, 2015, 4:05 pm
$
0
0
July 8, 2015




Last week at a press preview of another show, I overheard a man behind me saying that he had already watched all 12 new plays in the current Virgin Labfest. According to him, the best set of all is Set D. He and others I saw on social media were all praises for one particular play in Set D, "Si Maria Isabella at ang Guryon ng mga Tala". Honestly, I actually had no more plans to watch any other VLF set this week. However, because of these rave reviews, I felt I should make a special trip (typhoon signals notwithstanding) just to catch that one very special play everyone is talking about.



1. TALO ANG WALANG ALAM

Playwright: Jom Sanchez
Director: Issa Manalo Lopez

Set in a seedy area along the sea wall of Manila Bay on Roxas Boulevard, a pregnant homeless woman named Myrna lived in her cart, gathering junk to sell. Her husband is in jail. Her brother-in-law Ramon is a drug pusher under the payroll of a bad cop. 

A woman named Grace had her precious handbag with all her money snatched by thieves. Grace was forced to help Myrna give birth, but will Grace get her money back?

Ina Azarcon-Bolivar and Io Balanon were made up so dirty, disheveled and destitute as Myrna and Ramon, making them look like real street people. Azarcon-Bolivar's raw childbirth scene was definitely a highlight. Edwin Serrano was so sinister as a corrupt cop. Nikki Pastor was convincing as a poor waitress who just lost her life savings.

Everything in this play was as grimy and as dirty as the stage with all the trash strewn all over it. The actors in this play were very realistic so that the whole play felt uncomfortable to watch. We are brought into the underbelly of the city we do not want to see. We are forced to face the dregs of our society, whose existence we would rather ignore. This is one painfully frank script by Jom Sanchez (the first script he ever submitted to a competition) we would expect to see as an indie movie. Staging it as a play gave it a more visceral punch especially with the heavy musical score and dramatic light direction.




2. AN EXPECTED

Playwright: Alvin Molina
Director: Roobak Valle

Set in bench inside an amusement park, a gay couple Jake and Victor were discussing about their relationship. Since he never had a girlfriend before, Victor seemed to be having doubts whether he may be straight or not. As their argument reaches an impasse, a gregarious fairy with a blonde braid named Mathilda appears, offering her one last wish that she can grant to either one of them. Jake yields the wish to Victor. What will Victor wish for? Will it really come to pass?

Gio Gahol and Acey Aguilar were very good as Jake and Victor respectively. The girls in the audience were all a-titter with giggles because of all the cheesy romantic lines the two dashing guys were throwing at each other. Perhaps these ladies wish Victor will choose them to be the girlfriend who will turn him straight, I don't know.  Initially, I thought the Fairy would be a corny character based on the photo in the playbill. But Chunchi Cabasaan played her smart and hilarious. The way she burst into song at one point, it was obvious he watched the Idina Menzel concert. Haha!

This was a smartly-written and very witty script by Alvin Molina, very entertaining. There are some things I do not really understand though. I do not know what the title meant in relation to the story of play. I am not really sure why an amusement park was chosen as a setting. I am guessing it is for the sense of wonder and whimsy? I honestly did not understand what the whole epilogue part really meant. Was that about how the wish was fulfilled? Was it a flashback to or a reboot of the past? 




3. SI MARIA ISABELLA AT ANG GURYON NG MGA TALA

Playwright: Eljay Castro Deldoc
Director: Ed Lacson, Jr.

Maria Isabella is an idealistic 16-year old girl who fell in love with a young man named Lorenzo Salvatore, whose life she claimed she saved. However, Lorenzo keeps his eyes always closed, and only opened them when he was looking at the stars in the sky. 

Maria Isabella asks the kite master Sr. Melchor Antebades to make her a kite which could bring her up among the stars, so Lorenzo would see her. Sr. Melchor gave her an incredible list of materials she needed to collect all from all over in order to make this kite. Maria Isabella asks her younger friend, a boy who was a butcher's apprentice, to accompany her on her trip. They never thought that their quest for these materials would take them 60 years!

Before the play began, it was announced that the original lead actress of this play (Krystle Valentino) was stricken with chicken pox. Maria Isabella is going to be a totally new actress in this play named Ness Roque-Lumbres, who apparently just learned the script the night before. It was distracting at first Ms. Roque-Lumbres had to read from the script she carried with her onstage, but eventually her infectious charisma as the spirited heroine completely won us over. Petite and pretty, Ms. Roque was simply a delight to watch. Rafael Tibayan was very winning as well with his own dorky charm as the butcher boy whose name we never even learn.

This script was written by Eljay Castro Deldoc based a book by Dean Francis Alfar entitled "A Kite of Stars"(I have to look for this book!). This was unlike any other play I had seen in the Virgin Labfest before, because of it was a whimsically romantic play for children. It was imaginative the way the fantastic tale was told with puppets and shadowplay. It sort of reminded me of the Tanghalang Pilipino production of "Ang Munting Prinsipe" which also used similar devices to tell its story. I can totally imagine TP or PETA picking this timeless one-act play up and developing it into a gorgeous full-length production which can run forever to entertain generations of kids for years to come. 

The positive word of mouth has been proven true. I have watched 9 out of the 12 one-act plays of this year's VLF (I was not able to catch Set A). This play is definitely among the Top 3 in this year's Labfest. 


From 2nd on Left going Right: Rafael Tibayan, Ness Roque-Lumbres, Eljay Castro Deldoc, 
Ed Lacson Jr. and their "guryon" in the background.


There is one more schedule of Set D left on July 12, 8 pm, the last show on the last day of this year's Virgin Labfest.
↧
↧

Review of VIRGIN LABFEST XI - SET E: Excellent Ensembles

July 9, 2015, 3:29 pm
$
0
0
July 9, 2015

Every year, the Virgin Labfest names three of the best plays to be restaged in the Revisited set the next year. It is interesting to note that #2 and #3 were both in the same set, Set C, last year in Virgin Labfest X. #1 is from Set B. 


1. ANG NAGHIHINGALO

Playwright: Raymund P. Reyes
Director: Dennis N. Marasigan

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, they do 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.

Of these three Set E plays, this is the only one I actually caught. I loved it. One of my favorite plays last year because it was so funny. Because of my background, I enjoyed the medical aspects of the play and how lay people misinterpret what the doctors tell them, and the common beliefs about strokes and aneurysms. Those absurd medical hypotheses on how the stroke probably happened certainly kept me in stitches.  Reyes also found a trove of rib-tickling comedy from the many sub-issues this play tackles, like public school teachers, drinking sessions of men, the nouveau riche, marrying older foreigners, among others.  

Dolly de Leon is still so potent as the flamboyant well-to-do eldest sister Linda, who recognizes no one when it comes to her loan sharking business. While he was generally OK, I thought that Russell Legaspi did not completely come up to par when it comes to the hilariously over-the-top performance of Bong Cabrera last year as the second eldest sibling Guido. No matter though, this little observation does not significantly detract in my overall enjoyment of this play a second time around . I laughed just as much as I did last year.




2. MAPAGBIRONG HAPLOS

Playwright: Kevin Tabora
Director: Melvin Lee

Jimmy Pineda was a movie stuntman who spent several years in jail for murdering his starlet girlfriend. After his release from prison, he takes up a vocational course in butchering with the hope of getting a job in such capacity in Canada. Needing help with his overseas job application papers which included a personal statement, Jimmy seeks the help of his estranged eldest daughter Jeanette, a PhD candidate, creative writing professor and film/TV scriptwriter. Their awkward meeting opens up old wounds and reveals previously unexpressed frustrations and pent-up emotions.

Of the three plays in Set E, this was the heavy drama. There were only two characters -- a father and his daughter. He is humble, contrite and repentant. She is bitter, angry and defiant. Both have unresolved issues in their past they need to get off their chests. A harrowing script like this definitely demands the best and most talented actors to bring it to life.

The elegant Dido dela Paz was not the original Jimmy when the play was first staged in last year's VLF. Physically, he may not really look like an illiterate ex-con tricycle driver who gets into brawls with beer bottles. But with his masterful acting and delivery of lines, we are convinced he is one. He even manages to gain our sympathy despite the despicableness of his damaged character.

I knew Meann Espinosa more as a marketing manager of PETA than as an actress. I have only seen her act once, and that is the innovative school teacher in PETA's original musical entitled "William", a role which won her an award citation. This role in "Haplos" was such a most intense and serious role and Meann completely nailed it. Her final scene was devastating drama that it would be impossible to hold back tears. (Too bad I missed Ms. Espinosa's new play "Dalawang Gabi" in Set A.)



3. ANG GOLDFISH NI PROF. DIMAANDAL

Playwright: Eljay Castro Deldoc
Director:Roobak Valle

In Paciano Rizal Agricultural High School, three freshmen students were under investigation for allegedly killing the goldfish (lovingly named Dedels) owned by their terror science teacher, Ms. Dimaandal. The parents of two of the kids, Vannie (mother of Jarrod) and Renz (father of Madjam), were alumni of the school, and apparently had an unresolved romantic past behind them. They meet in principal Ms. Caracol's office to discuss the issue together with the class adviser of the boys, the young Mr Tugbo. This meeting with the incensed Ms. Dimaandal escalates into a full-scale madcap scientific method type investigation.

This is a very popular play because we totally remember our own high school days and our favorite teachers when we watch this play. Don't we all have our own brushes with pranks-gone-wrong and discipline issues in school? Don't we all have that unreasonable terror teacher? Don't we all have that teacher who constantly pronounces her words with the p-f syndrome and other odd accents? Audiences identify with these crazy characters and find the humor very entertaining and nostalgic at the same time.

The cast does excellent ensemble work. The mother and son team of Peewee and Paolo  O'Hara play Prof. Dimaandal and Renz respectively. The O'Haras were also in two other plays in Set B, Ms. Peewee in "Huling Huli" and Paolo in "Macho Dancer." I just saw Ms. Wenah Nagales as ditzy and dowdy Doreen in the first play of this set, and here she was again in the third pay, but this time totally transformed into a glamorous and fine Vannie -- so versatile. And talking about versatility, I was also impressed with Ms. Sherry Lara when I realized that last year, she was playing the hilarious Ms. Caracol in this play, at the same time she was playing the lead in a very dramatic play "Betang" in another set. 

Playwright Eljay Castro Deldoc is on a roll. "Goldfish" made it to the Revisited list this year. Most likely his present entry "Maria Isabella at ang Guryon ng mga Tala" will also make the Revisited list next year.
↧

Review of Artist Playground's THE RIDDLE OF THE SPHINX: Short But Savvy

July 13, 2015, 2:15 pm
$
0
0
July 12, 2015




When I received the invitation to go see "The Riddle of the Sphinx", I noted that the company was not familiar to me and the actors nor the director were not familiar to me. The venue itself was not a formal theater, but the address indicated a condo. However, when I read further to see Roeder Camanag's name involved in the project, I decided this would be worth checking out.

Looking for the venue was not too easy. I knew Mother Ignacia Ave. and St. Paul the Apostle Church. Landsdale Tower was supposed to be across the church. I missed it the first time I passed by. On more careful looking on my second round, I saw it. Landsdale Tower is an old-looking building painted dark mossy green. There was no poster about the play in the lobby, but the guard at the info desk was aware about it and that reassured me. 

After registering at the guard, I went up to the 17th floor, and looked for 1701. Again there was no poster outside the door, so I just knocked and looked inside. It was dark inside with red lights. I was met warmly by the fledgling company's artistic director, veteran performer Mr. Roeder Camanag himself, and his friendliness put me at ease. There was a small performance space and three-tiered bleacher benches which would fit only around 15 people or so. 

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

The performance area had a couple of stepladders. Two actors, a man and a woman, who were only in black underwear, were seated on the floor under the ladders. A voiceover solemnly intoned William Shakespeare's words in Act II, Scene VII of "As You Like It" -- "All the world's a stage..." The actors did interpretative movements on and around the ladders, with only an occasional grunt and moan to be heard from them.



At the end of the poem, the red lights were turned off and the actors donned their clothes. Observed that the man took a little longer to dress up than the lady. When they were ready, the lights came back on and the play proper began. A girl was waiting for a bus to come. A boy joins her to wait for his own bus. They strike up an animated conversation that begins with getting to know each other, getting married, having kids, growing older and finally ending with someone dying. The whole presentation was only about 30 minutes long.

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

So that was what the title meant. "The Riddle of Sphinx" refers to the Greek myth where the Sphinx was a monster who killed those who could not answer its riddle which went: "What is the creature that walks on four legs in the morning, two legs at noon and three in the evening?" Only Oedipus answered correctly,"Man." Though it did skip infancy and childhood, this play summarized the life events that happen between a typical man and woman.



This performance piece for two was originally written in English sometime in the 1980s by Ilonggo writer Eugenio Deriada. It was translated into Filipino by Jim Bergado. In its synopsis, "The Riddle of the Sphinx" was about two strangers exploring the "relationship dynamics of a man and a woman through a game they played" while waiting for their bus to arrive. It is a piece that fit right down the alley of Artist Playground, with its aim to be a laboratory for experimental works of art. This show was directed by Paul Jake Paule.

That afternoon I watched, the roles of the Young Woman and the Young Man were both played by senior college students majoring in Theater Arts from the Pamantasan ng Lungsod ng Valenzuela. They were Shiela Espina and Jerome Rosalin. Their curriculum vitae are not lengthy, so they are still really very new actors. However, they did very well considering the difficult demands of their roles with their sincere, raw and natural performances. In other performance dates, the role of the Young Man would be played by a more experienced actor, Ace Urieta.



It is a challenge for any pair of actors to perform this piece because of the strong chemistry it demands between them. The very intimate venue in 1701 The Little Room Upstairs also does not give them any leeway to hide any mistakes. Every little thing they do can be seen. On the other hand, the audience also may feel uncomfortable sitting so proximate to the actors, seeing everything they do in close up, and probably vice versa. This is indeed a very unique theater experience, for both the actors as well as the audience.

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

If you are interested to watch this type of experimental performance piece, you can call the number of Artist Playground at 09158153716 for inquiries on ticket prices. Look for Ms. Rojean. "The Riddle of the Sphinx" will run for two more Saturdays, with performances scheduled at 3 pm, 5 pm and 7 pm.


Rosalin and Espina, along with Director Paul Jake Paule (in white), AP Artistic Director Roeder Camanag (in black) and other crew members take their bow.

Upcoming Artist Playground projects at 1701 The Little Room Upstairs in the coming months include: “Tag-ani” by Amelia Lapeña-Bonifacio (Aug. 22-23, 29-30) and “We Hear But Do We Actually Listen?” a one-woman show by Angelina Kanapi (September). Aside from theater, AP also supports the visual arts with “Jaded-Miniature Series,” a solo mixmedia exhibit by AP board member Nasser Lubay in November.

A project that first originated and explored in 1701 is already going to be seen at the CCP. “Ginugunita Kita,” a concert featuring the poetry of Maningning Miclat and the music of AP co-founder Jesse Lucas, will be performed at the Little Theater of the CCP on Sept. 3, 7 p.m. This show had also been successfully performed in Aldaba Hall in UP Diliman last May.
↧

Recap of My WWTBAM Experience (Or How I Almost Sat on the Hotseat)

July 25, 2015, 8:26 pm
$
0
0
July 26, 2015




On May 20, 2015, there was an announcement on the Mensa Philippines FB page that the TV5 show "Who Wants to Be a Millionaire is on its 14th season and is looking to partner up with Mensa Philippines for a “Genius” special! 

I had been a trivia geek all my life and I had longed to join WWTBAM ever since the Christopher de Leon days so many years ago. Never had the guts of doing it back then, or now when it re-emerged with Vic Sotto as quizmaster. I felt this would be the best opportunity to fulfill a longtime dream.

They are searching to 10 contestants for each of the two categories - 11-16 year olds, and adults 18 years old and above. These 20 contestants will be screened before they can have a go on the show. Requirements were listed, including a very long questionnaire to fill out, which not only asked for personal biodata, but also for interesting life anecdotes as well as your plans for the prize money.


Our only group photo on testing day

On May 31, the audition for the candidates was held at the TV5 Media Center in Mandaluyong City. The call time was 2 pm, but things got going only maybe after an hour or more of waiting in the assigned conference room. We were about 15 or so aspirants there, many of whom I have met only for the first time, since I was an inactive member of the organization. When the production people finally faced us, we were again asked to fill out a form exactly like the one we filled out online, this time by hand. 

Later, we were given a twenty item Multiple Choice quiz about various trivial topics. The questions covered topics from the popular (like "What year did Flashdance by Irene Cara hit #1?") to the totally obscure ("What is the name of the pet of Teddy Roosevelt's son?"). Many of the questions were very American in orientation, which was rather distressing. We had fun discussing our (wrong) answers after the quiz.

After some time, we were all herded into another waiting room while the production people set up video instruments for the next phase of the audition -- the VTR!  One by one, in the order of our arrival to the venue, the candidates were called in to be interviewed on camera by the production team. We were asked basically the same questions we answered in the questionnaires. The interview concluded with us giving a personal message directed to Vic Sotto, or, as he is affectionately called, "Bossing." These individual interviews wrapped up beyond 7 pm already. After this, we would just be waiting for the final announcement as to who will be chosen.

There would be no news from TV5 for a long time after that day. Until suddenly, on July 15, the fateful text message arrived! I was one of the five people chosen to play. However, it was immediately qualified that I was only in the backup slot. That immediately tempered my expectations, but I was still very excited about the turn of events. I was watching "Ant-Man" that night with my kids, so I could not take the call from the TV5 crew who was calling me. I only got to talk to her later that night when I got home.

Friday July 17 is a holiday declared for Eidl Fitr. This was the day declared for home visits by the TV5 crew. I spent the whole of Thursday preparing the living room and my office for this visit, decluttering it the best I can. The four other candidates were already told of their home visit schedules. I was told that the crew won't be going to my house after all. By then, I already knew that I would be the last in line to play. 

Despite that, I was still given an outfit peg for taping day. I had to bring 4 sets of clothing that reflected "New York in Autumn" like Richard Gere in "Pretty Woman" (yeah, right!). LOL! I was even emailed a photograph of what my outfit should look like. My inner shirt had to be orange or fuschia. Clothes with those bright colors of course are not really found in my wardrobe. Yikes!


Our only group photo that taping day

July 20 came. Call time is 1 pm. (Of course, Vic Sotto will still be in "Eat Bulaga" up to 2 pm.) I did not go to work anymore that day to make that call time. The production required that I had to bring a companion or two with me. As much as I would like to bring my wife and kids with me, Monday was a school day so they were not available. I brought my dad with me instead. I knew he would also enjoy this experience in a TV studio. I did not realize that the TV5 Studio was so far along Quirino Hi-way in Novaliches and the lunchtime traffic was so heavy! We parked across the street in SM Novaliches as advised. Fortunately this parking would be free for the whole day.

We just spent the whole afternoon waiting in the dressing room. They gave us food for lunch, merienda and dinner. They had us watch old episodes of WWTBAM on video to familiarize us with the rules. The production crew oriented us with the rules. They told us that they wanted one of us to actually win the big prize. We were given a chance to take pictures on the set. We saw fellow Mensans seated in the audience. For me especially, I had to take advantage of this opportunity to have a photograph in the hotseat, knowing how slim my chances of going on to play are. 


The production team briefing

By about 6 pm, our first contestant went on stage already with Bossing Vic -- this was it! We were seated backstage watching the proceedings. What we saw in the monitor was actually what it would look like on TV already. There were hardly any cuts made by the director. The game with our first contestant was intensely high drama from the second question! This was really very good TV because you will want to see how what would happen in his game. 

When the first game ended, our second contestant went on. He was only able to reach his fourth question, when the time for episode 1 ran out. He will continue his game in the next episode which will be taped on that same night. It should be noted that Vic was quite serious in between takes. He was very quiet, only sitting on his seat diddling with his phone. 


My view of Bossing from backstage

We waited for another hour or so before the shooting for the next episode began. Despite the slimness of chances that I will go on, I was still treated as if I will. My final outfit was checked, though I was not really told to change. I still had a run-through of my script with the production assistant in case I get a chance to banter with the host. 

Our second contestant had changed his outfit already to give the illusion that a week had passed. When his game ended, our third contestant started his turn. Again, this would be a very tense game as it transpired. His game concluded before the episode time ended so our fourth contestant got to sit and play! The game of our fourth contestant was going much smoother than the first three games, but time eventually ran out and he would have to return for the next episode. 

So that was the end of the line for me. Our organization was only good for two episodes, so that was it. I was told I would have to audition all over again if I wanted to play again. I was given P500 for my transportation allowance. We left the studio past 10:30 pm already. We did not get a group photo with Bossing, or even with the WWTBAM logo behind us. 
My one chance to sit on the Hotseat

So with that I end my account of my close brush with the hotseat that never came. I will not deny it was disappointing to come so close to fulfilling a longtime dream, yet it still did not come to pass. Oh well, that's the way life goes. I guess I will just have to earn my million pesos in other ways.


↧
Viewing all 447 articles
Browse latest View live
Search