Review of LAPULAPU, ANG DATU NG MACTAN: Heroism in Harmony

October 24, 2021

After being closed down 25 years ago, the Metropolitan Theater was restored, renovated and reopened this year. Its first major stage production is "Lapulapu, Ang Datu ng Mactan" with book and lyrics written by Nicolas Pichay, Jr, with music and arrangements by Krina Cayabyab, and directed by Dexter Santos. This special show was produced by the National Commission for Culture and the Arts and the National Historical Commission of the Philippines for the Quincentennial Celebration of the Philippines and the Year of the Filipino Pre-colonial Ancestors. It was streamed for free on FB Live today October 24, 2021 at 6 pm.

Even if they tackled the same events in Philippine history and employed the fusion of similar musical genres, it is important to note that this is NOT the same show as the “LapuLapu: The Neo-Classic-Ethno-Rock Opera” with music by Jose “Toto” Gentica V and libretto by Victor Henry Tejero staged at the CCP in 1997 directed by the late Behn Cervantes with sets designed by National Artist Salvador Bernal, which was recently streamed for free on YouTube last Independence Day, 2021.

After the National Anthem and Invocation by His Excellency Most Reverend Jose S. Palma, D.D., Archbishop of Cebu, there were messages delivered by NCCA Chairman Arsenio J. Lizaso, NHCP Chairman Dr. Rene R. Escalante, Mayor Junard Q. Chan of Lapulapu City, Executive Secretary Salvador C. Medialdea and the President himself Rodrigo Roa Duterte (in his denim jacket). There was a breath of glamour when NCCA Arts Ambassador Ms. Catriona Gray strode out in her elegant white one-shoulder terno to present the show proper. 

The musical begins with the Babaylan (Natasha Cabrera) chanting the story of two local leaders, Humabon (Red Nuestro) and Lapulapu (Arman Ferrer). Their villages were already prosperous and productive even before the ships of weary white foreigners led by Ferdinand Magellan (Andre Tiangco) arrived at their shores. Among his crew were his navigator Juan Sebastian Elcano (Matthew Barbers), chronicler Antonio Pigafetta (Al Gatmaitan) and a Malay slave Enrique (Paw Castillo) who served as their interpreter. 

The set was simple, just a single elevated ramp coming from the right side of the stage going horizontally towards the left, then curving forward to end at center stage. Behind it were three giant LED video screens upon which were projecting the backdrops designed by GA Fallarme. The dramatic lighting was designed by Dennis Marasigan. The elaborate costumes for the characters (both natives and Spaniards) were supplied by Gino Gonzales, with Norman Penaflorida completing the whole look with his hair, makeup and tattoo designs.

While we know the story of Lapulapu's continued defiant resistance to welcome the foreigners and be converted into their religion, like Humabon was, this show also had a couple of scene I never learned of in school. Magellan was shown trying to convince Humabon to intercede by offering him the position of overall sultan of all the local villages. When Humabon did approach Lapulapu to convince him to accept the foreigners, this resulted in a confrontation where both men were aiming their bows and arrows at each other. 

The final face-off between Lapulapu and Magellan was not a direct one-on-one sword duel. The way the historic moment was staged was with both personalities away from each other. While Lapulapu on the ramp wielding his sword with heroic fervor, Magellan was suddenly seen to begin writhing to death on cue downstage among the villagers. Some may be expecting a more definitive hacking or beheading scene, but the graphic violence or even the exact identity of the killer was not really the point. It was a collective effort by Filipinos. 

After Lapulapu sang his unexpected valedictory kundiman "Bituing Marikit," Elcano and Enrique related how they completed the first circumnavigation of the globe. Three babaylans (Cabrera, Cara Barredo and Marynor Madamesila) prophesied about the country's future, as photos of heroes from Bonifacio and Mabini to current Covid-19 frontliners flashed on the screens. As the finale, the scene shifted to the present times, cast members led by Ferrer (as pedicab driver) and Cabrera (as nurse) to sing an anthem of heroism by regular citizens. 

Ms. Gray came out again to announce the grand inauguration of the MET on Dec.10, 2021. Then we see the cast again in their historical costumes to reprise the final song about "Bayaning Pilipino sa Makabagong Panahon." The final message was delivered by Prof. Michael Charleston "Xiao" Chua shot in three different picturesque areas of the restored MET. He discussed the significance of the Quincentennial as the celebration of the Flipinos' humanity, but also our victory against foreign invaders. 

I had some difficulty getting into the show at first because I had difficulty understanding the lyrics being sung by the Babaylan in her opening scene, not even recognizing if she was chanting in Filipino. It was also not too easy to comprehend all the words being sung or spoken at certain parts of the show because of the sound quality via FB Live, so I had to use context to get the point of the scene. It would have helped if this stream also had subtitles. 

That point aside, the singing vocals of cast, particularly the powerful tenor voices of Ferrer, Gatmaitan and Ivan Nery (as the Pope Alexander XI) were strong and stellar. Furthermore, the Herculean effort for being able to stage this major musical production that fused opera and musical theater with ethnic music and kundiman within only two weeks of locked-in general rehearsals deserves utmost commendation to the cast and crew.

KTX: Review of I WILL: THE MUSICAL: The Spark to Serve

 October 18, 2021

"I Will: The Musical" is a new inspirational musical theater production with 24 original songs based on the life and times of doctor of the masses and aspiring politician Dr. Willie Ong. It was written, composed and directed by Antonino Rommel Ramilo. Ramilo began his theater career in 2012 with his first musical about the second Filipino saint, San Pedro Calungsod, which had earned its share of awards. 

The show was filmed as live on July 23, 2021 at the Music Museum without an audience, just a few days before a strict ECQ was imposed on Metro Manila. Staging a musical during the pandemic had been very challenging because of the required locked-in cast and crew with swab testing pre and post-shoot. They only had two months online rehearsals and just one week of face to face rehearsals.

Act 1 covered the period of Willie's (Gerald Santos) troubled youth, disturbed by voices in his head, feeling empty and aimless. We learn that he did not get along with his parents (Bo Cerrudo and Ima Castro) who considered it weird that he would not choose to go into business like them, even threatening to disown him. He was also an outcast student in school, bullied by cruel classmates. Because of a supportive Uncle Ed (Robert Sena), he was able to pull himself together to go into med school. 

Act 2 covered the period of his career after graduation when Dr. Willie and his new bride Dr. Liza (Paulina Yeung) decided to commit themselves to becoming a doctor for the masses. We see how his married life with his wife Dr. Liza was challenged by Dr. Willie's extreme devotion to his calling, even as she gave birth to their first child. This act also revisited the day when Dr. Willie's father died from his fight with liver cancer and how this affected Dr. Willie into becoming a better version of himself.

In Act 1, the best songs for me were: 1) "Chaos" about the confusion inside young Willie's head as he faced rejection at home and in school. Gerald Santos sang this in harmony with the faces of four more Geralds on the video wall behind him. 2) "Find Your Purpose," his Uncle Ed's song to convince Willie back on track in life. This was the only full solo number for Robert Sena. 3) "I Want to Go Home" was a haunting song by a patient who died under intern Willie's care. The impressive soloist here is Lance Soliman, one of the young men in the ensemble. 

In Act 2, the best songs for me were: 1) "Finally," Will and Liza's love duet when they express their love and commitment to each other. This was the best showcase for Santos and Yeung's vocals together. 2) "Our Father's Love," his father's final message to his son comparing his love to God's love. This was Bo Cerrudo's primary showcase of his range. 3) The title song "I Will," Dr. Willie promises to do his best in everything he does in life in this anthemic song that served as an appropriate and memorable finale number. 

There were some songs which had repetitive messages, like "What Are You Up To?" and "We Can't Stand You" were songs which both depicted the bullying in school. The lyrics of some songs were not entirely specific to Dr. Willie's experience. "Closer to Our Dreams" could apply to any college graduation. "Welcome to Our World" could apply to any med student. "You Fill Me Up" can apply to any profession of love by a suitor. "Am I Competing?" could apply to any wife feeling neglected by a husband immersed in his work. 

The songs featured some entertaining but occasionally distracting rhymes, like how "aptitude" was rhymed with "ineptitude," "beatitude" and "gratitude." The love songs tended to bear ultra-saccharine platitudes. "Your Eyes" was about Liza's thrill at Willie's "gaze which made me feel beautiful," and "how his eyes tell me a million things, sprinkling my life with love." There were sentiments which did not quite ring true or sincere. I was not convinced the realizations in the song "Nobody Like You" could have come from a son estranged from his father all that time. 

The singing prowess of the lead cast was unquestionable. Gerald Santos's tenor vocals soared in all his songs, be it solo, duet or group. Paulina Yeung may be a new name for me, but this young lady had already performed on Broadway as Tuptim in the recent "King and I" revival, and after listening to her crystal clear soprano, I am not surprised why. Bo Cerrudo, Ima Castro and Robert Sena all displayed the distinctive vocal qualities and stage presence that made them institutions in the local musical theater scene.

The girls in the talented ensemble included Roxy Aldiosa, Audrey Mortilla, Ivy Padilla and Alyssa Evangelista, while the boys included Vince Conrad, Jude Matthew Servilla, Lance Soliman and Khalil Tambio. They shifted characters in every scene, as the voices that bothered Dr. Willie's mind, as the classmates who bullied him in high school and abandoned him after med school, and as the poor people whom Dr. Willie served in the community. They also sang the pandemic-themed song "We Heal as One" as the first song in Act 2. 

Drs. Willie and Liza Ong were quite brave to share their personal stories, warts and all. Kudos to the efforts of director Rommel Ramilo, his cast and crew to get this original musical up and running. Some aspects of the staging and the songs may not be perfect yet. There may be benefit in streamlining some parts of the show in order to make it run more smoothly in a more engaging manner . However, this show does deliver its idealistic message across that anyone can recover from his past, pick themselves up and be the best he can be.