Review of TP's KATSURI: Drama of the Downtrodden

October 5, 2019

"Katsuri" is a Hiligaynon word for "shrew." That is the title Ms. Bibeth Orteza chose to give her modernized Filipino adaptation of John Steinbeck's classic, "Of Mice and Men." For her, the titular "katsuri" was to represent the "sakada," or sugar farm workers, who lived lives of downtrodden oppression. Inspired by the death of Bernardino "Toto" Patigas, an activist who fought for sakada rights, Ms. Orteza brought Steinbeck's story from a California farm during the Great Depression to a Negros sugar farm in the present day.

George and Toto were a couple of farmhands who always worked as a tandem. The steadfast and practical George had taken it upon himself to be the guardian of Toto, a big strong but mentally-challenged man. The two shared a dream of owning a piece of farmland which they could call their own, where Toto could raise his favorite pet rabbits. Because of an unfortunate incident in Hacienda Luisita, the two friends sought work in a sugar farm in Negros to start over in their quest for their elusive dream. 

George (Marco Viana) and Toto (Jonathan Tadioan)

With his hefty body build, Jonathan Tadioan was the natural choice to play the bulky hulk Toto (Lenny in the book). Tadioan had to create in Toto an aura of child-like innocence which audiences will want to mother, and this multi-Gawad Buhay nominated actor certainly rose to that challenge as only he can. Tadioan's Toto was a gentle giant teddy bear when he tells about his love for soft furry rabbits and puppies. However, he can also exude an air of danger when provoked as he forgets how strong he is. His co-stars' best scenes were those they shared with him.

For people who have read the book, Marco Viana would seem to be physically miscast as George. Steinbeck describes George as a "small man," but Viana looked as tall, or even taller than Tadioan, from where I was seated. However, this eventually did not matter, as Viana was able to effectively convey George's deep sense of concern for his mentally-challenged friend Toto, trying his best to keep Toto out of trouble. Such was the genuineness of George's love which made his final decision all the more painful.

Inday (Antonette Go) teases Toto and George

Nanding Josef (as Tatang) and JV Ibesate (as Payat) played sympathetic farmhands who  who fully appreciated the bond between George and Toto. Fitz Bitana played a tough and insecure Kulot, whose presence spelled bad news whenever he was on. Antonette Go gave an outstanding featured performance as Kulot's wife Inday, whose allure and beauty portended trouble among the menfolk. For once, Ybes Bagadiong hit all the right notes in his portrayal of farm outcast Nognog. The role of the Boss was given a puzzling treatment in the play, especially with surprise guest actor Michael Williams playing that role. 

The heavy depressing subject matter of the play may be hard to bear in certain moments of intense talky scenes. However, the mood was occasionally lightened somewhat with Tadioan's cute antics, or whenever Orteza injected the conversation with current pop culture references, anything from "Pinoy Big Brother" to "The General's Daughter." 

The cast and crew of Katsuri take their bows

The tech designers were all on point to create the suffocating atmosphere of oppression: Ohm David for the sets, Dennis Marasigan for the lights, Daniel Gregorio for the costumes and T.J. Ramos for the sound. Director Carlitos Siguion-Reyna brought Orteza's script into life with all the foreboding dread and tension precariously simmering, building up to an explosive boil over in the end. This hit us with a reeling punch so powerful it will take some time before you can recover your breath and composure.


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KATSURI runs from October 4 - 27, 2019 at the CCP Studio Theater (Tanghalang Huseng Batute). Showtimes are Fridays and Saturdays at 8:00 pm, with 3 pm matinees on Saturdays and Sundays. Ticket prices at P1000 for VIP and P800 for the bleachers.

Review of DUP's THE HOUSE OF BERNARDA ALBA: Overarching Oppression

September 20, 2019

"The House of Bernarda Alba" was play written in 1936. It was the last play by acclaimed Spanish poet and playwright Federico Garcia Lorca. Just two months after it was written, Lorca himself would be a victim during the oppressive Spanish Civil War, as his body disappeared without a trace. 

Dulaang UP has chosen this play about oppression as its opening show for its 44th season themed "Daluhong" (or "Assault"). The English translation I watched yesterday was done by Daisy Lopez. There is also a Filipino translation done by former DUP artistic director Alexander C. Cortez, who is also the director of this production.

The second husband of 60 year-old Bernarda Alba had just passed away. Ever the demanding matriarch, Bernarda ordered her five daughters aged 39 to 20 to confine themselves to their house for the next eight years, and do nothing else but tend to their sewing. Because of this oppressive atmosphere, the seeds of rebellion were sown among the sisters. However, when sibling rivalry arose because of a man, the pressures reach an explosive boiling point right inside their house.

The eldest daughter was Angustia, Bernarda's daughter from her first husband. Because she had an inheritance from her departed father, Angustia had money on her own. However, all the daughters from the second husband were receiving practically nothing from their recently departed father. This made Angustia feel superior over her half-sisters, hence the conflict that existed among them. 

Tensions among the sisters rose further when Angustia got engaged to be married to a very eligible bachelor, Pepe El Romano. Unfortunately, this dashing young man also fanned obsessive desire among the two youngest sisters, Martirio and Adela. The beginnings of this dangerous rivalry had long been noticed by the observant head servant Poncia, who did not hesitate to express her concerns to Bernarda, but to no avail. 

Frances Makil-Ignacio seems born to play tough domineering women like Bernarda. In practically all the plays I saw her in, she wore the pants and had the last say. Sarina Sasaki really projected mousy and bespectacled Martirio's unbridled jealousy. Maxine Ignacio was rabidly crazy in love as Adela. Stella Canete-Mendoza was riveting as the frankly intrusive majordoma Poncia, a wicked presence and performance that drew attention to her.

For the other members of the cast, they were Liway Gabo (who could have been more self-centered as Angustias), Iris Montesclaros (as sleep-deprived Magdalena), Mikaella Coruña (as lesbian-ish Amelia), Lei Ann Quinquillera (as Servant), Bea Racoma (as the family friend Prudencia) and the ever-flamboyant Rica Nepomuceno (as the demented grandmother Maria Josefa). Marga Luge, Marjeorie Peleño, Ana Lumain, Jeremy Cabansag, and Ani Africa complete the ensemble. 

For the Filipino shows, Bernarda Alba was played by Gigi Escalante. The rest of the cast are: Sheryl Ceasico (Poncia), Ronnie Martinez (Maria Josefa), Opaline Santos (Angustias), Gel Basa (Magdelena), Camille Abaya (as Amelia) and Jacqui Amper (Servant). Sarina Sasaki, Maxine Ignacio and Bea Racoma play Martirio, Adela and Prudencia respectively in both versions. Hearing how the English lines were written, I feel the impact would sound stronger in the Filipino version. I hope I can still get to see that. 

Main characters in white at the curtain call: L-R

Lei Ann Quinquillera, Stella Canete-Mendoza, Frances Makil-Ignacio,

Rica Nepomuceno, Maxine Ignacio, Sarina Sasaki, Liway Gabo. 

Under the unifying vision of Alexander C. Cortez, Gino Gonzales created an open space center stage, with the dusty religious iconography occupying a second tier on the drab back walls overlooking the action, adding to the confined claustrophobic feel of the stage. D. Cortezano's lighting design mainly created drama by light beams shining through wooden jalousies right under the ceiling all around the house. The music of Katz Jakosalem Trangco was mostly quiet and unobstrusive, but just adequate to build and keep the mood. The sound design of Jethro Joaquin was essential here to establish the townspeople, the horses and all the other things which were happening off stage. 

This play was populated only by women characters, some strong over-the-top types at that. Names of male characters mentioned but we never see them on stage. This was a play about women of different ages, but written by a man. I wonder how women would view this type of play where a male playwright assumes he knew what thoughts and emotions lay inside a woman's mind when it comes to their relationships with their mothers, daughters, sisters or the men they loved. Poncia's sarcastic line about bitter unmarried women was particularly memorable in a caustic way. Nevertheless, for all its heady, stifling estrogenic melodrama, the cautionary message against the tragic consequences of oppressive authority in general is delivered clearly.



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"The House of Bernarda Alba" runs from September 6 - 29, 2019 at the Wilfrido Ma. Guerrero Theater, Palma Hall, UP Diliman. The remaining English shows play on Sept. 27 - 7pm, Sept. 28 - 7pm and Sept. 29 - 3pm. The remaining Filipino version "Ang Tahanan ni Bernarda Alba" shows play on Sept. 28 - 3pm and Sept. 29 - 7pm. You can buy tickets securely through Ticket2Me. Show has three acts, and runs for 2 hours, with a 10 minute intermission between Acts 2 and 3. 

Recap of S>O>A>P> OPERA NG BUHAY KO 2: MUSIKA NI RYAN, MUSIKA NG BAYAN

September 21, 2019

The first star-studded "S>O>A>P> Opera ng Buhay Ko" fund-raising event happened last August 26, 2015.  Subtitled "The Concert: Voices of Healing," it was held at the then brand new Marriott Grand Ballroom. Accompanied by  the ABS-CBN Philharmonic Orchestra under the baton of Maestro Gerard Salonga, the performers that night were Ryan Cayabyab, Jed Madela, Vice Ganda, Mark Bautista, Cris Villonco, Menchu Lauchengco-Yulo, Bituin Escalante, Pinky Marquez, Franco Laurel, The Tux, Caisa Borromeo, Baihana and Ms. Lea Salonga. The overall chair of that project was Dr. Melfred Hernandez. 

This year, Dr. Hernandez again took on the challenge for the second edition of S>O>A>P> as its Overall Chair to raise funds for the 11-storey Medical Science Building to replace the damaged old BSLR rooms where many batches of UP Med students began their journey attending lectures of Anatomy, Physiology, Biochemistry, Pathology, Pharmacology and other basic science subjects.  This second concert was held today September 21, 2019, at the Philippine International Convention Center Reception Hall.

Emcee and performer Franco Laurel

The ABS-CBN Philharmonic Orchestra returned to provide the live musical accompaniment for the concert, this time under the baton of Maestro Jonathan Velasco. The master of ceremonies was Franco Laurel who gave the introductory spiel about this event celebrating the music and songs of National Artist for Music and Ramon Magsaysay Awardee Ryan Cayabyab. He then introduced the first performer of the night -- "The Wonderful Choir" composed of members of the Ateneo Chamber Singers and the Mass Appeal Choir. They sang their choral version of "Tuwing Umuulan at Kapiling Ka." 

Tim Pavino

That song was just the first of a series of Ryan Cayabyab songs originally sung by Basil Valdez. The first solo performer was "Miong" himself Tim Pavino, who sang his take on "Iduyan Mo."  He then introduced the next singer, who was Kapuso star Yasmien Kurdi who sang "Tunay na Ligaya" as a duet with Franco Laurel. Laurel remained on stage to render his version of "Paraisong Parisukat." 

Cris Villonco

The next singer was multi-awarded theater actress Cris Villonco, who sang a theatrical version of "Limang Dipang Tao," a song which first came out in Cayabyab's ground-breaking solo a capella album "One." Villonco surprised everyone by introducing Heneral Luna himself John Arcilla as the next performer. He sang "Hindi Simple ang Buhay," (VIDEO) a song sung by Robert Arevalo in the film version of "Larawan." 

Arman Ferrer

Up and coming theater leading man Arman Ferrer took the stage next and regaled the audience with his operatic tenor in the religious song "Gloria"  from Mr. C's  "Misa" (2000). He followed this up with a solid show-stopping performance of "Sometime, Somewhere," (VIDEO) bringing to heights the original by Basil Valdez never went. Even when he was still sustaining his final note, some members of the audience were already up on their feet giving him a standing ovation. 

Ima Castro came out to sing "Hello Joe Goodbye," the theme from the Tetchie Agbayani film "Desire" (Eddie Romero, 1982) originally sung by  Deborah Mayfield. 

Rachel Alejandro

The next set of songs were from musicals written by Cayabyab. First up was "Katy!" Franco Laurel and Tim Pavino sang "Ang Entablado ay Mundo." Cris Go (daughter of a UPCM alumnus) sang "Pahiram ng Kanta." The vivacious Pinky Marquez sang the enegetic "Aba, ba, ba, Boogie." Marquez then called Rachel Alejandro out on stage to sing the popular dramatic duet "Minsan ang Minahal Mo ay Ako" (VIDEO) together with her. Alejandro stayed on to sing "Halik ng Kahapon," (VIDEO) which she originated in the musical "Alikabok."

There was a short video interlude that told the history of the UP College of Medicine and the Philippine General Hospital in rare nostalgic photographs. 

Jaya

The concert continued with the jazzy female vocal trio Baihana (composed of Krina Cayabyab, Melinda Torre and Ana Achacoso-Graham) who gave an innovative spin to the song "Mamang Kutsero" (again a Ryan Cayabyab original from "One"). Pinoy R&B Soul diva Jaya came out to sing "Kahit Ika'y Panaginip Lang" (again originally by Basil Valdez). The Ryan Cayabyab Singers again revved up the energy by singing "Hibang sa Awit" in perfect harmony as they're well-known for.

Ryan Cayabyab Singers

The effortless vocal gymnastics of Jed Madela was next in songs like "How Can I" (VIDEO) (originally by Martin Nievera) and "Iniibig Kita" (recorded by James Coronel in 1994, and used as the wedding march at the Alcasid-Velasquez nuptials in 2010). Madela ended his set with the Christmas song "Munting Sanggol," backed by voices of the Wonderful Choir. 

Jed Madela

SOAP overall chair (and also chair of the Chancellor's Committee on Culture and the Arts) Dr. Melfred Hernandez took the stage to introduce a video which gave us a more intimate picture of tonight's honoree Mr. Ryan Cayabyab. The video showed Cayabyab's humility as a musician and generosity as a mentor were very impressive indeed. He also believed that the next wave of Filipino music will come from Visayas and Mindanao. 

SOAP Chair Dr. Melfred Hernandez

This was followed by a short video featuring UPCM Dean Dr. Charlotte Chiong, who talked about the thrusts of the UP College of Medicine -- infrastructure, science and discovery, partnership, innovation and leadership, resourcefulness and empowerment (forming the acronym INSPIRE).

The most-awaited guest singer was saved for last -- Ms. Lea Salonga began her set singing "Nais Ko" (VIDEO), originally by, you guessed it, Basil Valdez. Her next song was a Kuh Ledesma original from the musical "Rama Hari" entitled "Magbalik Ka Na Mahal" (VIDEO). She then called Mr. C up on stage to play the keyboard for her in her next song -- the Smokey Mountain love song "Kailan"  (VIDEO). Her final song was "We Win As One," (VIDEO) the stirring anthem Ryan Cayabyab wrote for the upcoming Southeast Asian Games." Lea Salonga's voice is undoubtedly a national treasure

Lea Salonga

Finally, everyone in the show gathered back together on stage to sing the finale number -- "Kay Ganda ng Ating Musika" -- the song that first put Ryan Cayabyab on the road to his now legendary musical career and life. The song always perfectly summed up the beauty of original Filipino music that Mr. C always espoused throughout his life. They sang two more songs after that -- a patriotic song "O Bayan Ko" (VIDEO) and a Christmas song "Kumukutikutitap" before calling it a musical night to remember. 

Congratulations to Dr. Melfred Hernandez, his team, all the organizers and the performers for a successful benefit show! Looking forward to seeing the new Medical Sciences Building at my alma mater soonest.

Review of Upstart's COMPANY: Sondheim's Social Sensibilities

September 15, 2019

There are three Stephen Sondheim musicals in the local theater scene now. There is his 1994 musical "Passion" presented by the Philippine Opera Company, and coming up in October is his 1979 dark masterpiece "Sweeney Todd" to be presented by Atlantis. In contrast to those two period pieces, this show "Company" staged by Upstart is Sondheim's 1970 musical about the social mores of New Yorkers contemporary to that time. 

Bobby is celebrating his 35th birthday. His friends, all couples either married or living in, throw a party for him. From that framing device, the show would go into vignettes of Bobby visiting each of these couples (Harry and Sarah, Peter and Susan, David and Jenny, Paul and Amy and Joanne and Larry) and getting insights from them about marriage. We will also meet the three ladies with whom Bobby had romantic affairs.

OJ Mariano held his ground as the central character of the show Bobby, a man in his mid-thirties who still grappled with commitment issues as all his friends were all already married or engaged. His male friends all envied his freedom, as he looked for that perfect girl who had the best qualities of his female friends, Mariano was able to project that smooth bachelor vibe and spirit. Bobby's final anthem "Being Alive" is one of my favorite songs of all time, and the main reason why I went to watch this show. Seeing it sung by Mariano in its proper context made the hefty ticket price worth it.

Finale Ultimo

(photo credit: Phil Fernando)

Joel Trinidad and Sweet Plantado-Tiongson played Harry and Sarah, who could not discipline themselves from their addictions. Ariel Reonal and Nicki Trivino played Peter and Susan, who seemed to have it all but with surprising plans. Chino Veguillas and Bianca Lopez played David and Jenny, seemingly mismatched but fit perfectly. James Uy and Cathy Azanza-Uy played Paul and Amy, long engaged but still with wedding jitters. Menchu Lauchengco-Yulo and Michael Williams played Joanne and Larry, all jaded with their wealth and age. Of Bobby's three girlfriends, Maronne Cruz played the kittenish April, Jill Pena played the reserved Kathy and Caisa Borromeo played the bohemian Marta. 

There were three particularly memorable performances from this all-star ensemble. Menchu Lauchengco-Yulo got to sing that acerbic and judgmental song "Ladies Who Lunch" and infused it with explosive drunken angst. Cathy Azanza-Dy was cheerful and bubbly even as she plowed through the tongue-twisting monster of a song "(Not) Getting Married Today" which also featured the soaring soprano of Bianca Lopez (of the Phil. Madrigal Singers). Maronne Cruz also stood out as the dim-witted stewardess April as her slinky and sexy voice and moves to seduce Bobby surely made temperatures rise in that auditorium. 

The cast at the curtain call

(photo credit: Phil Fernando)

Director Topper Fabregas decided to strip everything down to basics, so the audience can just focus on the actors and the material. The presentation area of the Maybank Performing Arts Theater was rearranged so that there is a central elevated stage (designed by Joey Mendoza) and the audience are seated all around it. This meant there were actors who may have their backs to you in certain scenes, not always easy to follow. There were no furniture on the stage except benches which the actors pushed around to fit the scene. Musical director Rony Fortich led the musicians to play the score live, which is always a good thing, especially for a Sondheim musical.

Based on my personal experience here, I think where you are seated will affect how well you hear the words. The Tony award-winning witty dialogue (by George Furth) and song lyrics (by Sondheim) are the prime meat of this show, so it felt bad that I could not grasp all of them properly from where I was seated in seat 1 of row D in the balcony. (I just walked in to buy a ticket just before the show began and I guess that was the best they could give me in that section at that time.) I can see the show pretty well which was fine, but unfortunately I cannot hear everything that well the whole time. 


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"COMPANY" runs only for two weekends, from September 13 to 22, 2019 at the Maybank Performance Arts Center in Bonifacio Global City. Show times are 8 pm on Fridays, Saturdays and Sundays, with 3 pm matinees on Saturdays and Sundays. Tickets are sold at ₱3,500, ₱3,100, ₱2,500, ₱1,800 and ₱1,500. The show runs almost three hours long with a 15 minute intermission.

Review of POC's PASSION: Obsequious Obsession

September 15, 2019

I had seen Stephen Sondheim's "Passion" back in 1996 with Menchu Lauchengco in the lead role as Fosca, Michael Williams as Giorgio and Gia Macuja as Clara. I remembered that I liked it and the beautiful but rather somber songs, but I cannot entirely recall all the details of the story anymore. This year, for their 20th anniversary, the Philippine Opera Company decided to stage "Passion" again. This is actually the first full production of the POC that I had seen.

"Passion" tells the story of a love triangle set in the late 1800s with handsome gallant soldier Capt. Giorgio Bachetti caught between his lustful beautiful paramour Clara, and his obsessively infatuated homely hostess Fosca. Sondheim created a situation which began to be apparently so clear cut. However, he gave it a twisty development of events which will keep the audience entranced as the unconventional love affairs unfold onstage.

Sondheim told the story with challenging songs rich in melody and romance. The first song "Happiness" was sung by a barely-dressed Giorgio and Clara while making love in bed, quite a bold manner to start a show with. In "Loving You," Fosca declares to Giorgio that her love for him was so strong that she was willing to die for him, a kind of love that the young man cannot yet grasp. It is easy to understand why this was the best-known and best-loved song from this show.

Giorgio and Fosca

(photo from FB page of Karla Gutierrez)

It was as if I was watching the show for the first time. I did not realize there was so much dark humor, not only among the comic soldiers, but in the lines of Fosca herself, which I found very surprising. I remembered Fosca to be desperate, but not as insidiously manipulative as Shiela Valderrama-Martinez portrayed her last night. Her heavenly singing voice was beautifully radiant, shining though the severely deglamorizing make-up and drab gowns she had on. On her 25th anniversary in show business, Valderrama-Martinez is the theater star of the season, and this Fosca of hers is a high point in her career.

Vien King makes his leading man debut as Giorgio. At first, King seemed too young to be the heroic Capt. Giorgio. Because of his youthful countenance, Giorgio's dalliances with Clara and Fosca looked like May-December affairs, which gave these liaisons another layer of danger and recklessness. This relative youth of King's Giorgio actually worked in the show's favor, since it gave context to the decisions Giorgio made, which may be puzzling if made by a more mature man. His singing was solid throughout, showcased in songs like "Is This What You Call Love?" That scene when Giorgio had his confused epiphany was a major acting moment for King that drew spontaneous applause from the audience. 

With her Caucasian features and colorful costumes, Jasmine Fitzgerald was a standout beauteous vision onstage as Clara. Her clear soprano vocals completed the total package. Lorenz Martinez played a key role as Fosca's compassionate physician, Dr. Tambourri. Raul Montesa was solid presence in his role as Fosca's cousin and guardian Col. Ricci. Noel Rayos stole his scenes as the funny Lt. Toraso, along with the Timothy Racho as the cook Sgt. Lombardi. Jonel Mojica, Jos Jalbuena, Lorenzo Mendoza, Vyen Villanueva, Joshua Rex Cheng, Lorraine Lisen and Jasmin Salvo complete the ensemble. 

The cast of Passion at their curtain call

(L-R: Lorenz Martines, Raul Montesa, Shiela Valderrama-Martinez, 

Vien King, Jasmine Fitzgerald, Noel Rayos)

The vision of director Robbie Guevara gave his show a lush feel brimming with complex emotions. Sets were designed by Jason Paul Tecson, enhanced by the lighting of Shakira Villa Symes. The 18th century Italy costumes were designed by Zenaida T. Gutierrez, with Myrene Santos completing the picture with her hair and make-up. The sound design was by Jojit Tayong. Guevara's resident musical director at 9Works Daniel Bartolome also leads the live orchestra in this production. Congratulations to POC Artistic Director Ms. Karla Gutierrez for the successfully steering POC into their 20th anniversary. 

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"PASSION" runs from September 14-29, 2019 at the Carlos P. Romulo Auditorium at the RCBC Plaza in Makati. Show times are 8 pm on Fridays and Saturdays, with 3 pm matinees on Saturdays and Sundays. Ticket prices range from ₱3,500, ₱2,500, ₱2,000, ₱1,500 and ₱900. Show lasts for 1 hour and 50 minutes with no intermission.

Review of Twin Bill's DANCING LESSONS: Courage to Change

August 22, 2019

Twin Bill had been choosing to stage plays with dark, taboo or similarly sobering subject matter since they began as a theater production company in 2012.  "Dog Sees God" was about bullying and depression. "Suicide Incorporated" was about suicide. "My Name is Asher Lev" was about conflict between artistry and religion. "Wit" was about cancer. This new play of theirs, Mark St. Germain's "Dancing Lessons" may have lightened up a little but still tackled another serious topic -- autism. 

Ever Montgomery was a college professor previously diagnosed to have Asperger's Syndrome, on the high-functioning end of the autism spectrum. Ever since childhood, he had suffered an irrational fear of being touched, even by his own mother.  Senga Quinn was a dancer on Broadway who was sidelined by a serious knee injury that necessitated her to wear a leg brace. When Ever was invited to attend an important dinner-dance party, he decided to seek Senga's help to teach him how to dance. 

Pena and Villarama as Senga and Ever

(photo by Jaypee Maristaza, from Twin Bill FB Page)

This was a play about going outside your comfort zone and daring to face change. Ever Montgomery had been living his same humdrum day-to-day existence with zero social intimacy since his childhood. But now, forced to attend social gathering for which he could not be absent, Ever was faced with the daunting challenge of conquering his biggest fears, and since it involved social interaction, he knew he could not do it himself. 

For this lead role, Randy Villarama went over beyond all those minor roles I had seen him in before to inhabit this specially demanding role. He kept in character the whole time, from his empty gaze which looked beyond Senga, to those repetitive nervous twitches in his hand, his constant fixing of his belt buckle, to his mile-a-minute enumerations of complex statistics. His initial lousy attempts to move to a Rihanna song were hilarious. His successful attempts to break through his constricting psychiatric shackles were uplifting. 

For Senga, at first, teaching Ever to dance was just an easy way to earn a thousand dollars. She was brash and angry at the world, wallowing in her own self-pity because of her injury in one leg. She was an alcoholic and a junkie on pain meds. Later, their relationship evolved to things other than dancing. Senga essentially transitioned into becoming a therapist to draw Ever out of the fears that imprisoned him psychologically. In the same breath that she was healing him, she was being healed herself.

I had heard the name of Jill Pena in the ensemble of several plays I had watched before, but honestly this is the first time that I am solidly putting a face to her name. As Senga, Pena fluidly went through her character's arc with sensitivity and warmth, subtly breaking down the defenses she walled herself behind since her debilitation. She had to change first before Ever could change. It was her own change that led to Ever's change. Pena had us believing that her Senga could have such a significant effect on a man like Ever.

Baylocon, Villarama, Pena, Garcia at their curtain call

The set design of Kayla Teodoro was a single circular raised platform with a ramp that led to a solid door on the backdrop on which key points were being flashed. The all-wood set pieces with the lighting design of Joseph Matheu imparted a sense of warmth. The dancing of Marielle Joy Baylocon and Al Bernard Garcia, as choreographed by JM Cabling, reflected the exhilaration of Senga and Ever's spirits beyond their physical limitations. Kudos to Twin Bill co-founder and artistic director Francis Matheu for leading his team through this fulfilling emotional and psychological journey. 


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DANCING LESSONS runs for only 6 shows: August 16-17, then 21-24, 2019 with only one show a day at 8 am. Show runs for only 1-1/2 hours, with no intermission. Venue is at the Power Mac Center Spotlight, Level 2 Circuit Lane, Circuit Makati. Tickets prices at P1550 and P750. Parental advisory: certain scenes touch on sexuality. 

Review of Tanghalang Ateneo's DOLOROSA: Females of Fortitude

August 17, 2019

It was Holy Week 2003 and three sisters meet up in their old house in Laguna to assemble their family heirloom -- an award-winning vintage statue of Our Lady of Sorrows (whom they fondly called Dolorosa).  Before their mother Pilar went abroad and left them to fend for themselves, she left the hands with the youngest Juliana, the torso with middle child Alicia and the head and accessories with the eldest Claudia.

Before Pilar arrived home in Act 3, we are taken on two trips to the past. In Act 1, we go the the year 1883 and meet the girls' great grandfather Mariano Madrillano, as well as his dutiful wife Elena. In Act 2, we go to the year 1943 and meet Pilar as a young girl who just experienced her menarche. In both of these episodes, we were introduced to these headstrong women who were unafraid to stand for what they wanted for themselves in a world so much against their favor. 

Teenage Pilar (Zoe de Ocampo) and Elderly Pilar (Bibeth Orteza)

While Act 1 was a rather straightforward historical period piece about the creation of the Dolorosa alongside the birth of the revolution, Act 2 tackled a myriad of different issues and took a radical turn into the bizarre. From beliefs and superstitions about a girl's first menstrual period, the script turned to sexual behavior of young girls in the 1940s; from physical abuse to sexual abuse, all at the hands of men. Then it went to more eccentric, even outlandish topics from Good Friday public crucifixion rites, to simultaneous visions of multiple Virgin Marys, to astral projections to a limbo called "The Neither". The characters broke the fourth wall and critiqued the male playwright himself for daring to write about the struggle of women in a male-dominated world.

Act 3 tied all these past stories with the present situation of elderly Pilar and her three adult children. Pilar's sudden abandonment of her children to go live abroad after her husband's death created a strained relationship between her and her daughters. The tension of this sudden reunion after 15 years of separation made for a lively and brutal family bull session when all the daughters' pressing questions were finally out in the open and answered by their mother (or did she?). The tradition of headstrong women in this family was in full display here, and the fireworks were both noisy and brilliant. 

Elena (Claudia Enriquez) and Mariano (Capinding)

Aside from veterans Bibeth Orteza (as elderly Pilar) and Ron Capinding (as Mariano), all the other actresses in the cast had two or more roles to play, each with distinctive personalities. Claudia Enriquez played both self-deprecating eldest daughter Claudia and her defiant great-grandmother Elena. Bowie Gutierrez played both the angry middle daughter Alicia and her subservient grandmother Victoria. Zoe de Ocampo played both butch youngest daughter Juliana and her abused mother Pilar as a teenager. All these main actors were impressive, always fully in character with perfect line deliveries. This was the first time I saw Orteza as an actress onstage, and she captured the character of elderly Pilar quite well, both her strong and strange aspects. 

The girls (Dani Capinding, Francesca dela Cruz, Kat Dizon, Kim Donato) and one guy (Shaun Ervin Ocrisma, in a case of gender twist casting) who played Pilar's friends (all named after visionaries, real and reel) were also playing the various personas of Mother Mary in the Litany (Mystical Rose, Star of the Sea, Seat of Wisdom, Mirror of Justice and Tower of Ivory). Sabrina Basilio played Chedeng, (Elena's activist friend) and Mitring (Victoria's favored fish vendor). In another gender twist, female AJ Umali played three male roles, namely Mariano's patron Padre Galliano, Pilar's father Pablo, and faith healer Tasyo. 

Teenage Pilar (Zoe de Ocampo) and her mother Victoria (Bowie Gutierrez)

Act 3 of this play was first performed as a staged reading at the Virgin Labfest last year, and now it has expanded into this present form with three acts. This was an audacious piece of theater lasting all of three hours, one hour per act (with two 10-minute intermissions). It is in English with occasional interjections in Filipino, Spanish and Japanese. It is not easy to hold the audience's attention that long unless the material was compelling and the director was able to mount and pace the story well. I felt it succeeded in both points. Playwright Peter Mayshle came up with an epic story and script involving three generations of women and director Jenny Jamora expertly guided us through with her vision. 

The lighting design of D Cortezano was so important in a play like this. The Doreen Black Box theater of the Arete was really pitch black inside when all the lights were turned off. The sound design of Arvy Dimaculangan was rich and atmospheric, without being obtrusive. Benjamin Padero and Carlo Tajibe created a set design with two stages at opposite ends of the performance area, and an open space in between them. Because of this, there were limitations in what a viewer can see depending on where he was sitting. 

Claudia Enriquez, Zoe De Ocampo and Bowie Gutierrez during the curtain call

While I liked it as a whole, I feel this play may not for everybody. Aside from grappling with its length, some viewers may either be overwhelmed with its scope, misunderstand its messages or perceive it to be feeling self-important about its feminist agenda. With all of its complexities, the experimental Act 2 is most difficult to take in and can be polarizing. It is this act which will make or break the play for the individual viewer. I applaud the ambition and effort to craft a challenging and provocative project this complex and epic for the local stage, tackling Filipina womanhood in spheres of history, religion, politics and society.  It is an apt choice to be the maiden offering of Tanghalang Ateneo's Season 41 dubbed "The Women's Season" dedicated to championing the female spirit.


*****


DOLOROSA runs from August 16- 31, 2019 at the Doreen Black Box Theater at the third floor of the Arts Wing of the Arete in Ateneo de Manila campus in Quezon City. Showtime is at 7:30 pm on Thursdays, Fridays and Saturdays  with 2:30 pm matinees on Saturdays. Tickets are at P450 for Ateneo students and P500 for the general public.