Review of Full House/RWM's ANG HULING EL BIMBO: Failing as Friends

August 11, 2018

There are three jukebox musicals concurrently running in Metro Manila this month. I had already seen two: "Rak of Aegis" Season 6 (featuring the songs of Aegis) and "Eto Na! Musikal nAPO" (featuring the songs of the Apo Hiking Society. These two shows played things light and breezy, even if the characters were experiencing difficulties. 

This third one opened last July 20 and had been playing to full house audiences for the past three weeks. I was only able to watch it today. Try as I did to avoid reading reviews before watching, I already got the idea that this was not going to be a happy musical. I expected darker tones from a musical like "Himala," but not a musical featuring songs of the local alternative rock icons of the 1990s, the Eraserheads. 

The very first thing we see on center stage was a dead body covered with newspapers. Then we see three men get summoned to a police station at the behest of city councilor Arturo Banlaoi (Jamie Wilson). These three were our main characters: overworked office clerk Emman (OJ Mariano), closet homosexual Anthony (Jon Santos) and playboy TV director Hector (Gian Magdangal) -- old college buddies who had since became estranged for the past twenty years after graduation.

We then see flashbacks of the three as young guys in UP Diliman.  They meet and get close to Joy (Tanya Manalang), who worked in her Tiya Dely's (Sheila Francisco) Toyang's Canteen where they hung out.. Young Emman (Boo Gabunada) she considered her elder brother. Young Anthony (Topper Fabregas) she considered her best friend. Young Hector (Bibo Reyes) she considered her boyfriend. The four friends went to Antipolo one night to enjoy the view -- a fateful road trip changed their friendship and their lives forever.

Boy, those initial reviews were not kidding. The tone of this musical was dark with all four letters in bold caps. Of course, the college flashbacks began with pleasant memories of the three boys watching the Oblation Run and the Lantern Parade, and Sundays at ROTC. However, Act 1 ended on a very scary, chilling note -- with the music turned way up (as indicated by a radio volume band being flashed in red light on the backdrop) to muffle the commotion being committed. I was shell-shocked during the intermission.

Act 2 dealt with the miserable relationships the three men had with the women in their lives. Mylene (Yanah Laurel) felt Emman was too obsessed with his work. Eleonor (Wenah Nagales) was frustrated with Anthony's disinterest in his marital obligations. Ima (Maronne Cruz) was impatient with Hector's reluctance to commit. Adult Joy (Menchu Lauchengco- Yulo) did whatever she can to survive. All these depressing stories came to a head in a morgue scene. So yes, this was really not a happy musical -- it was downright morbid.

Out of the six main songs in Act 1, I only knew three. "Tindahan ni Aling Nena" was an upbeat comic romp of the three young boys buying goods at their neighborhood stores all owned by a Nena. "Pare Ko" was transposed to a march rhythm which accompanied their ROTC drills with rifles.  My personal favorite E-head song "Alapaap" was sung with the four friends driving a beat up Mitsubishi Lancer -- glorious. 

Out of the six main songs in Act 2, I actually just knew two. "With a Smile" was given a downbeat mood sung during their graduation rites. But of course, the best was saved for last. I thought this final heartbreaking scene where the title song "Ang Huling El Bimbo" was performed was worth the price of admission on its own merit. It was absolutely the best-sung, best conceived and executed number of the whole show. A true showstopper indeed.

The show had very heavy themes, and my emotions are seriously taxed while watching the show. This show may not be for the very young, nor the very old -- they would not be able to relate.  Myke Salomon drew from his award-winning experience in "Rak of Aegis" to concoct this darker, thicker mixture of music. I thought I knew my Eraserheads songs, but I realized I did not know enough. Many songs I knew like "Ligaya," "Magasin," "Sembreak" and others were only heard in snippets. "Huwag Mo Nang Itanong" was used in an odd unexpected context. 

The singing talent by the cast was of course was faultless, as always, with Gian Magdangal, OJ Mariano and Sheila Francisco standing out acting-wise. It was great to finally hear Menchu Lauchengco-Yulo sing in Filipino. There were some actors who felt miscast in a physical sense, because of age or height, like Jon Santos being the older Topper Fabregas, who was much taller than him. The sound of the orchestra and the microphones was not too pleasant-sounding during the show I watched, having a rather shrill tinny sound quality. 

Red Atadero alternates in the role of young Hector. Martina MJ Paz plays Joy's daughter Liwanag. Vic Robinson emerged from the ensemble with his solo spot as Joy's boyfriend Andre. The rest of hardworking ensemble were Raymund Concepcion, Red Nuestro, Chino Veguillas, Stephen Vinas, Joshua Cabiladas, MC de la Cruz, Jim Andrew Ferrer, Jasper Jimenez, Gerhard Khrysstopher, Natasha Cabrera, Jillian Ita-as, Hazel Maranan, Kiara Dario, Jom Logdat, Alys Serdenia and Kakki Teodoro. 

Director Dexter M. Santos really took a very big risk in telling such gloomy stories in such a big stage and venue. This is not a show to enjoy, but a show to feel -- and it is not a good feeling. You may or may not like that feeling. (All the sold-out shows would suggest that a lot of people are liking it.) However, as with all other RWM shows before, the production value of the show was solid. The sets designed by Gino Gonzalez were built big to fill the huge stage of Newport. The mood was enhanced by the lighting design by Monino Duque and the 90s couture by Marlon Rivera. 

And to just to mention it again, by the time the truly magnificent "Ang Huling El Bimbo" number came along at the end, everything else that bothered you before it was forgiven. 

**********

"Ang Huling El Bimbo" opened last July 20, 2018 and will run up to September 1, 2018 at the Newport Performing Arts Center in Resort World Manila, with 8 pm shows every Friday, Saturday and Sundays, and 3 pm matinees on most Saturdays and Sundays. Tickets cost P3,500 for SVIP, P3000 for VIP, P2,500 for Gold, P1,800 for Silver and P1,000 for Bronze.  A check of Ticketworld showed that all remaining shows only have limited seats left. 


***********

UPDATE: APRIL 13, 2019

"Ang Huling El Bimbo" had a return engagement this year from March 1 to April 14, 2019. When I saw it again today, the unfolding of the story in the beginning was a lot clearer than in the previous time I saw it. I am not really sure if it was because I already knew the story from before, but it sure seemed like new lines were added to clarify matters at the very onset. The senior cast I saw was the same one I saw last year, with Gian Magdangal, OJ Mariano, Jon Santos and Menchu Lauchengco-Yulo. (There was an alternate cast for this new run, with David Ezra, Myke Salomon, Rafa Siguion Reyna and Carla Guevara- Laforteza. Too bad I was able to catch their show this time, maybe the next run if ever.)

Bibo Reyes, Gab Pangilinan, Philip Palmos and Boo Gabunada

take a pic with Ely Buendia himself

(Photo from the show's FB page)

Bibo Reyes and Boo Gabunada still played young Hector and Emman, but there were two key replacements in the junior cast. Not to discredit Topper Fabregas and Tanya Manalang from last year, but Philip Palmos and Gab Pangilinan worked so much better in the roles of young Anthony and young Joy. Palmos looks like he can actually grow up to be Jon Santos, in both looks and demeanor. Pangilinan not only looked like a young Menchu Lauchengco, but she was able to project a more delicate vulnerability as she hits those very high notes. Pangilinan's sweet naivete as Young Joy won me over in Act 1 and her fate haunted me throughout the rest of the show and even afterwards. It was that strong of a performance  (The alternate cast featured original cast members Reb Atadero and Tanya Manalang, with newbies Nicco Manalo and Lance Reblando.)

The original cast recording CD was shockingly expensive at P700, but I decided to buy it anyway to closely hear (and re-hear) the fresh original musical rearrangements and mash-ups of the E-heads songs done by musical director Myke Salomon for this show. I played it in the car and sang along as much I could, all the way home.

Review of Globe Live/9 Works' ETO NA! MUSIKAL nAPO: Birth of a Band

August 3, 2018

It was 1975 at a university campus, where a group of close musician friends get together for the first day of school. They were very excited about a news article that a local record company was launching a nationwide singing and songwriting contest. However, when lyricist Rick, composer Sonny and playboy Butch have problems with their girlfriends and pre-med student Ray with his strict father, the other members of the band Jaime (the Fil-Am with crooked Tagalog), Donnie (the methodical one) and Bobby (the shortest one) step up to create and finalize their song for competition. 

The biggest attraction of this show is its music. The music of the Apo Hiking Society (Danny Javier, Jim Paredes and Boboy Garrovillo) was the soundtrack of Filipinos growing up in the 1970s to the 1990s. A couple of tribute albums were released in the first decade of the new millennium. Many of their songs became big hits on the radio and up to now, in karaoke machines. Except for three songs in Act 2, I knew all the other 20 big hit songs used in the context of the story in this musical. I have to admit that it was very hard to keep from singing along to these beloved songs of my youth. 

The Whole Gang 

(L-R: Villanueva, Bautista, Flores, Go, Abella, Javier and Blanche)

There were three love stories that make up the main bulk of the story. Rick's passion in writing song lyrics was already making his girlfriend Anna feel ignored, via the painful songs "Tuyo ng Damdamin" and "Nakapagtataka." Sonny was feeling insecure when his girlfriend Jane announced that her family was moving to the US, via songs "Show Me a Smile" and "Paano." Butch believed he had just met the "one" in pretty classmate Michelle, but she is in a relationship with campus basketball jock Barney. via songs "Mahirap Magmahal ng Syota ng Iba" and "Panalangin." All three pairs sing "Ewan" to close the first act, not knowing how their love stories would go.

Mark Bautista and Rita Daniela

Through the character of Ray, the story delved into two other types of drama kids in the 1970s went through. First was about the conflicts between young musicians and their parents about the practicality of a career in music, with the song "Batang Bata Ka Pa" conveying the sentiments on both sides. Even if several references to Marital Law (the curfew, the Metrocom, the community service, etc) were mentioned, the violent consequences of Martial Law would be highlighted in a most unexpectedly emotional rendition of the ballad "Pag-ibig." 

Alfritz Blanche and Marika Sasaki

Despite his distracting wig, pop star Mark Bautista was a natural playing the erstwhile leader of their gang, Rick. His solo rendition of "Di Na Natuto" was a highlight of Act 1. Big boy Alfritz Blanche had been in the ensemble in previous plays I had seen him in, but here he actually gets a major career break to play one of the romantic leads, Sonny, and pretty much nailed it in his own teddy-bear-like way. The biggest revelation of the cast was stage newcomer Jobim Javier (son of Apo Danny Javier himself) as Butch. The young Javier owned the stage with his innate swagger, comic timing, as well as his solid singing voice. 

Jobim Javier

Jon Phillip Go played the conflicted student Ray. His background is more of singer than as actor, but he got to figure in some pretty heavy scenes. He has a crystal clear tenor that stood out. Jef Flores, Jon Abella and Vyen Villanueva play the other three members of the band, mostly in the background in Act I, but will gain more stage time in Act II. All three of them got to show off their singing and dancing prowess as well.

Vyen Villanueva, Jon Abella and Jef Flores

Sab Jose (Michelle), Marika Sasaki (Jane), and especially Rita Daniela (Anna) were all given a song each for their singing voices to shine. Raul Montesa and Neomi Gonzales played Ray's parents (as well as teachers and other older characters). Montesa only had one solo song number but it packed a heavy punch. Gonzales played a sickly coughing mother character but with an ethereal voice (much like she also did in "Rak of Aegis").

Neomi Gonzales and Jon Phillip Go

The other members of the ensemble were Peachy Atilano- Guevara, Gian Gloria, Shalee Vicencio, Anton Posadas, Jourdan Bartolome and Derrick Gozos, who played the other students in the school, as well as the singing emcees of the TV show "Campus Cafeteria" (referencing "Student Canteen," perhaps?).

Set designer Joey Mendoza and costume designer Eric Pineda were careful with period details. In true 70s fashion, the boys mostly had long-hair, and wore bell-bottom jeans and colorful Nik-nik shirts with wide collars, buttoned only half way up. The script had a lot of local references about the 70s, from the Love Bus to Budji Wara. They joked about the travel time from Greenhills to Guadalupe or mall built during the "Thrilla in Manila." 

The Ensemble

(Atilano-Guevara, Batolome, Gozos, Gloria, Posadas, Vicencio)

Except for one very serious scene in Act 2 bathed in red light. the general mood of the show is youthful, light and breezy, set by songs like "Blue Jeans" and "Salawikain." It tends to be sentimental about friendship with songs about friendship, with songs like "Awit ng Barkada" and "Saan Na Nga Ba?"  The humor was generally wholesome, but there were also some naughty double entendre wisecracks or amusing raunchy antics, accompanied by songs like "Kabilugan ng Buwan" and "Yakap sa Dilim." 

Original Apos Jim Paredes and Boboy Garrovillo in the house last night!

(photo credit: Harry H.)

The show was directed by Robbie Guevara, who also wrote the book, with Jonjon Martin as dramaturg. (Act 2 may need some streamlining of the script to make the storytelling tighter.) The musical arrangements and orchestrations were by musical director Daniel Bartolome with Orly dela Cruz. (The finale medley had some awkward segues which may need some adjustments.) The story about friendship may have multi-generational appeal, but it will definitely connect more with people who grew up with the music of the Apo Hiking Society for whom this show is one major nostalgia trip. 

**********

"Eto Na! Musikal nAPO" runs from August 3 - 26, 2018 at the MAYBANK PERFORMING ARTS THEATER in 26th St. corner 9th Ave. in Bonifacio Global City. Show times are 8 pm on Fridays, Saturdays and Sundays, with 3 pm matinees on Saturdays and Sundays. Tickets are available on Ticketworld, prices range from ₱3,500, ₱3,000, ₱2,200 and ₱1,500.

Recap and Videos: CELINE DION MANILA LIVE 2018: Bombastic Belter, Dramatic Diva

July 20, 2018

I first knew of Celine Dion back in the early 1990s when she reached the top 10 of the Billboard Hot 100 with the song "Where Does My Heart Beat Now". She would then follow that up with hit after hit as she became one of the divas that ruled the charts in the 1990s. She would eventually have regular shows in Las Vegas, including a five-year residency at Caesar's Palace. 

Ms. Dion was first scheduled to visit Manila back in November 2014. Unfortunately, she had to cancel her whole Asian tour because of her husband's delicate health condition. When it was announced that her long-awaited concert was pushing through this year, the tickets went fast, selling out on the first day. This prompted organizers to open a second night to satisfy the great demand. 

Because of the heavy traffic caused by the rains, we arrived at the MOA Arena almost 8:30 pm already. Lucky for us, there was a guest front act, who was later introduced as Veronique. We only caught her singing her final song, "I Will Always Love You" a la Whitney Houston. She is a very good singer, too bad we missed her other songs. 

Glittering Celine Dion!

The concert proper started at around 9 pm with the audience whooping it up in excited anticipation.  Wearing a golden Las Vegas showman outfit, Celine Dion's first song was a big one right off the bat, her #1 1994 cover of "Power of Love." Her next song was my personal favorite Celine song from 1999, "That's the Way It Is" (VIDEO). After her initial spiel, she sang her 2002 European hit song "I'm Alive," which automatically segued into another big #1 hit "Because You Loved Me." Celine's voice was effortless in singing those high notes in her signature style, which Filipino audience loved. We cheered every time she nailed a power note, or struck one of her poses. Her spiels showed her kooky sense of humor which endeared her more to her fans. 

Celine and her back-up singer duet on "Beauty and the Beast"

There was an interlude of dramatic lights and music to usher Celine coming in wearing a black ballroom gown to sing the next song which was the ultra-theatrical Jim Steinman song "It's All Coming Back to Me Now" (VIDEO). The video backdrop then changed into a sparkling golden chandelier as Celine began to sing the next song Alan Menken's "Beauty and the Beast," which she later said was the first of many movie theme songs she sang. She then proceeded to comically tell the story of how fellow Canadian Ryan Reynolds wrote her a letter to invite her to sing the song "Ashes" for his new movie "Deadpool 2."

Celine jams with her guitarist

After a musical interlude featuring the guitarist, Celine came out wearing another long gown. A male dancer followed her out on the stage, and at one point, he removed the long overskirt to reveal a colorful mini-dress. Celine and partner slinked and samba'ed sexily while she was singing "Falling into You." Her next song was "The Reason" (written by Carole King), followed by "Pour que tu m'aimes encore" (her biggest hit in French in 1995), then "Recovering" (written by Pink for Celine during the death of her husband). The final song of the set was a crowd favorite, Celine's bombastic version of Eric Carmen's "All by Myself" (VIDEO).

Celine shows off her dancing skills

The musical interlude this time featured the cello and the viola player. They were later joined on center stage by two more violinists. Celine came in wearing a short off-shoulder black dress with hair in a ponytail. With only the string quartet accompanying her, she sang Janis Ian's "At Seventeen," which segued to her own hit "A New Day Has Come". Her back-up singers then joined in to sing "Unison" (title song of her first English language album in 1990. Celine ended this set with another crowd-favorite, "To Love You More" (VIDEO) which she sang with one violinist beside her for dramatic impact. I was half-expecting Sarah Geronimo to come out and join her, but of course, that fantasy did not come to pass. 

Celine belts out!

After another interlude, Celine came out wearing a silver glittery rocker chick outfit with hot pink shoulder and waist accents. With her stage bathed in purple light, Celine launched into her unexpected tribute to Prince with her covers of two of his biggest hits "Kiss" and "Purple Rain." Continuing the upbeat momentum, the next song was her 1992 gospel-flavored hit "Love Can Move Mountains." Next was her cover of "River Deep, Mountain High," which explained why she was dressed like Tina Turner for this set. These songs showed off Celine's versatility in musical genres aside from the ballad for which she was more known. She then thanked the audience for coming as the house lights dimmed down. 

Celine's touching farewell

Of course, the audience clamored for more, and Celine returned onstage wearing a simple white evening gown with a flowing fuchsia wrap on the right side. The concert will simply not be complete without her ethereal "Titanic" hit, "My Heart Will Go On" (VIDEO). Celine made another attempt to say goodbye, but the audience applause and cheering made her stop and wipe tears from her eyes. She then obliged to sing one more final song, her cover of Elvis Presley ballad "Can't Help Falling in Love" (VIDEO) in glorious a capella, with only her pure diva vocals to send the audience off fully satisfied and thankful for a great show.

Review of VIRGIN LABFEST XIV - SET C: The Shrill. The Shocking. The Sweet.

July 8, 2018

Set C of VLF XIV is composed of three strong, well-written one-act plays. Any one or more of them can be in the running for the Revisited Set for next year.

1. LABOR ROOM

Written by: Ma. Cecilia "Maki" dela Rosa
Directed by: Jose Estrella and Issa Manalo Lopez

The setting was a busy labor room of a public hospital. Veh was a nervous 22-year old who was about to deliver her first baby. Two ladies were there awaiting curettage for a miscarriage: Nay already had many children in a row before, Ate never carried a pregnancy to term. While Dr. Jean and her Nurse were attending to them, two more pregnant women both already about to give birth any moment come in to join in the fracas. 

This play brought me back to the OB admitting section of the UP-PGH where I had spent a number of memorably chaotic and dramatic 24-hour duties, with scenes exactly like the ones depicted or even worse. Writer Maki dela Rosa must have consulted and observed with an OB who trained in a public hospital to come up with such authentic script which was so funny, so witty, yet so heartwarming and affecting.

All the actresses playing the patients tended to be over-the-top noisy, but that was how these scenes unfold for real. Hariette Damole's expressive eyes betrayed Veh's fears. Sheryll Ceasico played that loud busybody character Nay delightfully. Skyzx Labastilla's Ate had a more serious tone because of her inability to bear children. Opaline Santos (finally I get to see her in action) was the typical whiny attention-hound. Ina Azarcon-Bolivar let her inability to pay get in the way of better judgement.

J-mee Katanyag perfectly captured the authority Dr. Jean needed to project to keep everything under her control. Kiki Baento reminded us of our dear nurses who maintain order and carry out orders in the labor room. Sherry Lara played a small but marked role as the janitress who waxed nostalgic about gossip she overheard while working. These are the characters which make the OB labor room run efficiently despite the stressful flurry of activities a steady stream of screaming moms-to-be brings up.

2. TULAD NG DATI

Written by: JV Ibesate
Directed by: Olive Nieto

Neil came back to their family home after 20 years of incarceration for a crime he committed against a student when he worked as a teacher before. Meeting him at home was his younger brother Norman who had been leading a tough life on his own, bearing on his shoulders the bitter stigma of his brother's crime all these years.

This is another one of those plays that need a SPOILER ALERT. It is preferable that you should not know the ending when you go watch it, so you can be properly shocked as the author intended it. JV Ibesate, who just won a Best Actor award at the Gawad Buhay last year, now adds VLF playwright to his credentials. That twisted twist of an ending came from completely out of left field to stun all unsuspecting audiences.

Arnold Reyes is a movie actor, but I had seen him act on stage before (in VLF XII, as MLQ, and as Valmont). Reyes is back in VLF XIV in another controlled and daring performance here as ex-con Neil. Acey Aguilar, whom I've seen twice before (in VLF XI and as a bad cop), looks more mature now than I remembered him. He matched Reyes' daring in his portrayal, but his character had a more damaged, vulnerable persona. Together they wrapped the stage with uncomfortable vibes the whole time, until that startling jaw-dropping surprise that would jar your sensibilities.



3. ENSAYO

Written by: Juan Ekis
Directed by: Eric Villanueva dela Cruz

Peds and Tisha are senior citizens who joined a stage acting workshop. The scene assigned to them involves a kissing scene. Tisha cannot seem to accept that a scene like needed to be done. However, when Peds teased her about her chickening out, Tisha was challenged to prove she is a professional. Can she?

The situation in this comedy is very simple, and can be conveyed in a single sentence. However, writer Juan Ekis was able to stretch this stark plot into a rich and charming character study of two elderly people who are exploring new things and expanding their experiences in their old age. 

This worked mainly because of the sharp comic timing of the two veteran actors, namely Bembol Roco as Pebs and Sherry Lara as Tisha. For this VLF XIV, both are doing double duties. Roco is actually acting in another two-hander "Rosas" in Set B aside from this one. Lara was just seen earlier this same set as one of the ensemble of actresses in "Labor Room." Roco was more upbeat and on point in his portrayal as Pebs here than he was in "Rosas." His Pebs is a old gentleman, but still had that naughty rascal in him. Lara is really a delight playing the sweet and demure Tisha, donning that hilarious Oriental head-dress of hers. Their zippy repartee had the audience in stitches as we waited whether that elusive kiss will ever happen or not.

Review of BINONDO: A TSINOY MUSICAL: Celebrating the Chinese-Filipino Connection

July 2, 2018

In 1986, a Chinese professor related to Ms. Rebecca Shangkuan Chuaunsu his personal love story. The poignant drama of his story stuck with her from that time on. More than 30 years afterwards, Ms. Chuaunsu boldly took on the reins of creative producer, to spark the creation of an original Filipino musical to share that same haunting story with the everyone. This year, her major labor of love finally reached its fruition as "Binondo: A Tsinoy Musical" makes its world premiere on the stage of The Theater at Solaire last weekend.

The year was 1972, on the occasion of the Moon Festival. A Chinese scholar named Ah Tiong, then on a 2-week vacation, dropped into the Lotus Club in Manila. There, he was mesmerized with the beauty of Lily, the featured singer on stage that night. When Lily fumbles on the lyrics of a Chinese song, Ah Tiong gamely went on stage to sing it with her. From that moment was born a resolute love that would face insurmountable adversity. 

"The Moon Represents My Heart"

with Carla Guevara-Laforteza (as Lily)

The role of Lily was played by two of the most-sought after leading ladies in the local theater scene -- Shiela Valderrama-Martinez and Carla Guevara-Laforteza. I had been able to see both of them become Lily in separate shows, and I saw that they imbued the character with distinct personalities. Shiela's Lily was sweeter and demure. Carla's Lily was more spirited and feisty. In either case, it was not difficult to see why both Ah Tiong fell head over heels in love with her. As excellent singers, both ladies had no trouble navigating the challenging songs Lily had to sing, like "Dito sa Binondo" and "Paghihintay."

"Ang Pag-ibig ay Disco"

with David Ezra and Shiela Valderrama-Martinez (as Ah Tiong and Lily)

Ah Tiong was played by David Ezra. This award-winning singer-actor had his stage debut only in 2015, but is now a most in-demand leading man in several shows since then. The role of Ah Tiong was given a lot of difficult songs with soaring notes to sing, like "Kung Sino Nga Bang Una ay Siya Ring Huli". In the upbeat number, "Ang Pag-ibig ay Disco", he had to show off his dancing skills while singing, always a big challange to pull off for any performer. Ezra's voice never faltered, always strong and passionate, in his solos, his duets (with Lily, Jasmine or Carlos), and with whole company. 

(Ezra's alternate in this role is Arman Ferrer, whose career had grown together with Ezra since they had been sharing the stage or alternating in shows like "La Estrella", "Mabining Mandirigma" and coming soon later this year, "Side Show." There is no doubt that Ferrer can likewise pull off the challenge of playing Ah Tiong.)

"Mananagot Ka"

with David Ezra and Noel Rayos (as Ah Tiong and Carlos)

The character Carlos is a Manila-born Chinese-Filipino who had been Lily's friend since childhood. He was played by Noel Rayos, a stage veteran with nearly 100 shows under his belt playing a whole gamut of diverse roles. As Carlos, he gets to show off his comic timing, as well as his dramatic chops. The role of Carlos also gets to sing some punishing songs only the best singers can deliver with confidence, like "Dayuhan sa Puso" and "Ako Ay Pilipino". I consider the latter song as one of the most significant songs in the whole show as it declared that Chinese-Filipinos are indeed true Filipinos, whose loyalty lay with the Philippines, not China -- a sentiment that rings true up to the present time.

(Rayos' alternate in this role is Floyd Tena. I had only seen in him on stage twice before, in "Maynila Sa Kuko ng Liwanag" and "Himala" in smaller roles. Too bad I missed his biggest role to date as Carlos which would really push his vocal and acting skills to the max.)

"Minamahal, Iniibig" 

with Mariella Laurel and David Ezra (as Jasmine and Ah Tiong)

Jasmine is Ah Tiong's childhood friend back in Beijing and the girl he had long been betrothed to marry by their parents. She was played by Mariella Laurel. This is the first time I had seen her onstage before and I thought she stood her ground solidly within all the brimming singing talent on that stage. Her best song for me was "May Tiwala Ako" -- a long-distance duet between her in Beijing and Lily in Manila as they profess their trust in the man they both love, Ah Tiong.

Mrs. dela Rosa, Lily's mother, was played and sung so powerfully by Ima Castro. Every time she dug into her deepest soul as she sang songs like "Tila Kandila", we are all drawn into her inner pain borne out of sincere concern for her daughter's well being. Lourdes, Lily's cousin and confidante, was ably played and sung by Jennifer Villegas-de la Cruz. 

Dondi Ong and Kay Balajadia-Linggayu (as Mr. and Mrs. Chua)

Mr. and Mrs. Chua, Carlos' parents, were played by noted operatic tenor Dondi Ong and soprano Kay Balajadia-Linggayu (with Carla Guevara-Laforteza alternating). It was a shame that we only get to hear them sing very short verses in the song "Hindi na Magbabago" which they sing with their son Carlos. Russell Magno and Elizabeth Chua played Mr. and Mrs. Zhang, Ah-Tiong's parents. They get to act and sing in heavier dramatic scenes of persecution in the numbers "Ang Bagong Tsina" and "Kalimutan na ang Lumang Pag-ibig".

""Kalimutan ang Lumang Pag-ibig"

with Elizabeth Chua (as Mrs. Zhang)

The key character of 14 year-old schoolgirl Ruby was played very sweetly by Ashlee Factor. Even if she only comes out in a few scenes in Act 2, she got to deliver heartwarming lines and sing one of my favorite songs in the entire show, entitled "Patawad". Her voice possessed a childlike quality which made her perfect for her small yet important role. 

"Patawad"

with Rayos, Ashlee Factor (as Ruby), and Ezra

This play employed the device of a Greek chorus to narrate the goings-on between scenes. They were set apart from the rest of the ensemble by their more ornate costumes and make-up. They also served as conscience to various characters -- needling them, goading them, teasing them. They also got to play a number of other minor characters, either Filipino or Chinese, in the lives of our protagonists. The actors in the Chorus were Jim Pebanco, Lorenz Martinez, Khalil Kaimo, Ellrica Laguardia, Rhapsody Li and the irrepressible Tuesday Vargas with her scene-stealing antics. 

Ellrica Laguardia, Tuesday Vargas, Lorenz Martinez, 

Khalil Kaimo, Rhapsody Li and Jim Pebanco (as the Chorus)

The script is in Filipino, written by acclaimed veteran Ricky Lee, along with two younger co-writers Gershom Chua and Eljay Castro Deldoc. It eloquently wove the Fil-Chi love story tightly in the face of historical events in both Manila (Martial Law) and Beijing (Cultural Revolution). The length of the play can intimidating at three hours plus long (with a 15-minute interval in between), but thankfully Director Joel Lamangan made the flow of the scenes easy to follow, so the play was quite engaging and highly entertaining. I do think that the script can still be tweaked (especially in certain clichéd melodramatic scenes) so future stagings can be more streamlined. 

Last year, I was introduced to the music of Von de Guzman when I watched "Maynila sa Mga Kuko ng Liwanag." His songs here in "Binondo" follow generally the same grand flowing style of musical composition. His songs were easy on the ears with their lilting melodies and smooth steady progressions which can reach stratospheric heights as they climaxed. Because of its high difficulty level, it takes a special singer to be able sing and give justice to a Von de Guzman song. Meanwhile, the vibrant choreography by Douglas Nierras certainly gave the huge production numbers involving the whole ensemble (imagine 50+ people dancing in unison) infectious verve and energy.

"Eternity"

The big stage of the Theater at Solaire is a challenge for any production designer to fill. Otto Hernandez came up with very impressively huge set pieces which had to be easily moved in and out of stage as the scenes called for them. The concluding scene of Act 1 was a very imaginatively conceived and exectued stage illusion which involved passengers climbing up stairs to board an airplane.The opening scene of Act 2 with an enormous portrait of Chairman Mao overlooking a troop of soldiers waving red flags also had a very haunting effect as the scene depicted unjust violence. The lighting design of Joey Nombres enhanced the grandeur of the sets, as well as emotions of the scenes being depicted.

"Ang Bagong Tsina"

For several years, Ms. Rebecca Chuaunsu had the audacious vision of creating a bridge which would foster the positive values and heritage between the Philippines and China. With "Binondo," her most cherished dream had been realized in a most spectacular fashion, and I extend my hearty congratulations to her!

Ms. Rebecca Chuaunsu (third from left) 

joins her cast and crew at the curtain call

As a final note, I commend the Mandarin language coach for making the Filipino actors sound realistic in the delivery of their Chinese lines and the singing of a famous Chinese song like "The Moon Represents My Heart". However, I look forward to the day when actual Chinoy actor-singers can also get to play the roles of Ah Tiong and Carlos. While the portrayals of Ezra and Rayos of their characters in the present production are effective, I sincerely feel that it would make a significant positive difference in the overall impact of the story when the casting could somehow be more authentic.  


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

"Binondo: A Tsinoy Musical" opened last June 29, 2018 at the Theater at Solaire and will run for two weekends up to July 8, 2018. Showtimes are at 8 pm on Fridays, Saturdays and Sundays, with 3 pm matinees on Saturdays and Sundays. Ticket prices: ₱4,000 (Premium Center), ₱3,000 (Premium Side), ₱2,500 (Orchestra Center), ₱2,000 (Orchestra Side), ₱1,000 (Balcony Center) and ₱500 (Balcony Side).

Review of VIRGIN LABFEST XIV - SET D: Of Disputes, Decisions and Debauchery

July 1, 2017

1. MARAWI MUSICALE

Written by: Tyron Casumpang
Directed by: Ariel Yonzon

The play was set in a feeding center where a group of Christian and Muslim volunteers prepare food for the evacuees, especially the children. It had been four months since Maute-ISIS had laid siege on Marawi City, and the bombs are still falling around them. They sing to release their pent-up fear and pain.

Writer Tyron Casumpang had actually gone to Marawi with fellow Ateneo teachers and got inspired to write this play about the food volunteers he met there. While the intentions are sincere, one cannot help but feel that the story felt incomplete, that this play was just scratching the surface with familiar conflicts. It could still be expanded into a full-length play to better cover all relevant issues. The side issue between the music therapy volunteers from Manila (played by Lhorlie Ann Nuevo and Nazer Salcedo) felt forced and unclear.

Jonathan Tadioan was right at home playing Kuya Jhong, the gentle and optimistic team leader who was also worried about his sick son back home. The most memorable song in the musical was a plaintive prayer to Allah sung by Muslim characters Salanka (Junelie Barrios Villegas -- more popularly known as Bayang Barrios) and Khalid (Poppert Bernadas) as they plead for the safety of Abdul, Salanka's husband and Khalid's brother. That one song lifted the whole play up to an ethereal level with their beautifully emotional singing. The three kids Marlowe Concepcion (Yusof), James Ramil Garlando (Asis) and Tyrone de la Cruz (Moner) all sing very well.

2. AMOY PULBOS ANG MGA ALABOK SA ILALIM NG RILES NG TREN

Written by: Lino Balmes
Direted by: Tess Jamias

Chona and Ramil were informal settlers who lived under a railroad bridge with their young son Igit. Day in and day out, the couple argued loudly about their wretched living conditions where every train that passes would shower a coat of dust over everything they owned. A recurrent point of contention were the decisions Ramil made a few months ago when he had the chance to win a million pesos as a contestant on TV's "Pera o Bayong."

Writer Lino Balmes caught an episode of real "Pera o Bayong" on TV and got curious to explore about the aftermath of those situations when the contestant did not win. The way director Tess Jamias staged those flashback scenes with every train that passed was so effective, with the shower of dust from above, the loud engine noise and the mesmerizing strobe lights. Kudos go to production designer John Carlo Pagunaling and Lights desinger Barbie Tan-Tiongco for coming up with these realistic technical details.

I had seen Bong Cabrera before as a loud-mouth brother in "Ang Naghihingalo" (VLF X). He plays another loud-mouth character here, and again he was so effective. He may have had a fumble with the lines (or the timing) at the end which affected the dramatic twist at the end a bit. Marjorie Lorico had once won Female Lead Performance in a Play for “Nobyembre, Noong Akala Ko Mahal Kita” back in 2012, and you can see why with her loud, passionate and committed performance here. The stage time of John Paulo Rodriguez (as Igit) was very short, but it was a painful scene which will haunt you for a long time.

3. RIVER LETHE

Written by: Allan Lopez
Direted by: Chris Martinez

Abe and Mara  met while undergoing chemotherapy of their respective cancers. Despite their health conditons, the two got along well and had an affair. Abe was still married to a very busy wife, but he did not want to bother her with his needs, medical and otherwise. Mara was a spinster who was just liberated from her responsibilities and was now free to explore life on her own. 

Writer Allan Lopez had a solid idea -- ruminations about the temporariness of human pleasures vis a vis the permanence of death, while checked into a sleazy motel for some short-time sex. The title alone, alluding to the river in Greek myth where people bathe to forget, tesitified to the depth of the writer's intention. Director Chris Martinez decided to insert interludes of  "cleaners" dancing salaciously around the room before and between the more serious scenes between Abe and Mara. While definitely attention-grabbing, liking them or not is a matter of personal taste. I do not really see why these cleaners were there (aside for shock factor) or what they symbolize (if any).

Veteran VLF actors Paolo O'Hara and Dolly de Leon play Abe and Mara so naturally and so fearlessly, such that it gave the feeling that everybody in the audience were voyeurs invading their intimate time. I'd seen O'Hara go sleazy before when he did "Macho Dancer the Musical" back in VLF XI. I had been a fan of Dolly de Leon since "Ang Naghihingalo" (VLF X). As Mara, she gave a stirring performance of such deep sensitivity that went well beyond the dirty talk and sexual acrobatics her role required.

Review of VIRGIN LABFEST XIV - SET B: Of Flowers, Fantasy and Fiction

June 28, 2018

I have been watching the Virgin Labfest at the CCP for five years in a row now. The fresh one-act plays chosen for this festival had been exceptional theater pieces, and this year is already its 14th year, with the provocative theme of "Silip". This year, 150 scripts had been submitted and the top 12 were chosen to be staged. 

Last year I had been able to catch all 12 plays, the first time I has been able to do so. This year, with all the road works causing more traffic in the Metro, I am not sure yet if I can do it again.  The venue this year was still the CCP Little Theater Aurelio Tolentino, same as last year. VLF XIV opened yesterday with Set A. Today, I attended the premiere staging of the Set B plays, which were the following:

1. ROSAS

Written by: J. Dennis Teodisio
Directed by: Charles Yee

Ex pro photographer Anding is now old and blinded by his diabetes. One day, he came back to the reunite with his best friend Merto in his former nursing home. Anding thought Merto would never forgive his sudden leaving the home a few years back. As they sat on the swing set in the rose garden, they talk about the old times, and their future together.

Playwright J. Dennis Teodisio wrote this play after visiting a nursing home for aging gay people. It was not glaringly obvious from the script, but upon listening to the conversations  between Anding and Merto, you do get that subtext about them. 

This was a very very slow and quiet play about two old men talking about memories and other mundane things. It was not exactly the best play to watch at siesta time in the afternoon, if you get my drift. Not even the sincere performances of veteran actors Crispin Pineda (as Anding) and Bembol Roco (as Merto) could give it more life. As this was only the first show, tweaks can still be made to liven this up some more.

2. ANG MGA PROPESYUNAL

Written by: Sari Saysay
Directed by: Carlos Siguion Reyna

Three scavenger kids were taking their trolley of trash to the junk shop. They were playing a game of pretend based on the junk they picked up. Pia used a discarded video camera and a damaged keyboard to be a reporter. Roel found an old scrub suit and stethoscope to be a doctor. Lauro used a stick as a gun to be a policeman, like he always did.

Mr. Sari Saysay was able to incorporate so many witty bits of social commentary from several current topics. Through Pia (probably inspired by a controversial Rappler reporter), Saysay discussed freedom of the press, persecution of journalists and the PCOO. Through Lauro, he tackled the issue of EJK and police brutality. Roel's doctor character served as the balancing factor between the two. There were times though when the words used by the kids did not seem consistent with their life condition.

This play joins "Ang Bata sa Drum" and "Ang Mga Puyong" as outstanding VLF plays with kids as main characters. But here, Krystle Campos (Pia), Arthur Castro (Roel) and Jian Markus Tayco (Lauro) are real kids, all not older than 15 years of age, which was impressive. Director Carlos Siguion-Reyna managed to strike the balance between innocent childhood fantasy and harsh violent reality as the script blurred the line between the two.

3. EDGAR ALLAN HEMINGWAY

Written by: Carlo Vergara
Directed by: George de Jesus III

Computer programmer Levi Llorca topped the New York Times Bestseller's List with his debut novel "Revisita," which critics hailed as a perfect mix of the diverse writing styles of Jane Austen and Alex Garland. His loyal partner Barns Noble doubles as his efficient manager to handle his busy schedules and finances. Back in Manila for a series of media activities, Levi made time to meet with old college friend George, now a copywriter and a frustrated novelist.

The name of writer Carlo Vergara is a brand of theatrical excellence. His previous VLF plays, "Kung Paano Ako Naging Leading Lady," "The Missing Peace" and "Mula sa Kulimliman" all had innovative plots with very entertaining elements. This play was no different, the writing is so logical, witty and smart. This show needs a spoiler warning. One should see it without knowing what it is all about for it to work best.

Ricci Chan was a riot as usual as Barns. In past plays I've seen Ricci in, including VLF plays, he is consistently the life of the show, really so funny. Guelan Luarca, I know as an excellent playwright and translator, but this is the first time I am seeing him as an actor on stage. His portrayal of George is quite delightful in his frustration and desperation. Rafa Siguion Reyna mainly played the straight man of the play, and he held his own ground firmly.