In recent years, Rep had staged a number of Ken wacky comedies written by playwright Ken Ludwig. They did "Shakespeare in Hollywood" in 2011, "Leading Ladies" in 2012, and "The Game's Afoot" (MY REVIEW) in 2016. This year, as the opening salvo for their 81st season, Rep decides to stage yet another Ken Ludwig play. This time, it is the sequel of the first play by Ludwig that Rep did a little ways back 15 years ago. In 2003, Repertory Philippines opened their 66th season with Ludwig's "Lend Me a Tenor". Directed by Zenaida Amador, that production starred Miguel Faustmann as famed Italian tenor Tito Merelli and Joy Virata as his wife Maria. Arnel Carrion played the harassed show producer Henry Saunders and Michael Williams played his mousy assistant Max, who turned out to have a hidden talent. Liesl Batucan played Saunder's daughter Maggie, on whom Max had a crush. Rem Zamora played a funny fanboying hotel bellhop. In its sequel, "A Comedy of Tenors," all those crazy characters are back in a madcap mistaken-identity comedy, as its Shakespeare-inspired title suggests. Henry Saunders had now leveled up to be producing a major opera concert in Paris, France. Max had also leveled up, from being Saunder's assistant, then son-in-law (as Max married Maggie), and now, also a bonafide opera performer in this concert, sharing the spotlight with no less than "Il Stupendo" Tito Merelli himself. Tito Merelli is going through some midlife crisis drama -- marital insecurity regarding his wife Maria's fidelity, parental insecurity regarding his daughter Mimi's purity, and career insecurity regarding up and coming young tenor Carlo Nucci. All these problems troubling Tito blow up in a major hullabaloo just two hours before the show was about to begin and all the well-laid plans about the concert began to unravel in a wild pace. As Henry and Max scrambled to find a replacement for Tito, they suddenly heard Beppo the bellhop belt out an aria! I knew that Lorenz Martinez can hit those high notes from the first time I saw him as lead performer in "Lorenzo" (2013) (MY REVIEW). However, this is the first time I heard him actually sing operatic arias, and with conviction at that. Since he played both Tito (the temperamental star) and Beppo (the loquacious bellhop) who were both opera-singing Italians with heavy accents, Martinez had to comically convince us that they were two different people, giving each character his own subtle quirks. I was amazed at how he can emerge from doors on opposite sides of the stage as different guys one scene right after the other. I can just imagine all the running he had to do backstage. Arman Ferrer makes his debut in a comedy, and in Repertory Philippines, with this play. He is clearly the most comfortable when it comes to opera singing among the actors. You can clearly hear his classical training when he sings his arias. His comedy timing may still need a little honing compared to his co-stars, but this guy can act as well as he can sing. Noel Rayos is really very versatile and dependable when it comes to singing, as well as outrageous comedy, as we remember him in his most memorable roles in "Walang Sugat" (MY REVIEW) and "The Producers" (MY REVIEW). Roles like Harry Saunders come so naturally for Jeremy Domingo. He could do roles like this blindfolded already. The more problems his concert had, the more stressed out Henry got, the funnier Domingo became. Issa Litton impressed me with her performance in "Mga Ama, Mga Anak" (MY REVIEW) last year, and she was again a sexy comic standout in this one as Tito's elegant fiery wife Maria. Mica Pineda had a very daring opening scene with a mere throw pillow covering her torso. She did her loud and lively best to beef up her role as Tito's daughter, Mimi. Shiela Valderama-Martinez played Racon, a Russian soprano diva and Tito's former one-night stand who wanted to rekindle their romance. I do hope they change the gown she was wearing because those extra folds of fabric in the front do not look flattering on her at all.
Domingo, Valderrama, Martinez, Litton and Ferrer at their curtain call
The pace of the play was snappy especially in the Act 1 which was fun and delightful. Act 2 was initially bogged down with those stretched-out Beppo soliloquies with the tongue dish. But it picks up its pace after those were over and done with, leading to a hilariously energetic climax with the two Titos and their ladies. On a side note, I hope they reconsider deleting that scene where Beppo groped Mimi's tush. The audience who was laughing out loud just earlier suddenly fell silent at that awkward scene. Anyhow, the best thing about this play was that we treated to lead actors who were able to actually sing their operatic arias live! That rehearsal scene of the three tenors singing an aria from La Traviata (I think) was really so good. With Miguel Faustmann in the director's chair, we get another slickly-staged over-the-top farcical comic treat that Rep does so well. The comic situations came at us fast and furiously, as well as those silly one-liners with various opera references true fans will lap up with glee. Frankly, I thought having an uncanny doppelganger was a corny plot device, but it was able to effectively bring about a merry-mix up of events as could be for the audience to be thoroughly entertained.
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A COMEDY OF TENORS runs from January 26 to February 18, 2018 at the Onstage Theater in Greenbelt 1, Makati City. Show schedule is at 8 pm on Fridays and Saturdays, with 3:30 pm matinee shows on Saturdays and Sundays. Tickets cost ₱1,500 for Orchestra Center (Reserved Seating) and ₱1,200 for Orchestra Sides (Free Seating).
The 50th year anniversary celebration of PETA began with a blast in March 2017 with the restaging of their massive 2012 box-office hit "Care Divas". In August, PETA had a colorful and delightful new original show for children entitled "Tagu-taguan, Nasaan ang Buwan?" Just last November, PETA returned to its original stage at the Rajah Sulayman Theater in Fort Santiago to stage "Ang Buhay ni Galileo." After those three bombastic shows with big all-star casts, PETA chose to close its golden season very quietly with this intense serious drama starring only two actresses. A middle-aged epileptic woman Jessie, estranged from her building contractor husband and drug addict son, lived with her elderly widowed mother Thelma. One seemingly normal Saturday night, Jessie was preparing to give her mother her regular manicure. Without any apparent warning, Jessie calmly announced to her mother that she will be committing suicide later that night. Shocked and distraught, Thelma desperately tried everything she could as a mother to stop her daughter's fixed decision.
The original material was written by American playwright Marsha Norman. It won the 1983 Pulitzer Prize for Drama. It was first staged on Broadway in 1983 with Annie Pitoniak as Thelma and Kathy Bates as Jessie. It was nominated for a Tony for Best Play. It has a revival in 2004 with Brenda Blethyn as Thelma and Edie Falco as Jessie. In 1986, there was a film version starring Anne Bancroft as Thelma and Sissy Spacek as Jessie. As skillfully adapted into Filipino by Ian Lomongo, the play transformed into something so authentically Pinoy, you'd think it was originally written that way.
For an intimate two-hander play, the set by production designer Ben Padero was huge. It was a detailed interior of a bungalows with a typical design for the 1950s. The living room had a sala set and television, with shelves full of books. Behind, there was a small flight of stairs up to go to their bedrooms. The kitchen had full cupboards, a working refrigerator and running water form the sink. Above we see some obvious wear and tear on the wooden parts of their house, betraying its age and lack of maintenance. It was a regular middle class Filipino household, could be ours or could be our neighbor's.
I had seen Sherry Lara before in plays like "Walang Kukurap" (MY REVIEW) and "Betang" (MY REVIEW), so I am fully aware of her acting talents. But her performance as Thelma is on a much higher level because she felt so real. We identify with her desperation and exasperation all the way from Jessie's startling declaration all the way up to that hair-raising ending. We hope we never have to hear that kind of statement ever in our lives and then live that devastating night down for the remainder of our lives. Yet Ms. Lara had to go through this emotional roller coaster with every performance. We know Eugene Domingo more as a movie ("Kimmy Dora" immediately comes to mind) and TV comedienne. I had seen her act on stage before, also in PETA, five years ago in the stage version of "Bona" (MY REVIEW). She did not star in a play since then until now. Like Ms. Lara, Domingo played it so naturally. We know Jessie is a majorly depressed person, but for that evening, she was unusually chatty and lucid. Her plan was all laid out so neatly, so organized and thorough. Domingo kept our attention riveted on her through all those mundane things she did all night. The whole performance is spine-tingling, knowing what it would be all leading up to.
I had previously seen Director Melvin Lee sing and act as Chelsea in "Care Divas" (MY REVIEW), dance as Sabel in "Sayaw Sabel" (MY REVIEW) and direct in "Mapagbirong Haplos" (MY REVIEW). For this new play, Lee made this heart-wrenching heavy drama also as much a heart-pounding suspense thriller. The lighting design by Jonjon Villareal and music by Vincent de Jesus all worked to hold us at the edge of our seats throughout its approximately 90 minute running time. Watching that real-time clock on stage was like watching a ticking time bomb about to explode. After the play, the stage was set up for a debriefing Q and A session led with psychiatrists experienced with suicides. The intensity and sensitivity of the play's topic, coupled with the very realistic presentation seen onstage, demands such a session for the audience to discuss and ventilate about the traumatic event they just saw transpire in front of their eyes. May this play help us in recognizing suicidal depression and hopefully make positive action to avert any tragic consequences of such distressing mood disorders.
Post-Show photo of cast with director Melvin Lee,
writer Ian Lomongo and crew
************ PETA's 'NIGHT MOTHER runs at the PETA Phinma Theater Fridays to Sundays (3 pm and 8 pm shows) from February 2 to March 18, 2018. Tickets are available at Ticketworld.com. Prices: ₱1,800 for VIP, ₱1,500 for Orchestra Center, ₱1,200 for Orchestra Side, ₱1,500 for Balcony Center and ₱800 for Balcony Side.
This is the 3rd and final event of PETA's East West Danse event which spanned the whole month of June. Of the three shows, it is "Sayaw, Sabel" which had generated the most hype and excitement. Many big names in various fields of Filipino arts are involved. The huge turnout tonight proved its popularity. Tonight was a full house. This dance showcase is a product of director and choreographer Ms. Agnes Locsin. She was once artistic director and chief choreographer of Ballet Philippines in the 90s, now based in Davao City. She is known for merging Western classical dance technique with Philippine neo-ethnic movements. I beleive she does a lot of this in "Sayaw, Sabel". The inspiration behind "Sayaw, Sabel" is the painting called "Sabel" by National Artist Mr. Benedicto Cabrera. This painting "Sabel" was described by its creator Bencab to be "a melancholic symbol of dislocation, despair and isolation--the personification of human dignity threatened by life's vicissitudes, and the vast inequities of Philippine society." "Sayaw Sabel" on the otherhand, is described in its synopsis as "a collection of dances depicting how Filipinos go through life in the midst of all their troubles and tribulations with shining resilience." The unique feature of "Sayaw Sabel" is that the lead role of Sabel will be performed by a different featured theater actor each night, making each show different from the others. Also, Each show will have seven dance artists and a featured theater artist portraying the title role. In an article in Malaya, Locsin said that the seven dancers of each show will also depend on who is available at the time. In 2 pm show today, Sabel was played by PETA Artistic Director Ms. Maribel Legarda. For the show I watched tonight, Sabel was played by a theater actor and director named Melvin Lee. I honestly have not heard of him before, but he seemed to have a lot of fans in the audience, as he was always very warmly applauded. Other actors set to play Sabel in future stagings are Nonie Buencamino and his wife Shamaine Centenera. The music of "Sayaw, Sabel" comes from Louie Ocampo and Joey Ayala. Additional sound design and music was by Jakob Rodriguez with selected OPM songs of Celeste Legazpi, Basil Valdez, Parokya ni Edgar, Noel Cabangon, and Aegis. Poetry by National Artist for Literature Bienvenido Lumbera was also used. Mr. Lumbera was in the audience last night. The seven dances performed in "Sayaw Sabel" last night were (there would be several other dancers with other dance pieces on other nights): 1. "Kayod" by Judell de Guzman-Sicam. Ms. Sicam was dancing with an office chair with wheels. Based on the title, I take it this represents people so tied up with their respective jobs in order to make ends meet. 2. "Batak" by Dwight Rodrigazo. Mr. Rodrigazo was dancing with a piece of cloth, like a security blanket. I honestly cannot guess what this dance was about. Not even the title gives me a clue. It could be about drugs. But despite this, I found this performance to be strong, riveting and interesting. (VIDEO) 3. "Abandonada" by Christine Crame. Ms. Crame was dancing with what looked like a very big piece of white paper. I do not know what the paper was about, but the title suggests she had been abandoned by her husband. The first part of her dance was to the Visayan song "Usahay", while the second part was to the Aegis song "Halik." Very innovative. (VIDEO) 4. "Sugat" by Annette Cruz-Mariano. Ms. Mariano was dancing with a huge black fishing net. Based on the title, and the voiceover, this dance represented being trapped by scars inflicted by abuses in the past. The net provided Ms. Mariano the means to deliver a haunting and meaningful dance performance. This was truly memorable. 5. "Bagong Bayani" by Monique Uy. Ms. Uy was dancing with a Balikbayan Box. But actually she gets help from three other girls in this number. Ms. Uy does not really get a substantial solo. Based on the title, this dance was obviously about Overseas Filipino Workers. The number was rather straightforward with familiar and easier to access modern dance steps. (VIDEO) 6. "Sino Ka?" by Perry Sevidal. Ms. Sevidal started by dancing with a piece of newspaper, but danced the rest of it by herself. Again this is a number which I do not really know what it means, by the dance nor by the title. In fact I do not really remember much about it now. She did dance to "HIndi Kita Malimot" as sung live by Sabel. Maybe that is why I remember the song more than the dance. 7. "Ako Una" by Camille Ordinante-Joson. Ms. Joson started by dancing solo, but the more remarkable part of her dance involved her interaction with other dancers. We see her getting in conflict with other people. There was literal pushing onstage! This was the one moment in the show that was actually funny. From the title, I take this dance to represent either pushy people in society or crab mentality.
And of course, there is the character of Sabel. Sabel is dressed in layers of rags. Her face had thick ghostly make-up. Her head was covered by a stocking with pieces of hair sticking out. The seven solo dances of this whole piece was held together and transitioned by this Sabel character. After each dance, Sabel would come out and interact a bit with each of the other dancers. (VIDEO) In this show tonight, Sabel is a he. Melvin Lee with his bulk and height certainly gave a this Sabel a very different look and presence, compared to what would be expected from a woman. His solo dance steps during Sabel's highlight which came midway (after the 4th number "Sugat") were a bit shaky, but he was very good in conveying sadness, desolation and confusion in his solo. His acapella rendition of "Hindi Kita Malimot" for Dance #6 was actually very moving.
Overall, this modern dance piece was thought-provoking and dramatic. Though it could also easily be interpreted as indulgent and pointless. I think the whole show could be polarizing, people will either like it or they won't. The dancing here isn't exactly ballet, nor jazz, nor ballroom, nor hiphop, nor any of the more recongizable dance forms. I liked certain numbers more than others. I also liked that it was short (only one hour) with no intermission. Based on the audience reaction, last night's staging of "Sayaw, Sabel" was a big success. And with other theater actors lined up to play Sabel, next stagings promise to be similarly well-received. Congratulations to the cast and crew of "Sayaw, Sabel" and PETA!
December 29, 2017 For the year 2017, I had seen and written about 53 theater productions: 15 musicals, 21 full-length plays, and 17 one-act plays. I missed a lot of productions in Ateneo because of schedule conflicts and especially the bad traffic in that area. I will list here what I feel were the best among those theater shows I have seen and written about for 2017. (My 2016 list was posted HERE. My 2015 list was posted HERE.) I. FILIPINO MUSICALS:
Best: OBRA NI JUAN (My Full Review) Music by: Pipo Cifra Written and Directed by: Vincent Tanada In an inventive and bold twist of storytelling genius, Atty. Vince Tanada brings us inside the disturbed psyche of Juan Luna as he argued within himself about key decisions and events of his life, both celebratory and tragic. While this potentially controversial two-in-one characterization style (the genteel artist vs. the volatile cad) can cause confusion for the viewers at first, this novel approach also made us gain a unique understanding of the artist and his state of mind. I marveled at how Atty. Tanada was able to create such an imaginative manner of telling what could have been a straightforward dry history lesson.
Other Notable Productions: Maynila sa mga Kuko ng Liwanag (My Review) Aurelio Sedisyoso (My Review) Tagu-taguan, Nasaan ang Buwan (My Review) Notable Performances: Vincent Tanada, Patrick Libao, Cindy Liper and Adelle Ibarrientos-Lim (Obra ni Juan); Arman Ferrer, Aicelle Santos and Shiela Valderama-Martinez (Maynila); David Ezra, Norby David and Hazel Maranan (Aurelio Sedisyoso): Roi Calilong and Joan Bugcat (Tagu-taguan); Upeng Galang Fernandez (A Game of Trolls) II. NON-FILIPINO MUSICALS:
Best: MATILDA (My Full Review) Book by: Dennis Kelly based on a novel by Roald Dahl Music and Lyrics by: Tim Minchin Director: Bobby Garcia The heart and soul of the whole show was Telesa Marie "Esang" De Torres who played Matilda. So impressive was her snappy Hermione-Granger sounding British accent with which she flawlessly delivered the longest lines while narrating four parts of her story. When we hear her sing her solo songs "Naughty" or "Quiet", it was transcendent of any initial expectations for a child performer her age in her first lead role in a major production. The beautiful stage design depicting Matilda's favorite library is immediately arresting in its size and play with colors, as designed by Faust Peneyra. Director Bobby Garcia, as always, never fails to wow the audience with how he staged the shadow play storytellling and the telekinetic special effects. Other Notable Productions: Newsies (My Review) Kinky Boots (My Review) Chitty Chitty Bang Bang (My Review) *** Foreign Touring Production: The Sound of Music (My Review) Notable Performances: Esang de Torres, Cris Villonco, Joaquin Valdez, Carla Guevara-Laforteza and Jaime Wilson (Matilda), Gian Magdangal, Danielle Chopin, Jef Flores and Daniel Drilon (Newsies); Nyoy Volante (Kinky Boots); Reb Atadero (Chitty Chitty Bang Bang): Caisa Borromeo (Hair): Carla Guevara-Laforteza (Spamalot), Noel Rayos and Franco Laurel (A Christmas Carol 2017); Janelle Visagie (The Sound of Music) III. FILIPINO PLAYS: A. One-Act:
Best: LOOB (My Full Review) Written by: Patrick Libao Directed by: Vincent Tanada The performance of Gerald Magallanes as the ballet boy Mika was bold and graceful in the course of his painful self-discovery, literally baring himself body and soul on that stage. His intensity was matched step by step by Arian Golondrina, who amazed everyone with her fluid versatility as she seamlessly transitioned into multiple characters, even dropping a few lines in Russian. A thunderous standing ovation greeted this mesmerizing play when it ended, all truly deserved! Other Notable Productions: Pilipinas Kong Mahal with All the Overcoat (My Review) Si Dr. Dolly Dalisay at ang mga Ladybugs (My Review) Ang Mga Puyong (My Review)
Notable Performances: Gerald Magallanes and Arian Golondrina (Loob), Fitz Bitana and Anthony Falcon (Plipinas), Dolly de Leon and Celeste Legaspi (Dr. Dolly), Reynald Santos and Ahmed Maulana (Puyong) Gie Onida (Birdcage), Ricci Chan and John Lapuz (Hindi Ako si Darna), Katie Bradshaw and Epi Quizon (Beheld), Edgar Alan Zeta-Yap (Carol) B. Full-Length: Original Filipino Material or Filipino Adaptation:
Best: ANGRY CHRIST (My Full Review) Written by: Floy Quintos Directed by: Dexter M. Santos This new Quintos - Santos collaboration is inspired by the real life story of Alfonso Ossorio, a Filipino artist who painted on a wall in the sanctuary of a chapel in Victorias, Negros Occidental in 1950. The creation of this mural, called "Angry Christ," was the source of much turmoil and controversy for Ossorio, but it eventually became a high point of his career as an artist, and the work he will be remembered for in the land of his birth. For a second consecutive time this year, Nelsito Gomez is playing an artist with a controversial painting about Jesus Christ against popular conventions of religious art.
Other Notable Productions: Ang Pag-uusig (My Review) Sakuntala (My Review) Ang Buhay ni Galileo (My Review) Notable Performances: Nelsito Gomez and Kalil Almonte (Angry Christ), JV Ibesate, Jonathan Tad Tadioan, Doray Dayao and Antonette Go (Ang Pag-uusig), Vincent Kevin Pajara (Sakuntala), Bodjie Pascua, John Moran and Noel Comia Jr. (Ang Buhay ni Galileo), Leo Rialp and Issa Litton (Mga Ama, Mga Anak), Boo Gabunada (Bagong Cristo), Juliene Mendoza (Eurydice), Angeli Bayani, Jackie Lou Blanco and Cherry Pie Picache (Buwan at Baril)
IV. NON-FILIPINO PLAYS:
Best: AGNES OF GOD (My Full Review) Written by: John Pielmeyer Directed by: Bart Guingona Even if Pinky Amador may physically seem too young to play a strict jaded Mother Superior, she convinces us that she was one by the sheer gravelly grit of her voice as she delivered her world-weary lines which dripped with bitterness. Menchu Lauchengco-Yulo never missed a beat as the chain-smoking doctor. Her psychiatrist was frank and straightforward, yet caring and empathetic. That chest-beating scene is simply so potent. As Agnes, Becca Coates reminded me of the raw talent exuded by a young Monique Wilson. Her look and her voice were angelic and innocent, yet she made us feel Agnes' fractured psyche.
Other Notable Productions: My Name is Asher Lev (My Review) W;t (My Review) Prelude to Macbeth (My Review) Notable Performances: Becca Coates, Pinky Amador and Menchu Lauchengco-Yulo (Agnes of God); Nel Gomez (Asher Lev); Tami Monsod (W;t); Mikkie-Volante and Bart Guingona (Blackbird); Giannina Ocampo, Caisa Borromeo, Tami Monsod and Joshua Spafford (In the Next Room); Michael Williams, Roselyn Perez and Cherie Gil (Vanya and Sonia and Masha and Spike); Jernice Matunan (Prelude to Macbeth)
Our UP College of Medicine Class 1992 had been beset with unity problems within our five years in the college, and perhaps even afterwards. Planning for this year's UP Medical Alumni Homecoming as Silver Jubilarians was certainly a formidable task for our fractured class to undertake. Fortunately, our class (and UPMAS) had our President, Dr. Mary Rose Pe-Yan (Mayos to us), who had the drive, determination and passion to make sure our Class will unite and will deliver our very best in this important yearly UPMAS activity. GETTING THERE Together with her trusted friends and co-chairs Maybelle Ongkiko-Cagayan and Alnette Tan, Mayos organized the team who would help her realize her grand vision for the homecoming. Alnette and Jojo Lo for the Finance Committee; Cherry Bello-Bucu for Publicity; Rosanna Leveriza for the Registration; Jubert Benedicto, Teresa Gloria-Cruz, Anna Ong-Lim for the Scientific Post-Grad; Paul Pasco for the Webinars; Saldy Villanueva for the UPMAS Golf Open; Cecilia Lim for the Mass and Parade; JJ Cruz for the Physical Arrangements; Maybelle and Alnette for the Homecoming Ball; Jun Ruiz for the Yearbook and Magazine; Raymund Millan for the Class Directory and Guada Natividad-Villanueva for the Class 92 Family Day. I still do not know how she did it, but Mayos was really actively involved in ALL of these committees. Aileen Apolinario-Dualan is Mayos' VP in UPMAS and was our vital liaison with the Golden Jubilarians, especially since her father Dr. Napoleon Apolinario is the President of Class 1967.
Second Official Class Meeting July 20, 2014
(photo credit: Mayos Pe-Yan)
The first call for our homecoming came five years ago when we hosted the Pabidahan talent show for UPCM 87 during their homecoming. There had been organizational meetings held as early as 2014 usually held in the house of Lia Cruz, getting more and more regular as D-Day drew nearer. The Class Viber group began on August 26, 2015 by Marlo Nievera during the benefit Lea Salonga concert for the building of a new BSLR. This Viber group, together with the older FB group, definitely sparked more excitement for the reunion in all of us. The very catchy theme "Walang Katulad" (stylized as "Walan9 Ka2lad") was a brainchild of (now Atty.) Hans Cagayan and was rendered in its final form by Ernest Caritativo.
Formal Photoshoot for Magazine: October 1, 2017
(photo credit: Jun Ruiz)
I can only talk about the Yearbook Committee since I was part of that group of obsessive-compulsive individuals (like me, haha!) The first call for formal photos with Sablay was issued on May 2016. Our own Viber group for the Yearbook Committee began in July 19, 2016, when things were already getting more serious and hectic with all the pictures and articles coming in. Our first actual meeting as a committee was at Mayos' residence in New Manila last February 3, 2017. The contract with Yearbook Philippines (c/o Randolph Lamzon) was signed by Mayos and witnessed by our editor-in-chief Jun Ruiz last June 16, 2017. The formal photoshoot for the Health and Lifestyle Magazine was held last October 1, 2017 at the UP College of Medicine building. As is typical with us med students, the finalization of this yearbook also went down the wire in terms of deadlines with some classmates submitting photos as late as November.
Classmates Reunion in Virginia Beach: May 29, 2016
(photo credit: James Almirante)
This year, our US batchmates got a headstart on us local folk in terms of reunions. They had a reunion at Felix Tiongco's residence in Virginia Beach on Memorial Day weekend May 29, 2016, where many had their sablay pictures taken. There was a more formal reunion in Albany, NY for the UPMASA Annual Grand Convention from July 11-14, 2017 which had 22 UPCM 92 attendees including five speakers: Mike Nolledo, Chat Dizon-Baron, Dodo Banzon, Pip Padilla and Mayos Pe-Yan. This occasion was also the world-premiere of the very catchy class homecoming song "Walang Katulad" written by Liza Ilag-Alviar, and first recorded by our "choir" last March 2017.
Classmates Attend UPMASA AGC 2017 in Albany: July 2017
(photo credit: Philip Padilla)
The formal Launch of the Homecoming 2017 happened last January 18, 2017 at the beautiful Museum of History of Ideas along Padre Faura. Attending this event made me realize more than ever that this reunion was going to be something big, special and worthwhile. After the Launch ceremony was held the first free Webinar with the topic about HPV Infection. By the end of 2017, there would be 51 Webinars, which were streamed online once, twice or three times a week every week through out the year. Many Class 92 batch mates served as speakers, reactors or moderators in this impressive series of various interesting topics in almost all medical specialties.
At the Launch: January 18, 2017
(photo credit: Melflor Atienza)
There had been several dance practices patiently conducted by Maybelle, Alnette and our professional choreographers (the three founders of Whiplash -- sisters Lisa Chingcuanco, Tintin Limhap and Cecille Martinez) for a series of Sunday afternoons since September 2017 at the Sunshine Place, a recreation center for senior citizens (not that we are) along Jupiter St. The theme of our dance was "Sexy ang 92!" with songs like "Sexy Back," "I'm Too Sexy," "Kiss," "Sex Bomb" and "Sexy and I Know It". I think today was the first day we really saw as close to the real number of people who were going to dance. Many people were only learning the steps for the very first time and it was exciting.
First Dance Practice at Sunshine Place: September 24, 2017
(photo credit: Alnette Tan)
DECEMBER 15, 2017 Homecoming Week started last December 15, 2017 with the Golf Tournament held at the Ayala Greenfield Gold and Leisure Club in Calamba, Laguna. The main organizer of this event for our class is the dynamic husband and wife duo of Saldy and Guada Villanueva. This event also included a Meet and Greet with our fellow celebrators this year, the Golden Jubilarians Class 1967. I was not able to attend this event so I could not say more about it aside from it being well-attended and successful. I did learn later that a 17-year old female golfer won the big prize. Orville Ocampo emceed the golf tournament and the awarding ceremonies. That night, a post-tournament party for our '92 batchmates was hosted by the Villanuevas at their residence. DECEMBER 19, 2017 The next major activity was the Post- Graduate Course called "Convergence in Divergence," subtitled "Wellness for All." This event was held in the Buenafe Auditorium, on the third floor of Calderon Hall (which I only knew this year was the name of the College of Medicine main building). The emcees were Sandra Dy-Chua and present DOH USec Eric Domingo. Ortho Gar Eufemio started the ball rolling with a lively enumeration of his "Healthy Lifestyle Checklist". Endocrinologist Liza Ilag talked about Pre-Diabetes. Melflor Atienza and Felix Tiongco, both GI specialists, talked about Dyspepsia. The first lunch symposium was about asthma by Pulmo Jubert Benedicto. The second lunch symposium was about United Airways, with panelists ENT Tech Gloria, Pedia Infectious Anna Ong-Lim and Pulmo Albert Rafanan. Cardio Giselle Gervacio and Neuro Joey Boiser spoke on the intriguing topic of Bangungut. Cecile Maramba-Lazarte talked about Herbal Medicine, and Irene Baluyut Larkin talked on Health Supplements. In conclusion, audiences got excited when Cyn Ciriaco-Tan and JJ Cruz spoke about derma and plastic surgery in the quest of being Fab at 40 and Beyond.
Group Photo for "Convergence in Divergence": December 19, 2017
(photo credit: Philip Padilla)
The reunion started for me here. It was exciting to get to speak with classmates I had not spoken with since graduation from med school. It was great to hear my classmates lecture with so much authority about the topics assigned to them. Too bad that I would not be able to listen to all the lectures in full because of my duties with the Yearbook Committee because this was also the day when they were first given out to the class! This was also the first day I was to see the yearbook pages in tablet form. There would be more bonding and more carousing later that same night at Minokaua on Adriatico St. near the Remedios Circle. Too bad I was not able to go to this activity to report more about it, but photos, videos and first-hand accounts all say it was a very fun event with some classmates like Martin Lansang, Marlon Oclarence and Beth Ng-Hinton showing off their heretofore hidden talents in singing with the live band. Classmates like Lucky Lara and Egay Musngi made their presence felt first during this party. DECEMBER 20, 2017 This day started bright and early at the flagpole area in front of the Philippine General Hospital where a giant tent and stage were put up for the big occasion which would include all the celebrating classes this year. The rains brought about by Typhoon Urduja in the past few days cleared up after a slight drizzle earlier this day. The officiating priest of the Homecoming Day Mass was Fr. Larry Tan, SDB and he had the audience paying attention during his lively homily. The mass songs were sung by the UPCM Choir. We saw our gritty survivor classmate Bong Marfa for the first time here. The breakfast fare was simple Mc Donald's fare but it was the reconnecting and reminiscing conversations that nourished us more. The digital elections for new UPMAS Officers were also held at this time, for which we got either a free UPMAS cap or umbrella for our votes.
Parade Photoshoot at the PGH Oblation: December 21, 2017
(photo credit: Rico Madlangbayan)
A short program hosted by a couple of dynamic classmates Anthony Cordero and Orville Ocampo prior to the Homecoming Parade. Aside from their quick wit, I was amazed at how they were able to annotate the whole proceedings with names of prominent people in each of the celebrating batches, as well as some interesting trivia about each batch (Due to policy transition issues, UPCM 72 used to be divided into A and B, and there was no UPCM 88.) Our batch was the last one to be called for our class photo in front of the stage. Then the parade (guided by our Marshall Joachim Cruz, son of our very own JJ and Tech Cruz) took us to more group photo-ops in front of the Oblation and the giant Christmas tree across it. We saw the lobby of new Qualimed private clinic complex for some more picture taking. Then some more group photos in front of Calderon Hall itself. The parade ended in the Wellness Center where we had lunch (Jollibee fare this time) in noontime humidity. After lunch, Pres. Mayos called to order the Annual Business Meeting of the UPMAS, as was the usual schedule of events. She reported on the important matters that transpired within the last year. The winners of the election that morning were also announced. By 2 pm, everybody returned to the Wellness Center for the resumption of festivities with the Pabidahan. This is a yearly "Tao Rin Pala"-like talent show tradition hosted by the alumni batch five years junior to the silver class, so that is UPCM Class 97 for our batch. The event was emceed by the jovial president of Class 97, Dr. Maxie Escano. The board of judges included Ms. Ruby Rodriguez of "Eat Bulaga",Dr. Mia Tabunar of UPCM Class 1995 and Dr. Melfred Hernandez UPCM Class 94. Classmates Tina Koa-Malaya and Marirose Cutillar-Alegre showed up to join us this afternoon. For some reason, Class 67 did not show up for their number. So, the show began with Class 77, the Ruby Jubilarians all in red, showed a lot of class as they danced to a bossa nova version of "Rock Baby Rock". Never heard that song slowed down so much, so that it would fit chacha-like dance steps. Our Class 92 showed up full force to dance "Can't Stop the Feeling" with the same choreography as our US classmates performed in Albany earlier this year. Judge Ruby's comment on our performance was how when she judges group numbers like this, she always observed the people at the back row and how they try to cope with the steps of the people in the front. But since there are plants at the back of the dance floor, she'll take that as an excuse for not being able to follow too well. Haha!
"Can't Stop the Feeling" Pabidahan 2017 Winning Number: December 20, 2017
(photo credit: Rico Madlangbayan)
Class 97 and Class 2002 both had a dance number with practically the same steps to the tune of Inigo Pascual's "Dahil sa Yo". This prompted the judges to call for a pair from both groups to go in front for a dance showdown to the same song. Then Maybelle and Alnette from our batch went and joined in the fun, followed by judge Ms. Ruby who pulled her sister Dra. Sally Gatchalian from Class 77 with her in front. That was a truly awesome moment of the afternoon! Two members of newly graduated Class 2017 (who will eventually host our batch's 50th Jubilee in 25 years) rendered a couple of songs to end the contest proper. The judges deliberated for a while then were called in to announce the awards. Class 2017 won Most Gutsy (or something like that) for daring to perform with only two members. Class 2002 won Most Resourceful, saying that they were able to copy the number of Class 97 exactly within minutes of their performance. Class 1997 won Third Best Performance. Class 1977 won Best Choreography, Best Director and Second Best Performance. Our Class 1992 won Best in Costume, Best Attendance, Most Cohesive (!) Class, and to top it all, BEST PERFORMANCE! Way to go for our class who never ever won a single TRP ever back in med school (even getting disqualified on our final attempt, haha!) The prize we got was, well, a couple of tubs of biscuits, but hey, we won first place!
Our First Prize Winning Dance Number!
(Video Credit: Irene Baluyut Larkin)
The rest of the afternoon was spent at Buenafe Auditorium rehearsing for our dance numbers for the homecoming the next day. Heinrich Elinzano joined us for the first time here. DECEMBER 21, 2017 The whole morning was spent rehearsing our dance numbers on the actual stage itself in the Fiesta Pavilion of the Manila Hotel. The dance floor was not as wide as the stage like we practiced in Buenafe the day before. There were tables beside the dance floor, so there were parts where we had to snake through between them to make it to our mark on stage barely on time for the final sequence. There were classmates who gave us a pleasant surprise by showing up for the first time that morning, like Earl Mauricio, Blanche Decano-Orpilla and another undaunted fighter of our class, Jun Diokno. After a few run-throughs of both the Sexy dance and the Community Dance, we were let off for lunch and preparation for the formal ceremony this afternoon.
Before the Final Dance Rehearsals at the Fiesta Pavilion: December 21, 2017
(photo credit: Rico Madlangbayan)
At 2:30 pm, we were all gathered at the Centennial Hall for the Medallion Ceremony. Our girls were all in elegant gowns in various shades of green, from mint to emerald to forest. Our guys (well mostly) were in black suits with maroon neckties. We all got our medals outside the hall and took our individual formal photos with the medal on already before we entered. The hosts for that event were Mia Nepomuceno-Perez and Faith Bocobo-Balmaseda. All the members of the celebrating classes were called in for their medalling by Dean Agnes Mejia. There were amazingly three members from Class 1952 (65th year) there and about ten or so members of Class 1957 (60th year), aside from Class 1967 (50th year) and our dear Class 1992 (25th year). Richard Casiano made his unexpected appearance in this event. There was an emotional moment when the son of departed classmate Regi de Leon received his medal in his behalf.
Medal Ceremony: December 21, 2017
(photo credit: Jobert Collantes)
By 6 pm, everyone was gathered in the foyer of the Fiesta Pavilion for the Homecoming Ball. The foyer had blown-up photos of all the celebrating classes for the guests to look at and serve as backgrounds for their group photos. When we finally got to enter the hall and find our seats (and find out for the first time who our seatmates would be), everything looked very grand and glamorous. Once all the people in the lobby had filed into the ballroom, the members of our class were called outside to assemble for our grand entrance. This was the first time we saw classmates like Edna Vianzon, Raymond Evangelista, Mark Fernandez and Thanny Labio join in the festivities. 99 members of Class 1992 were in attendance at the ball that night. While that figure did not break any attendance records, it was way higher than what the "minimum deliverable" expected when planning began. We arranged ourselves in order of height starting from tallest, one line for girls and one line for boys. On a cue, we boys escorted whoever was beside us in line through the ballroom on the red carpet to the stage to the tune of our Homecoming Anthem. I had the ever-energetic Alnette Tan on my arm during that entrance. Our formal sablay photos were being shown on the wide screens while we entered. There seemed to be more boys who attended than girls since the last few girls were being escorted by two boys. Jun Diokno joined us onstage as well. When we were all there, we "sang" (okay, lipsynced) Liza Ilag's gift of song to our class, "Walang Katulad."
(video credit: Irene Baluyut Larkin)
After the National Anthem and the UPMAS Hymn rendered by the UPMAS Choir, a very touching invocation was delivered by Cherry Bello-Bucu, text written by Kat Juliano. Shortly after the emcees for the night, Orville Ocampo, Anthony Cordero and Tech Gloria-Cruz, were introduced, the 4-course sit-down dinner (Prawn Mango Pearl Cocktail, Cream of Zucchini and Spinach, Grouper Fillet or Stroganoff of US Beef, Apple Pie with Vanilla) started to be served. After the Welcome Remarks by the Dean, there was a roll call of all the alumni classes for their members to make themselves heard. An award were given to Class 1967 for Class of the Year, Dr. Frances Lina Lantion-Ang, UPCM Class 1971 was named Outstanding Educator and Dean Agnes Mejia UPCM Class 1977 was given the Dr. Gloria T. Aragon Illustrious Faculty Award. The Golden Jubilarians then displayed their ballroom dancing prowess to the tune of their batch theme song "Moon River", the same song that won them first place as their TRP presentation. More awards were given after this, to Dr. Regina Pascua- Berba UPCM Class 1987 as Outstanding in Medical Service and Dr. Helen Agustin-De Guzman UPCM Class 1967 as Outstanding in Community Service. Admittedly we in Class 1992 were already in a tizzy backstage at that moment preparing for our number which came next. Honestly, what exactly happened after that intro spiel and intro tune of "Versace on the Floor" and the dance number began, I don't know what happened. Everything was happening lightning-speed during the "Sexy Back" part of the girls and the "I'm Too Sexy" part of the guys. Then while the Salsa group (featuring Joseph Yu, Thanny Labio, Jun Ruiz, Irene Baluyut, Giselle Gervacio, Cyn Ciriaco, Lora Garcia and of course, Alnette and Maybelle) was doing their "Kiss" dance, we were all busy back stage changing to our Sexy shirts. Then suddenly the strains of "Sex Bomb" came on, and the trio of Kat Juliano, Aileen Apolinario and Cecille Maramba went on stage in their amusing and cute fat suits with glittery two-piece red, green and gold bikinis. Then it was our turn to enter the stage to complement them at the back with a few more verses of the chorus before the finale music came on and we had to rush back to the dance floor part for the final formation. As we feared that morning during rehearsal, the tables in that left side area, with all the photographer and guest taking videos and photos, made it difficult for us to reach our meeting points for our entrance. Before we knew it, we just had to go directly to our final points and assume the final pose. Everything happened in a flash, a blur. I need to watch a video to see how we actually did. Haha! Because of the extreme adrenaline rush, I could not concentrate too much to the next awards given to Dr. Susan Pineda-Mercado UPCM Class 1987 for Distinguished Alumna, the Feliciano family for Family of the Year, and Dr. Francisca Tolete-Velcek UPCM Class 1966 for Lifetime Achievement Award. We still had to change to our solid bright colored shirts for the final community dance, which by now I all but forgot already. I got back in time to sing "UP Naming Mahal" which always gives me goosebumps no matter how many times I have sung it. We were already waiting in the wings backstage when UPMAS and Class 92 President Mayos Pe-Yan gave her valedictory address. Of course, she acknowledged her organizing committee for a job very much well-done. When every member of the Org Comm was onstage accompanied by thunderous applause, the burst of confetti rained on the whole stage. Mayos then turned over to Ricky Luna of UPCM Class 1993 the reins of the next Homecoming celebration, which they have dubbed "Uwi Na Po" to be held in the posh Okada Manila (an announcement which drew an audible gasp from the audience). The final community dance was set to the upbeat tune of Meghan Trainor's "Better When I'm Dancin'".Our batch did our part of the dance for the first two verses and then we were joined by representatives from all the other celebrating batches in attendance that night. What a joyous joyous finale that climaxed in another cloudburst of glittery gold and silver confetti! The members of the Flintstones Band then came back on the stage and led everyone dancing to various songs from all decades until past midnight. At least that is what I think, I was not able to last that long because of sheer (but exuberant) exhaustion. DECEMBER 22, 2017 The day after the ball and everyone was still giddy in the experience of the past three days. Shared a table with Rico Madlangbayan, Lalang Lopez, and Jojo Almendral. Earlan Bautista and Raymund Millan joined our conversation after a while. It seems we really could not get enough of talking about our past, present and yes, even the future got into the topics.
Breakfast at Cafe Ilang Ilang, Manila Hotel: December 22, 2017
(photo credit: Rico Madlangbayan)
We actually got to speak to people we never really got to speak with much during our med school and discovered more about their lives they led and talents we never before knew they possessed. Everyone practically still look the same, give or take a few pounds and strands of hair. The 25th year is really the best reunion to attend in terms of health and energy. The 50th year is still too far ahead to envision as a certainty. Plans for more frequent intermediate reunions are already in the pipeline I believe, while everyone is still reeling from homecoming euphoria. There was still a family get-together at Makan Makan Asian Food Village inside Ocean Park Manila at lunchtime. Unfortunately, I was not feeling too well after breakfast (felt febrile and dizzy since last night after the ball) so I could not stay longer. As Lalang said at breakfast that morning, the spirit may be willing, but the body may not be up to it anymore. Hehe.
Family Lunch at Makan Makan: December 22, 2017
(photo credit: Rico Madlangbayan)
Looking back at our tumultuous med school experiences now 25 years later, I would like to believe that ample time had passed and the wounds within our class have already healed. It is clearly time for our class to move on from our past controversies and leave them all behind. In so doing, we become a stronger and more united class than ever before. Consider our class officially reborn this 2017!
Classmate Rod Tanchanco captured this journey from onset to fruition in this beautifully sentimental slideshow of photographs and video:
(video credit: Rod Tanchanco)
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Postscript: Dr. Mayos Pe-Yan would like to acknowledge the valuable contribution of Dr. Anna Victoria San Pedro, UPCM Class 2017, who served as her assistant during the last four weeks prior to the Homecoming. She designed all the homecoming tarps and was in charge of the AVPs during the Homecoming Day and the UPMAS Awarding Ceremony. She would also like to extend her gratitude to the UPMAS Staff led by Ms. Tess Paragsa and Rucel Bautista for being ever-efficient and dependable during the entire homecoming preparations and events.
