REP: Review of THE GREAT CHRISTMAS COOKIE BAKE-OFF!: Delectable and Delightful

November 16, 2021

This year, the Repertory Philippines (REP) Theatre for Young Audiences (RTYA) comes back after a year-long hiatus secondary to the Covid pandemic with a holiday musical "The Great Christmas Cookie Bake-Off!". To make this occasion even more special, it is also the first Filipino production to be made available on the Broadway On Demand streaming platform. This is the first Filipino theatrical musical production that had been specially filmed to be streamed on n international online streaming site. 

Eight kids have been chosen to join the Great Christmas Cookie Bake-Off to be televised on the Kitchen Network for a chance to win P50,000 cash and a cookie cookbook deal. They were: Disney addict Amy (Justine Narciso), over-achieving perfectionist Ana (Jillian Ita-as), rich bratty Gabe (Jep Go), insecure video gamer Javi (Tim Pavino), nerdy science whiz Josh (Stephen Hotchkiss), confident culinary student Julian (Luigi Quesada), homey Granny's girl Patty (Becca Coates) and pretty in purple Samantha (Rachel Coates). 

The over-the-top celebrity panel judges include: notoriously mean desert chef Michael Holmes (Arnel Carrion), the fabulous Kitchen Runway hostess Isabel Guevara (Carla Guevara Laforteza), and flamboyant Mohawked pop star Del Ray (Jamie Wilson). The show's bespectacled master of ceremonies is Larry (Hans Eckstein). Some family members of the contestants would also show up to give their support: Gabe's father (also played by Carrion), Ana's mother and Patty's grandmother (both also played by Laforteza). 

The mechanics of the bake-off involved the kids coming up with original cookie creations based on the special secret ingredient to be revealed only right before the baking time of 40 minutes begins.  There would be three rounds, with only three cookie chefs left in the final round to vie for the big prize. There were breaks after each round when the audience get hints who will most probably be making it to the final three. Some awkward tentative transitions were felt during these breaks in this video version. 

This musical with music, book and lyrics by Broadway-based American composer, lyricist and musical supervisor Rick Hip-Flores, who also worked on acclaimed shows like 2017's Tony favorite "Natasha, Pierre & the Great Comet of 1812." The music was generally cheerful and Christmassy, just right for its juvenile target audience. A classic Christmas carol "We Three Kings" used as the music for one song by the three judges. For this local adaptation, the names of characters and places were changed to give a more Filipino flavor.

Like most cooking programs on TV, we were treated with mouth-watering close-ups of the various cookies the kids came up with, all with descriptive names which whet our sweet tooth even more. How we wish Rep could share the actual recipes of these scrumptious cookies, especially the winning cookies, with their audience. I am sure many kids will want to take up baking after this show, and more importantly, they will also learn the valuable lessons of love for family, gaining confidence, learning from mistakes and playing it fair. 

Veteran RTYA Creative Director Joy Virata directed the play for the stage, with "Master Chef"-inspired sets by Ed Lacson and colorful costumes by Bonsai Cielo to complete her vision. The lighting was designed by John Batalla. After a month of Zoom rehearsals, the final video was shot by movie director Treb Monteras and his Silver Media crew on the final day of a 4-day bubble period at Rep's home stage at OnStage Theater in Greenbelt 1. I wish there had been subtitles since we have gotten used to this convenience on most streaming sites. 

Ticket prices are P700 (Regular) and P1,000 (Family) available directed from Broadway on Demand (LINK), or from local outlets Ticketworld (LINK) and Ticket2Me (LINK). Each ticket gives 24-hour access (for Regular) or 48-hour access (for Family) to the musical, which can be accessed via computer or mobile device via the Broadway On Demand app on App Store and Google Play. Broadway On Demand is also available on AppleTV and Roku. 

For updates, log on to www.repertoryphilippines.ph,like and follow Repertory Philippines on Facebook and Instagram.Educators and school representatives who are interested in the show can email sales@repphil.org.

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

October 24, 2021

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

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

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

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

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

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

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

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

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

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

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

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

 October 18, 2021

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

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

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

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

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

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

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

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

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

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

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

Review of Blue Rep's "f(r)iction": A Mind-boggling Musical

 May 26, 2021

The last show I watched from Ateneo Blue Repertory was their triumphant staging of Tom Kitt and Brian Yorkey's "Next to Normal" which was the finale of their 28th season. This was right before the whole country was locked down because the pandemic, so the rest of its run was cancelled. The Covid-19 quarantine was a devastating event that closed down the live theater industry for the rest of the year, up to the present. Theater artists had to innovate to get their latest productions online for their viewers to enjoy. 

The first show of Blue Rep's 29th season was "Party Worth Crashing," an original musical with book by Marty R. Nevada, Ricci Recto, and Robert Gueco Tan (who was also the director), accompanied by songs by Kait Kerrigan and Brian Lowdermilk. It was reportedly about "youth, coming of age, and learning lessons." This was shown on Ticket2Me for three shows within the last week of January 2021. Unfortunately, I did not get to see that show. 

Now for the final show of this season, Blue Rep is presenting their version of "Friction," an original musical with book by Bym Buhain & Miyo Sta. Maria, music and lyrics by Ejay Yatco; which was initially staged six years ago at the Black Box Theater, De La Salle-College of Saint Benilde School of Design and Arts. That show was directed by Toff de Venecia, and starred Red Concepcion, Gab Pangilinan and Myke Salmon. 

Now with the title stylized as "f(r)iction," the show remains to be about a young writer Karlo (Davy Nicasio) who was desperately trying to finish his book of short stories and fairy tales. However, he had been struck by a bad case of writer's block so much that he was now already three extensions beyond his deadline. His fiancee Audrey (Julia Santiago) was a dancer, until she became pregnant with Karlo's baby which forced her to stop. 

One day, Karlo met another young writer Ben (JV Fulgencio) while drinking in a bar. Karlo clicked with Ben and with their conversations came a wellspring of inspiration for his book. The busier Karlo got with his book, the less time he had for Audrey. At around the same time, Audrey also met Ben, who said he had a history with her that he wanted back. It did not take long for Karlo to realize the bizarre love triangle they were in.

There was a fourth actor Shaun Ocrisma, who portrayed three very different characters.  

The first two were comic relief. First, he played the bitchy sarcastic gay choreographer who handled Audrey's callback audition. Second he played a waiter in a cafe where Ben met Audrey. His third character was more serious -- a therapist who tried to make sense of the crazy web that entangled the three young people. 

The musical ran for about an hour and a half. The first half was a more or less straightforward story of a young adult couple passionate about their careers who fall in love. A pregnancy and a third party came around to throw a wrench into their plans. The second half then evolved into a mind-bending mystery the protagonists could not figure out, and as the audience we are thrown into a vertiginous spinner until the real situation eventually clears up.

The musical was directed for an online presentation by Andrei Nikolai Pamintuan, who was able to execute the psychological drama in compelling fashion despite the apparent limitations of the platform. I was trying to imagine how this story could have been staged. He also did the production design, one key prop being an old  portable Olympia typewriter. Water color paintings set the locations in scene transitions, as well as brought Karlo's fairy tales to life.

The songs went from the joyful "I Love You to Bits," the romantic "Bittersweet Sky" to some painful songs of angst and grief. All three lead actors have strong singing voices. However, it was this aspect that an online viewing felt lacking. Editing of videos cannot approximate actual stage blocking and interactions. The thrilling exhilaration of hearing the songs being performed live gives them a special dimension which cell phone videos cannot convey. This is why we miss live theater. 

*****

Ateneo Blue Repertory's 29th Season Finale: f(r)iction will run from May 26 tp June 1, 2021 on the Ticket2Me online platform. Tickets are available at https://tinyurl.com/friction-tickets at these prices: Base Price of Php 250, With Souvenir Program: Php 300 and With Souvenir Program and Online Package: Php 400. 

 

Book Review: Celia Diaz Laurel's MY LIVES BEHIND THE PROSCENIUM

May 9, 2021

In 2014, Ms. Celia Diaz-Laurel published an autobiographical coffee-table book about her career as a painter, entitled "The Colors of My Life". That book chronicled her growth as a visual artist from her childhood to her years in the College of Fine Arts in UP under her professors National Artists Fernando Amorsolo and Guillermo Tolentino. At that time, she revealed that she planned to have three books of memoirs -- as a painter, as a theater artist, and as a whole person. This year, the second book has finally seen print, with the very intriguing title "My Lives Behind the Proscenium".

I knew the fair and elegant Ms. Celia Diaz-Laurel, the wife of former Vice President Salvador Laurel, as a theater actress, but this was only by reputation. I cited her name a number of times in my reviews of classic plays she acted in which have been revived. I had never seen her perform onstage in a play since she had long since retired from the stage by the time I caught the theater bug. Fortunately, I did get to see her sing live and in person once, when she received the Natatanging Gawad lifetime achievement award in 2016 (VIDEO). 

The text of this new book had a motherly lilt to it. You felt like she was right there beside you personally relating these stories about how she became an avid disciple of the theater. She was very thorough, beginning all the way back to her first grade in the Assumption Convent. She watched her first stage performance that year, and was beckoned to follow the call of the stage ever since. Her details about this elementary school episode was very impressive, with a complete names of teachers, schoolmates, and even the specific roles they played.

CDL with husband Salvador Laurel

She went to share her continuing passion with stage shows during the war years, and her introduction to religious theater during the liberation period. Her best stories were from her UP days when she seriously delved into theater work. She related the circumstance that led to her first of many projects with famed playwright and director Wilfrido Ma. Guerrero, whom she fondly referred to "Freddie." She then segued to her theater career outside the university walls. All these stories were remarkably complete with names and roles and even controversy.

There was a fascinating chapter about her experiences in as a masteral student at the Yale School of Drama, while her husband was doing his masters at the Yale School of Law. This part was written with apparent exhilaration as she told about the various theater techniques and exercises she learned from her American mentors, and the popular acceptance she enjoyed among her classmates. These stories were integrated with the family concerns that ran side by side with her education, like house hunting and pregnancy. 

CDL with co-actor Miguel Faustmann

The final chapter was about her years with Repertory Philippines, from "Plaza Suite" (1968) to "Cemetery Club" (1992). This was probably the part of her career many of her fans remember her for. In a cute anecdote. she revealed how she was introduced to director Zeneida Amador in an awkward little incident, one which eventually led to a long-term professional partnership and personal friendship. She acknowledged all the people she met and worked with during these years in Rep, both on and behind the stage. 

Ms. Laurel was also very much a set and costume designer as much as she was an actress. While she described the challenge of designing for the stage of the Insular Life Theater, I wished she could have told more stories about the most challenging plays she had to design for and her trips to Divisoria to deal with budget and material constraints for her sets and costumes. I actually saw her latest project as costume designer -- "Guadalupe the Musical" (2018) (MY REVIEW). Even at age 90, her stylish flair in design was still very much there. 

CDL with son Cocoy Laurel

The voice of her writing was engaging and conversational, a light and breezy read. Yet, it was very informative and educational in its detail, and charming in her humorous side comments. Filipino theater fans would definitely recognize several of the famous names she dropped along the way and feel a sense of heartwarming nostalgia with her reminiscences about them. While you can probably finish the whole book in one sitting, each chapter would exhort you to slow down the pace so you can savor her vividly-told experiences a little bit longer. 

"My Lives Behind the Proscenium" was edited by two of Ms. Laurel's children, Suzie Laurel-Delgado and Cocoy Laurel. It will be formally launched via an FB Live ceremony on May 29, 2021, her 93rd birthday, at 4 pm, additional details still to be announced. However, you can already pre-order the book care of Jenn Tejada on her mobile number 0966-7698969, from Mondays to Fridays only from 1 -5 pm. 

KTX: Review of Trumpets' FIRST NAME ANEW: Sacred Stories in Songs

February 27, 2021

The original Filipino Christian gospel musical "First Name" was the brainchild of the late theater and concert director Freddie Santos (1956-2020). While Santos wrote all the lyrics, the music for each song was written by acclaimed OPM artists like Gary Valenciano, Ogie Alcasid, Ray-An Fuentes, Butch Alvarez and Bob Serrano. 

Under the stage direction of Santos himself, it was first staged at the Rizal Theater back in 1988, and was a big success with young theatergoers. It would have subsequent restagings at the Music Museum in 1992, Meralco Theater in 1993. There would be an updated version staged at the SM-Mall of Asia Center Stage in 2007.

"First Name" is acknowledged as the first English-language Gospel musical in the history of Philippine theater. It was in fact the show that eventually led to the formation of Triumphant People's Evangelistic Theater Society (or Trumpets), recognized as the first professional gospel theater group in Asia, in 1990 by founder Audie Gemora.

This year while the live theater circuit still reeled from quarantine restrictions, Trumpets resurrects "First Name" again, this time adapted for an online venue. The format was a series of ten music videos, each crafted with its own unique vision and style, linked together by expository spiels by a narrator (Tippy Dos Santos), who would explain the significance and lessons of the songs and the names of the Bible characters that inspired each song. The segments were written by Luna Grino-Inocian, and directed by Carlo Magdaluyo.

The opening number was "What's in a Name" (G. Valenciano), a song about how our names could define who we are, in a new arrangement by Jungee Mercado. The concept by Mo Zee had the dapper artist Sam Concepcion singing and dancing the bouncy percolating tune in a room with colorful murals and neon lights and backup dancers. At a break, he had a rap duet interlude featuring Samantha Libao. 

Aicelle Santos followed with the song "Daughter Eve" (G. Valenciano), rearranged by Choi Padilla and John Apura, video with pop-up storybook animation directed by Cathy Asanza-Dy. This was about the first woman's guilt for her disobedience and desire to be reunited with the Father. Aicelle's pained rendition of the sad lyrics brought a tear to her eye, but the song ended with hope as her pregnant belly was revealed. 

"Let Da Rain Pour Down" (R. Fuentes) was re-arranged and performed by gritty indie artist Bullet Dumas in a reggae beat and style, together with Jacques Doufort and Yuna. What made this song even more remarkable was the performance artwork of Isabella L. Gonzales (Kuh Ledesma’s daughter) who was retelling Noah's story via a painting that evolved while Dumas sang, a true visual and aural highlight directed by Paolo Valenciano.

"Psalm 23" (R. Fuentes), about King David, was arranged by Mon Faustino as an R&B ballad sung with smooth dramatic runs by Lance Busa. "More Than His Name" (R. Fuentes) about Simon Peter in the eyes of his wife, was arranged as a piano torch ballad by Rony Fortich, sung with crystal clarity by Shiela Valderrama-Martinez. Both videos were directed by Johann de la Fuente. 

"To Be Named a Disciple" (F. Santos and B. Alvarez), inspired by acts of the apostles, was arranged by Gio Levy in an upbeat comic style featuring Nanette Inventor as two characters -- one was a nun with fuchsia leggings under her habit, and the other was a rapper in a checkered hooded jacket, in an irreverent video directed by Carlo Orosa. 

"Woman with No Name" (O. Alcasid), about the woman accused of adultery, was rearranged by Jeff Arcilla to be sung by Tim Pavino in a video that featured Joni Vergara and two male dancers interpreting the disturbing torment of social media bullying. "What's His Name?" (B. Serrano), about the many names by which Jesus Christ was known, was arranged by John Apura and Choi Padilla as a driving rock number interpreted by Jett Pangan. Both videos were directed by Dan Cabrera.

The next song is the one song from this musical that became its most famous hit -- "Could You Be Messiah?" (G. Valenciano). The original singer Gary Valenciano was also the one who rearranged this new version to be sung by powerhouse vocalist Morrissette. The stark black and white video, which had Morrissette plaintively singing the prayerful song on her knees in a big empty room, was directed by Dave Lamar. 

The final song is the title song "First Name" (B. Serrano), about how Jesus was the first name and the last, was rearranged by Mon Faustino. In the video directed by Mo Zee, Christian Bautista was singing the song alone in a verdant field at sunrise. He would later be joined virtually by a choir of Trumpets singers (Audie Gemora, Sheila Francisco, Mio Infante, Joaquin Valdes, Bituin Escalante, Carla Martinez, Jake Macapagal, etc...) building up to a triumphant anthemic conclusion. 

*****

"First Name Anew" will be available for streaming on KTX for only three days, from February 27 to March 1, 2021. Tickets at P500 each. 

Tanghalang Ateneo: Review of PASSWORD: 03d1pu5_R3x: Fathered by Fate

February 18, 2021

For the first offering of their 42nd season with the theme of "Pagbabanyuhay: Mga Bagong Anyo ng Buhay," Tanghalang Ateneo chose to stage a modernized version of a classic Greek tragedy -- "Oedipus Rex" by Sophocles. This digital version, with the stylized title of  "PASSWORD: 03d1pu5_R3x," was adapted and directed for an online presentation by Ron Capinding, using the Filipino translation by National Artist Rolando Tinio. 

Several years ago, an old legislator named Laio had been murdered during a pilgrimage, and his murderer is still at large. The Highest Council of the nation has determined that this murder mystery has to be resolved in order for the country to survive an ongoing plague (pandemic?) that was causing an alarming death toll all over the country. The current president Edipo (Yan Yuzon) promised the nation that he would get to the bottom of this cold case, to finally bring the perpetrator to justice, and restore prosperity to the country. 

His Vice President Kreon (Marian Rivera-Dantes) advised Edipo to consult with the correspondent Maria Tiresias (Katski Flores) for further enlightenment. However, the reluctant Tiresias publicly accused Edipo himself of being the curse that befell the country. She further added fuel to the president's anger by saying that Edipo had long unknowingly been living in depravity with his wife Yokasta (Miren Alvarez-Fabregas). His pride and reputation hurt, this led Edipo on an obsessive quest to discover his own origin.

Yan Yuzon possessed the powerful charisma of Edipo, as he underwent an intense development from benevolent leader to disturbed tyrant to tragic figure. Miren Alvarez-Fabregas as Yokasta was cool and confident, but as terrible secrets were being revealed, her assured facade soon broke down. Movie star Marian Rivera-Dantes had an auspicious debut as theater actress as the staunchly-principled Kreon, with her calm demeanor and dignified indignance. In her one riveting scene, Katski Flores as the blind journalist Maria Tiresias (sly name pun obvious) built up the tension which carried through the rest of the play.

In smaller but critical roles, Gabe Mercado (as Lysanias) and Marlon Rivera (as Egeo) held the keys to the central mysteries. Director Ron Capinding, who played Oedipus himself in a previous staging, played the Presidential Spokesman, whose got to relate the grisly events that happened off-camera. The Chorus was composed of student actors (Dani Capinding, Nicole Chua, Miguel Datu, Trixie dela Cruz, Kath Dizon, Shaun Ocrisma, Lars Salamante) who played various side characters like the citizenry, the cabinet ministers and press corps. Their scenes of choral elocution carried a lingering haunting effect. 

When Capinding updated the classic tale to the current times, he was not at all subtle. President Edipo was a mayor from the South before he became president of the country. He continued to enjoy immense popularity and support from his fellow Southerners despite the ongoing problems. His Vice President Kreon was a woman from Nabua (Camarines Sur), whom he later accused of wanting to grab his power. To add a further knowing jab, Edipo's press conferences always started late. 

In online presentations like this, theater elements like dramaturgy (Peter George Mayshle), production design (by Marlon Rivera), lighting design (by D Cortezano), sound design (by John Ago Yam) and original score (by Zak Capinding) now had to work hand in hand with film elements like editing (by Bianca Baltazar), special visual effects (Miggy Arnonobal), color (Clara Lazaro), and sound mixing (also by John Ago Yam). Pure theater actors had to learn to act in front of a camera (giving Marian Rivera a distinct advantage). Since this particular performance is rendered permanent by this digitally-recorded version, the essential aspect of constant newness in every theater performance had essentially been neutered. 

Capinding's modern adaptation made the whole play very clear, engaging and currently relevant. The rich, deep Filipino vocabulary used may sound eloquently poetic to the ears, yet the discontent, defiance and distress they conveyed remained remarkably urgent. The English subtitles by Jopie Sanchez will be very helpful for the occasional archaic words. 

The online Zoom-type platform had its limitations, for sure. But this production proved that, with innovative ideas and passionate actors, a story originally conceived in 429 BC can be made to feel as if it was primetime news today. The suspenseful execution of the final reveal still packed a heavy wallop, whether you knew the twisted story or not. 

*****

** The showdates for "PASSWORD: 03d1pu5_R3x" shall be February 22, 25 and 27, 2021. Tickets will be P150 for general viewing and P250 for general viewing plus a souvenir program (prices inclusive of transaction fee). Tickets can be purchased from Tanghalang Ateneo's ticketing partner Ticket2Me.