My Yearend Roundup: THE BEST OF PHILIPPINE THEATER 2023

December 20, 2023

Since the pandemic was declared in 2020, the theater industry was one of the worst hit. The experience of theater required people to gather in one venue to watch a live performance of actors and singers on a stage. However, these were the very things which were discouraged by the quarantine precautions set by health authorities. 

By March 15, 2020, all running productions at that time ground to a halt, including Black Box "Dekada 70," Trumpets "Joseph the Dreamer," TP's "Batang Mujahideen" and Blue Rep's "Next to Normal." Kapamilya Theater's "Tabing Ilog," Atlantis' "The Band's Visit" and Rep's "Anna of the Tropics" did not even get a chance to start their run at all. 

The industry tried to adjust by resorting to online streaming of videos of plays and musicals, from June 2020 (the Virgin Labfest 2020 on CCP's Vimeo channel) to July 2022 (Benilde Theater Arts' "Doc Anna... Let's Kill This Lab!" on ticket2me.net). But of course, these did not have the same impact for true-blue theater fans. 

Beginning August of 2022 as the populace had been vaccinated and the precautions eased up, theater production companies thankfully began to stage live face-to-face plays and musicals once again. The first shows to hit the stage were all excellent -- Barefoot's "Mula Sa Buwan," TP's "Anak Datu," DUP's "The Reconciliation Dinner" and Rep's "Carousel." 

For the year 2023, I had seen and written about 25 theater productions: 10 musicals, 5 full-length plays, and 11 one-act plays. Philippine theater is very much alive and well again, selling out better than Philippine cinema, it seems. Broadway behemoth "Hamilton" even made its Asian debut at the Solaire in October this year, to quickly sold-out dates. 

There were several shows re-staged this year -- Sandbox's "Every Brilliant Thing" (2019) RWM's "Ang Huling El Bimbo" (2018), TP's "Ang Pag-Uusig" (2017) -- which I was not able to watch again. Due to schedule conflicts, I was only able to catch two sets of the Virgin Labfest. I also unable to watch some college productions, like TA's "Ang Mga Pag-ibig Nina Elias at Salome" or DUP’s "Rosang Taba" and "Sidhi’t Silakbo."

I will list here what I feel were the best among those theater shows I had seen and written about for 2023:

I. ORIGINAL FILIPINO MUSICALS

Best: WALANG ARAY (PETA)

Book: Rody Vera

Music and Songs: Vince Lim

Director: Ian Segarra

Julia was a famous sarsuela performer and Tenyong was her patient true love. Julia had to keep their affair a secret from her demanding mother Juana, who wanted her to marry Miguel, the son of Don Tadeo. When the abuse of clergy led by Padre Alfaro led to his parents deaths, a furious Tenyong decided to leave town and join the rebels. 

Other Notable Productions:

"Rama, Hari" (Alice Reyes Dance Philippines)

"Zsa Zsa Zaturnnah" (Ateneo Blue Rep)

"Tabing-Ilog" (Teatro Kapamilya)

"Hero Z" (PhilStagers) 

Notable Performances:

Alexa Ilacad, Gio Gahol, Neomi Gonzales, Kiki Baento, Carlon Matobato, Johnnie Moran, and Gerald Dy (Walang Aray). Arman Ferrer, Karylle, Miah Canton, Katrine Sunga, and Poppert Bernadas (Rama Hari), Kim Molina, Phi Palmos, Almond Bolante, and Kakki Teodoro (Zsa Zsa Zaturnnah), Miah Canton and Vino Mabalot (Tabing Ilog), Wincess Jem Yana and Marynor Madamesila (Sandosenang Sapatos)

Memorable Tech Aspects:

The direction, witty book, catchy songs and music, and elaborate set and costume designs of "Walang Aray." The costumes of "Zsa Zsa Zaturnnah." The nostalgic set design of "Tabing- Ilog." The futuristic costumes and the anti-zombie antidote machine of "Hero Z."  The whimsical set design of "Sandosenang Sapatos."

II. NON-FILIPINO MUSICALS

Best: TICK, TICK... BOOM! (9 Works)

Book, Music and Songs: Jonathan Larson

Director: Robbie Guevara

New York City,1990. Jon is turning 30 years old in a few days but he is still waiting tables at a diner, yet unable to stage a show on Broadway as he planned. His best friend Michael was making serious money as a marketing executive, already owning a BMW. His girlfriend Susan, a dancer, had serious intentions of settling down and moving to Cape Cod. The pressure clock is loudly ticking, ready to explode inside Jon's head as his birthday drew nearer.

Other Notable Productions: 

"The Last Five Years" (Barefoot)

"Snow White and the Prince" (Repertory Phils.)

Notable Performances: Khalil Ramos, Reb Atadero and Tanya Manalang-Atadero (Tick Tick Boom), Gab Pangilinan and Myke Salomon (The Last Five Years), Jill Ita-as and Carla Laforteza-Guevara (Snow White)

Memorable Tech Aspects:

The "breaking-up" set design of "Tick Tick Boom". The "walkalator" set design of "The Last Five Years." 

III. FILIPINO PLAYS

A. One-Act: 

Best: THE IMPOSSIBLE DREAM (Kumprontasyon)

Writer: Guelan Luarca

Director: Melvin Lee

Pres. Ferdinand Marcos summoned Sen. Benigno Aquino from his prison cell to coerce the senator to confess to the crimes he was accused of. The two exchange views about their perceptions about the nature of the Filipino people and politics in the country.

Other Notable Productions: 

"Lakambini" (Kumprontasyon)

"Hukay" (Virgin Labfest Set C)

"Room 209" (Virgin Labfest Set C)

Notable Performances: 

Ron Capinding and Romnick Sarmenta ("The Impossible Dream"), Sherry Lara and Teroy Guzman ("Lakambini"), Missy Maramara ("A Color for Tomorrow"), Andoy Ranay and Floyd Tena ("Hukay"),  Eshai Mesina ("O'Donnell")

Memorable Tech Aspects:

The direction, script and set design of "The Impossible Dream." 

B. Full-Length: Original Filipino Material or Filipino Adaptation: 

Best: LARO (Barefoot)

Writer: Floy Quintos

Director: John Mark Yap

A Call Boy was accosted by a Policeman, who later met a Drag Queen, who later met a User, who later met a random online Lover, who went home to his Ideal, who then met up with a Student, who then confessed to a cousin Writer, who then interviewed a Model, who then met his Philosopher boss, who later hired a Call Boy.

Other Notable Productions: 

"Ardor" (Tanghalang Ateneo)

"Nekropolis" (Tanghalang Pilipino)

Notable Performances: 

Gio Gahol, Al Gatmaitan and Jojo Cayabyab ("Laro"), Jon Santos ("Bawa't Bonggang Bagay" - Filipino translation of "Every Brilliant Thing")

Memorable Tech Aspects:

Direction and lighting design of "Laro."

IV. NON-FILIPINO PLAYS:

Best: RED (The Necessary Theater)

Writer: John Logan

Director: Bart Guingona

In 1958, abstract expressionistic artist Mark Rothko had just signed a contract to paint murals for the walls of the swanky Four Seasons Restaurant in the Seagram's Building. Because of the extensive scope of this job, he hired a young aspiring artist Ken (JC Santos) to be his work assistant at his studio in New York City. While working on the project for two years, the two discuss and argue about their clashing philosophies about art and legacy.

Other Notable Productions: 

"Lungs" (Sandbox)

Notable Performances: 

Bart Guingona and JC Santos ("Red"), Reb Atadero and Sab Jose ("Lungs")

Memorable Tech Aspects:

Direction, set design and musical score of "Red"

Review of TABING-ILOG THE MUSICAL (2023): Hassles at the Homecoming

November 10, 2023

After their high school graduation, a group of friends from San Juan E got separated as they pursued their respective courses in different colleges. It was only four years later at the funeral of their favorite homeroom teacher, Ma'am Ciriaca, that they got together again at their favorite riverside spot where they played as children. 

Rovic (Akira Morishita) was the boyfriend of Eds, and was already very close with her parents, but he seems to be distracted by his cellphone lately. Eds (Sheena Belarmino) was studying to become a teacher, but her mother had other plans in mind. James (Jordan Andrews) could not get along with his mother, who kept on nagging at him.

Badong (Jude Servilla), who still had a problem with his English, was going for a career in local politics.  Fonzy (Vino Mabalot) was dealing with his depression, made worse by the promiscuous reputation of his bisexual sister Corrinne (Miah Canton), and the avoidance of his New Age devotee ex-girlfriend George (Kiara Takahashi).

The reunited gang takes their first selfie together.

In the 1990s, there was a very popular ABS-CBN teen drama series called "Tabing-Ilog" (likely based on the American TV series of the same genre "Dawson's Creek"). The characters' names in the play were the original character names from the TV series. Rovic was John Lloyd Cruz. Eds was Kaye Abad. James was Patrick Garcia. Badong was Paolo Contis.  Fonzy was Baron Geisler. Corrine was Desiree del Valle. George was Jodie Sta. Maria. 

In March 2020, a musical version of "Tabing-Ilog" was produced as the maiden project of Teatro Kapamilya, staged at the Dolphy Theater. It was directed by Topper Fabregas, witha book by Jade Castro, and music and songs by Vincent de Jesus.  Unfortunately, within a week of its opening, the pandemic lockdown was enforced and cut the run short before it gathered any steam. My review of that original show is posted HERE.

This year, Teatro Kapamilya revived the project in cooperation with PETA. It now has a new director Phil Noble, a new book by Eljay Castro Deldoc, and new songs also by Vincent de Jesus. This new show was focused mainly on the young people and their relationships -- about speaking up, mental health, platonic friendship and LGBT issues. To be updated with current topics, a subplot about dummy social media accounts was also included.

Eds with her parents, Rovic with his grandmother

The highlight of Ohm David's set was one huge tree with a makeshift ladder, benches, and platforms, surrounded by a ring-like stage representing the river. The effect of flowing water was done through lighting effects. Of course, the trademark wheel swing was hanging from one of the bigger branches. The backdrop represented scraps of paper from high school student's notebook on which were scribblings and doodles. 

There was also a fun interactive element introduced in this show. You can scan the QR code in posters outside the auditorium to join the chat group of the gang onstage. Whenever they send or receive group messages, you will also receive them, so you will feel in the loop. 

Eds' father Panyong (Red Nuestro) was still there, and this time around, his wife Azon (Neomi Gonzales) was still around. Rovic's grandmother Juling (Joann Co) likewise made a comeback. However, these veteran stage actors only stuck with one character this time. This was unlike the previous staging, when these supporting actors had multiple minor roles. 

There were also the three owners of a neighborhood cafe called "Coffee-ratiba." Collectively called "Maritres," they were: Anchang (Teetin Villanueva), Toots (Vyen Villanueva) and Meow (Lance Reblando). It was not entirely clear what their relationship to the main characters were, but I assumed they were older neighborhood friends of the gang. A new LGBT character was introduced in the person of James' gay college classmate, Andoy (Benedix Ramos). 

The Cast Takes Its Curtain Call

The acting and singing of the neophyte cast were very promising, and will improve more during the run of this show. In the acting front, Vino Mabalot was heartbreaking in Fonzy's moment of dark despair. For singing, Miah Canton stood out, belting Corrinne's songs out of the park. Morishita, Belarmino, and Takahashi also shone in their solo songs. The experience and singing prowess of stage veterans Nuestro, Gonzales, Villanueva and Reblando were undeniable. 

There are several combination of actors expected, promising a new feel for the show every time. Alternating as Rovic are JL Toreliza and Benedix Ramos. Alternating as Eds are Jhoanna Robles and Vivoree Esclito. Alternating as James is Kobie Brown. Alternating as Badong is Earvin Estioko. Alternating as Fonzie is Drei Sugay. Alternating as Corrinne is Anji Salvacion. Alternating as George are Andi Abaya and Chaye Mogg. Alternating as Andoy is Omar Udin.

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Under the leadership of stage director Phil Noble, the artistic team of "Tabing-Ilog the Musical 2023" is composed of writer Eljay Deldoc, composer and musical director Vincent de Jesus, choreographer Stephen Viñas, set designer Ohm David, costume designer Tata Tuviera, lighting designer David Esguerra and video designer Bene Manaois. 

Show runs from November 10 to December 17, 2023 at the PETA Theater Center. Showtimes: Thursdays and Fridays at 8pm, Saturdays at 3pm and 8pm, and Sundays at 3pm. Ticket can be purchased online on KTX. Prices: P2000 for Orchestra Center and Balcony Center and P1800 for Orchestra Side. 

Review of PSF's HERO-Z: Patriotic Parallels

October 28, 2023

100 years into the future, a country called Town-Z is ruled by corrupt dictator Boss Tsip (JP Lopez) and his wife (OJ Arci). Town-Z was hit by a dangerous virus that turned infected people into zombies. The residents of Town-Z were demanding relief goods as Boss Tsip ordered a lockdown, allegedly to curtail the spread of the virus. In reality, this virus had been invented by scientists under instructions from Boss Tsip with the aim of eradicating the poor.

Four friends who lived in Town-Z -- Andy (Vince Tanada), Jayriz (Johnrey Rivas), Kudz (Gerald Magallanes) and Pol (Fidel Redado) -- decided to lead their neighbors in their demand for food and supplies, as well as equality and justice. When labor leader Ding Silang (Chris Lim) was captured and executed even before he did anything, his wife Ella (Adelle Ibarrientos) boldly took over his cause, with the help of elderly mentor Tata Selo (Chin Ortega).

Clockwise: Vince Tanada (Andy), Gerald Magallanes (Kudz), 

Johnrey Rivas (Jayriz) and Fidel Redado (Pol)

Tanada gave his four central characters a love interest. Randy Andy had flirty rag seller Aya (Vean Olmedo), with whom he can trade naughty jokes. Jayriz had his one true love Lei Nora (Renee Escurel), whom her mother wanted to marry off with someone else. Kudz had Asti (Yvonne Ensomo), the feisty daughter of the local imam. As for Pol, Tanada snuck in a BL reference, letting him fall for his guard Emil (Awin Valencia).

The main antagonists were a husband-and-wife tag-team of political corruption and excess, the historical reference of their identities was not exactly well-hidden. There were even little dips into current events, which audiences easily caught.  Lopez and Arci played the notorious Tsips with sinister glee. Their main henchman was an intimidating goon sporting a multi-spiked mohawk named Kuhol, energetically played by Rotsen Etolle. 

JP Lopez and OJ Arci (Boss and Madame Tsip)

The material of Tanada's musicals over the years had often been culled from the pages of Philippine history. The stories of Jose Rizal and Andres Bonifacio had been tackled several times before in his previous shows, and again this one. Jayriz's storyline was quite faithful to Rizal's history -- his further studies in Europe, accusations for his alleged treachery, his advocacy for education as the best solution and his execution by firing squad.

However, for the other heroes, the parallels can be confusing. While true to Andres Bonifacio's advocacy for revolution, Andy repeatedly called himself dimwitted and implied that he was illiterate -- which the real Bonifacio was not.  Kudz was there to represent for the Moslem sector, but not much was told about the real Sultan Kudarat, who was 200 years older than the other three. The absence of a quotable quote from him was even a punchline.  

Renee Escurel (Lei), Vean Olmedo (Aya) 

and Yvonne Ensomo (Asti)

Lest they misunderstand, younger viewers should be guided by their elders that the story of Pol here should not be taken as a historically-accurate retelling of Apolinario Mabini's life and heroism. Pol was portrayed here not only as a gay man, but also as HIV-positive, which later led to him being wheelchair-bound. Also, Mabini never wrote for La Solidaridad, but Pol wore its name on his shirt and held up a copy of the paper at the finale.

Other heroes of the Philippine Revolution against Spain were also included in the story, like Diego and Gabriela Silang (in the characters of Ding and Ella Silang), and Melchora Aquino (gender-swapped in the character of Tata Selo). The martyrdom of Gomez, Burgos and Zamora were mirrored in a scene about the senseless execution of three priests, Fathers Gumabao (Lloyd Relatado), Borromeo (Renz Saavedra) and Zaragoza (Jason Chan). 

The whole cast at the curtain call

Anyhow, Hero-Z still possessed the same energy and humor that made Tanada's musicals a hit with the high school and college crowd it targets. The acting, particularly Tanada and Rivas, was as over-the-top as ever, as young people liked it. Their costumes were all crazy colorful, outrageous and attention-getting. The zombies looked ghoulish and grotesque, but Jayriz's cool antidote-machine in action was something you've got to see to believe. Pipo Cifra's rousing songs pushed the belting powers of the singers to their limits, and they nail them.

Like many PSF musicals in the past, the grand finale of this entertaining 2-hour show (no intermission) was again a fervent flag-waving call for revolution. This ending was historically-appropriate for shows like "Bonifacio: Isang Sarswela" (2014), "Katips" (2016) or "Supremo Redux" (2018). For this play with a futuristic setting, it reminds Generation Z that, as there will always be politicians who will try to oppress them, they need to strive to educate themselves, and be ready to fight back if ever the direness of the situation calls for it. 

Rep: Review of SNOW WHITE AND THE PRINCE: Virtue Vs. Vanity

October 15, 2023

The story of Snow White was written by the Brothers Grimm, and published in their collection of German fairy tales in the year 1812. However when Walt Disney released his full-length animated classic "Snow White and the Seven Dwarves" in 1939, this maiden whose "skin as white as snow, lips as red as blood and hair as black as ebony" became a beloved character for children all over the world. 

The truthful magic mirror revealed that to the vain Queen that her step-daughter Snow White is the fairest woman in the kingdom. To escape the Queen's plot to kill her, Snow White ran off into the woods where she sought shelter in the house of seven dwarves. The Queen disguised as an old peasant and put Snow White into an enchanted sleep with a magic apple. A Prince woke her up with true love's first kiss.

This stage musical version of the Snow White fairy tale is current production of the Repertory Theater for Young Audiences (RTYA), now on its 31st year as the children's theater arm of Repertory Philippines. It is also the only production Rep mounted this year. The delightful book, music & lyrics were by Janet Yates Vogt and Mark Friedman, the same team behind another hit children's play RTYA staged in 2018, "Rapunzel! Rapunzel!" (MY REVIEW).  

With their rhyming lines and lyrics keyed for younger audiences, Vogt and Friedman made some major tweaks to the familiar story of the Disney classic. Perhaps to address the controversial issue of the Prince randomly planting a kiss of an unconscious Snow White without her consent, it was shown here that they've met in a ball and were actually falling in love at first sight with each other even before that kiss. After Snow White was revived, there was an additional scene where the heroes and the evil Queen have a showdown. 

Several aspects of that 2018 production were also found in this new show. The director is still RTYA's founder Ms. Joy Virata. The very colorful and fanciful costumes were also designed by Raven Ong. The dramatic lighting design was still by John Batalla. New members of the artistic team were: Stephen Vinas for the choreography (which went from ballet to tap), and London-based Kayla Teodoro for the set design (from the pastel-colored forest to the cute dollhouse-like dwarves' cottage). 

In the "Rapunzel" show I watched, the antagonist Lady Zaza was played with glee by Carla Guevara-Laforteza. This time around I again catch Laforteza playing the evil Queen. She had a short bob hairstyle and severe make-up so I did not recognize her at first. However, she certainly knew how to work this villainous role for the kids in the audience. She could be dark and scary, yet balanced with a tongue-in-cheek delivery of her lines and wicked laughter. (Pinky Marquez and Julia Serad alternate as Queen.)

Jillian Ita-as still looked like a pre-teen when I first saw and heard her sing a "Frozen" song on the CCP stage in "Disney in Concert: Tale as Old as Time" in 2014 (MY REVIEW). Now almost ten years later, she is playing the title role in a Rep production. Her diminutive height may make her look much, much younger than her actual age, but her cherubic face, natural charisma and crystal-clear singing made her a good fit as pure-hearted Snow White. (Kiara Dario, Ashlee Factor a.k.a. Pappel, and Fil-Am talent Anyah alternate as Snow White.) 

Neo Rivera first caught attention of theater critics when he took on the challenging title role in the 2022 restaging of Trumpets' "Joseph the Dreamer". Now, he is taking on the role of the Prince Alexander Emmanuel Heinrich Nicholas Philippe Augustus, and he brings to the role a lovesick charm, which seemed to delight the little girls in the audience, especially when he went up and down the aisle stairs in certain parts of the play. (Rapah Manalo and MC dela Cruz alternate as the Prince.)

Sebastian Katigbak played the key role of the Magic Mirror a tad too much swish, but his solo number "I Got the Queen" with tap dancing was a showstopper.  (Franco Ramos and Chino Veguillas alternate as the Mirror.) Chesko Rodriguez also played the Prince's butler Rupert a tad too prissily, so his "shipping" with Snow's more mature nursemaid (Cara Barredo) was rather unconvincing. (Diego Aranda and Dingdong Rosales alternate as Rupert. Abi Sulit and Ring Antonio alternate as the Nursemaid.)  

Vogt and Friedman departed from Disney's depiction of dwarves as little people, instead going for the current norm of inclusivity, specifying that they should be of all "sizes, shapes, ages and sexes."  And diverse they were in the show I watched -- stage veteran Nelson Caruncho, Ralph Oliva, Barbara Jance, 16 year-old StarMagic artist Omar Uddin, ensemble member Liway Perez, dwarf swing Czar Decena, and, most remarkably, the very cute Sophie Banaag, the youngest member of the cast -- telling us to “just call us friends” instead.

However, the definition and image of how "dwarves" should look like are simply too deeply ingrained in us, so it may take some time for kids and parents to accept Vogt and Friedman's definition, despite their noble intention. In fact, I thought  the two actors who played the palace guards in that show I watched looked more like dwarves than the actual "dwarves." (Also alternating as Dwarves are Kenny Isidro, Jay Barrameda, Basti Santos, Reese dela Vega Iso, Tiago Santos, and Mica Fajardo.)

Watching this hour and a half (with an intermission) was a rollicking fun time, especially with the kids in the audience all engaged and interacting with the colorful and wacky characters and their silly antics. It was heartening to hear the excited chatter and laughter of future theater lovers, which is certainly always an additional bonus when we watched these delightful RTYA productions over the years since 1992.

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"SNOW WHITE AND THE PRINCE" runs weekends from September 16 to December 17, 2023 at the Onstage Theater in Greenbelt 1 in Makati City.  Tickets can be booked at the Ticket2Me or Ticketworld websites, with prices ranging from P2000 (orchestra center) to P800 (balcony). 

Greenbelt 1 is scheduled to be demolished and rebuilt by January 2024, so this will be the final production staged at Onstage. (RTYA's first play at Onstage was "Beauty and the Beast" in 2003.) In the meantime, the upcoming 2024 season of REP (with four exciting productions) will be staged at the RCBC Theater.

Harlequin: Review of HALIMAW: Mythic Metaphors

October 3, 2023

The current King of the Philippines (Bene Manaois) was a sadistic tyrant who cut off the heads of people who went against his wishes. One day, his three daughters, all named Maria (Andrea Mendoza, Keanna Encarnacion, Reina Tejada), went missing. A lowly, dim-witted janitor at the palace, Alberto (Noel Comia, Jr.) took it upon himself to track the princesses down and rescue them. 

With magical items he "borrowed" from characters of local myth, Alberto went on his quest accompanied by twin brothers, the Juans (Joaquin Naguit, Gian Torres). The boys located and released the three Marias from the captivity of three monsters -- the flamboyant Bb. Sirena (Vinas Deluxe), the old-fashioned Gng. Purista (Murline Uddin) and the vicious three-headed G. Dragon (Huse Timbungco).

Alberto (Noel Comia, Jr.) and Maria 1 (Andrea Mendoza)

The original material by Isagani R. Cruz was a zarzuela first staged in 1971. Noted theater stalwarts from PETA -- stage director Raffy Tejada, musical director Vince Lim, and choreographer Carlon Matobato -- have updated it into a pop-rap musical-comedy to appeal to the Gen Z/ Gen A audience. This current incarnation runs for almost three hours, with a 10-minute intermission between the two acts.

The setting was basically a reworking of local fantasy classic "Ibong Adarna" tropes of the Philippines as a monarchy. The current ruler was an abusive King with a harem of 11 wives. It would be stated later in Act 2 that the government had once been a democracy, but that this monarchy seemed easier to run and more efficient for the leader. A dilemma about this issue would be tackled towards the end.

Gng. Purista (Murline Uddin), G. Dragon (Huse Timbungco) 

and Bb. Sirena (Vinas Deluxe)

More touches of local folklore would be shown in the forms a duwende, nuno sa punso, enkantada and tikbalang, whom Alberto would outwit to gain paraphernalia with supernatural powers useful for his quest. These were magic boots for instant translocation, a magic ring for instant knowledge in the form of a information genie, a magic guitar to coerce anyone to dance, and a magic hat to render him invisible. 

Production designer Leeroy New's designs can be seen in both local and international productions of both film and theater. His vision for this production were ambitious given the epic scope of the story. However, budget constraints were real issues here, so the sets may not look as sturdy as they should be. Any action that took place on the second level of the stage looked precarious for the actors. With all the movement up and down the set, I trust that precautions were in place for the safety of all concerned.

The King (Bene Manaois) and his Harem

Costume designer Santi Obcena gave the Sirena a shimmering green gown with a huge seashell-shaped headpiece, and tentacles which needed two assists to carry. Gng. Purista's costume was all-white satin dress embellished with water bottles at the back part, formed to look like spider legs. G. Dragon carried a giant paper-mache head at his back, while two assists carried the two other heads and the dragon's long body made from gallon water bottles painted red. In contrast, the three Marias all had drab outfits, rather ironic in my opinion. 

The show I watched was the press preview held two days before the formal opening. I am not sure if the cast was entirely ready to perform in front of an audience yet at that point in time, as the acting still felt rather awkward and rough overall. The projection of voices were inconsistent so there were several lines which could not be understood clearly. The singing was not yet on point nor perfectly in unison or harmony at all in the group numbers. I do cut this show some slack as this was a student production after all. 

The Full Ensemble

I believe the confidence of the actors will improve more with each show coming up, so I am not so worried about that. However, I hope the societal ills that each evil monster was supposed to represent could be more clearly pointed out and emphasized, so that their defeat would be more meaningful. In a colorful humorous show like this, the visual spectacle and jokes tend to overshadow the full patriotic message, even if a sidebar about the Kian delos Santos murder and the singing of the National Anthem attempt to bring the focus back.

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"Halimaw" runs from October 4-5 (2:00 pm) and 5-7 (7:30 pm) at the Teresa Yuchengco Auditorium, on the fifth floor of the Don Enrique T. Yuchengco Hall, De La Salle University. 

Purchase your tickets from these links as follows: Premium Seating, Orchestra, & Balcony 1 (LINK), Balcony 2 (LINK). Ticket prices are: P1,500 for Premium Seating, P700 for Orchestra, P500 for Balcony 1 and P350 for Balcony 2. 

Barefoot: Review of THE LAST FIVE YEARS ( 2023): Bane of a Breakup

October 1, 2023

Jamie was a writer who just had a book out. Cathy was an aspiring actress. They were happy together and got married. However, for the next five years, circumstances kept them apart most of the time. Jamie was frequently in New York City promoting his book, getting high on his success. Cathy was left in Ohio, making the rounds of auditions, usually getting disappointed with rejections. They eventually broke up.

That last bit was not exactly a spoiler, as this whole show was all about their break-up rather than how they met. It opens with a miserable Cathy finding a break-up note from Jamie and his ring which he left behind, and she was singing "Still Hurting." Sudden shift of mood at the other end of the stage, watching an excited Jamie singing about a non-Jewish girl he was dating, whom he called his "Shiksa Goddess" -- Cathy. 

From there, writer Jason Robert Brown told Cathy's story going backwards in time, while telling Jamie's story going forwards. The show essentially had its two actors singing monologues on their own sides of the stage for the majority of the time. They only got together once in the middle of the show, to sing "The Next Ten Minutes" as a duet, depicting the blissful time in their lives, when Jamie proposed to Cathy and they get married.

Back in 2003, this show had already been staged locally at the RCBC Plaza, starring Philippine theater royalty Audie Gemora and Menchu Lauchengco-Yulo, directed by Bart Guingona. I was able to see the second local staging in 2014 produced by 9 Works, staged also at the RCBC Plaza, starring Joaquin Valdes and Nikki Gil, directed by Robbie Guevara. In 2015, a film version was released, starring Jeremy Jordan and Anna Kendrick.

I admit that when I first watched this show in 2014, I found the non-linear telling of the story confusing, and the wordy narrative songs not very much to my liking. This time around, I am now familiar with the story and the unique storytelling style, but those long-winded songs with many obscure ethnic references, I am not exactly a fan yet still. I believe that these are the types of songs that need repeat listenings to be familiarized with.

As the lyrics were key to full appreciation of the songs, It was unfortunate that the sound system at the Power Mac Spotlight Blackbox Theater in the matinee show I watched made it difficult for me to understand the lyrics, especially the first half of the show. I am actually not sure if the sound issue is just with me only or where I was seated. I observed that there were other people reacting to the certain lyrics with laughter in another part of the theater. 

I noted in my 2014 review (MY REVIEW) that it was the actors who elevated the whole show experience for me, and again the same is true this time around. Real-life newly-wed husband and wife Myke Salomon and Gab Pangilinan were in a unique life situation and undeniable chemistry to be able to imbue this material with unfiltered emotions that connect with the audience, those unclear lyrics and unfamiliar references notwithstanding. 

Gab Pangilinan's soaring singing voice is truly sparkling, seemingly effortless as she navigated those high notes and tricky lyrics of songs like "A Summer in Ohio" and the emotional depths of songs like "See I'm Smiling." The role of Jamie was a thankless one as he seemed to be the one who failed to make his marriage work. Nevertheless, Myke Salomon's charm still made him sympathetic. For me, his best vocal performance was in that song he sang to his sleeping mistress, "Nobody Needs to Know."

New York City-based set designer Joey Mendoza built a long raised stage in running lengthwise when you enter the blackbox theater, with the viewers seated on either side. This stage was divided into three long sections -- two covered with faux grass, and a central aisle where a mechanized platform moved from one end to the other, ferrying the characters where the story required them to be. When you are watching an actor sing on one end, you cannot see the other end, so you will tend to look left and right during the show. 

Kudos to director Topper Fabregas for his sensitive directorial style for tell this heavy depressing story. Musical director Rony Fortich expertly conducted his talented string musicians on violin, cello, bass and guitar, with Farley Asuncion on the piano.

*****

The Barefoot Theater Collaborative's "The Last Five Years" runs from September 29 to October 15, 2023 at the PMC Spotlight Blackbox Theater, Circuit Makati.

Recap of ANYWHERE WE SING IS HOME: The CCP's 54th Anniversary Gala

September 10, 2023

The Cultural Center of the Philippines (CCP) is celebrating its 54th founding anniversary this month. However, since it is currently being renovated, the whole CCP proper is not available to stage a major gala concert to be held to celebrate the milestone. Therefore this special event was instead held in the Samsung Performing Arts Center in the Ayala Circuit Makati Mall for two performances, September 9 at 8 pm and September 10 Sunday at 3 pm.  

The Philippine Philharmonic Orchestra played the music conducted by no less than by National Artist for Music Ryan Cayabyab. For each artist who sang in the show, their spiels revealed what year their first time to perform on the CCP stage was and on what production. They will then relate their own stage experiences with more personal detail with nostalgic effect. The show was directed by the ever-fabulous Floy Quintos.

Headlining the gala this year is Joanna Ampil, who was prominently in theater news lately for portraying the Engineer in the latest revival of "Ms. Saigon" in the UK. Not only that she was the first female to do so, the fact that she had played Kim before made this inspired casting even more remarkable.  (Ironically, Ampil did not get to sing any song from "Ms. Saigon" in this concert, be it a Kim song nor an Engineer song.)

Wearing a shiny black suit and pants ensemble, Ampil opened the concert by coming down a spiral flight of stairs on stage right, singing "As If We Never Said Goodbye" from "Sunset Boulevard." She followed this up with an energetic rendition of the sassy "Don't Rain on My Parade" from "Funny Girl." She then introduced the next two singers, both "Ms. Saigon" alumni abroad like her, to sing the next medley of Filipino songs with her.

After singing a triumphant "Nais Ko," Ampil left the stage. Gerald Santos sang "Hahanapin Ko," followed by a visibly expecting Aicelle Santos in a white maternity gown, singing "Narito Ako." Aicelle went on to sing "What I Did for Love" from "A Chorus Line". Gerald came back on to sing "Hanggang," his winning song when he won "Pinoy Pop Superstar" 2005, which he won over Aicelle. The two ended their set with "Ms. Saigon" most famous duets -- "Sun & Moon" and "Last Night of the World."

Ampil came back out on the stage wearing a bright green body-hugging gown with fuschia designs and a matching scarf on her head to sing "I Don't Know How to Love Him" from "Jesus Christ Superstar." Then she introduced Sheila Francisco, and they sang a slowed-down arrangement of "Happy Talk" and the ethereal "Bali Hai," both sung in "South Pacific" by Bloody Mary, a character they've both played in the UK. Francisco then took centerstage to sing a powerful, gritty and show-stopping rendition of "Some People, " a song by a character she longed to play onstage, Mama Rose of "Gypsy." 

Ampil returned onstage to introduce her next three younger guests, who had never performed in musical productions abroad yet -- Arman Ferrer, Reb Atadero and Gab Pangilinan (the only one of them who had not actually sung on the CCP stage yet). The four of them sang a medley of dreamy songs by Michel Legrand, including "What Are You Doing the Rest of Your Life" and "The Summer Knows" (love theme from the film "The Summer of '42").

Three songs composed by Ryan Cayabyab for Filipino musicals were next, so Toma Cayabyab came out to replace his father to conduct the orchestra for this segment. With her rich soprano, Pangilinan led off by singing "Magbalik Ka Na Mahal," then duetted with Ferrer in "Iisa ang Tibok," both from "Rama Hari." Ferrer then brought the house down with an impassioned "Awit ni Isagani" from "El Filibusterismo" with his robust tenor voice, then ending on an exquisite head tone key switch in his final note.

Reb Atadero returned to sing "Being Alive" from Sondheim's "Company," then gushed about his surreal experience of having Mr. C playing piano for him. He then reintroduced Ampil, who had now changed into an elegant silver evening gown. She sang two big ballads from her most iconic Broadway roles -- Fantine's "I Dreamed a Dream" from "Les Miserables" and Grizabella's "Memory" from "Cats." All her guest artists, this time dressed in glittering black, returned to the stage to join Ampil to sing Wency Cornejo's "Next in Line" as their inspirational finale, dedicated to the artists who will grace the CCP in the future.

Review of Tanghalang Ateneo's ARDOR: An Affair in Anarchy

September 3, 2023

A bomb exploded at one political rally being conducted by student activists. When their leader Astrid was hit and injured by shrapnel, she was rescued and brought to a safer place by one of her members named Z.  Outside, there was the smoky confusion and anguish over the casualties was going on. Meanwhile, Astrid and Z got carried away with the intimacy they shared and made love in spite of the pain and peril. 

This was the central love affair that was born in the middle of the violent revolutionary movement threatening to oust a corrupt dictator out of his position. Astrid still worked closely with her ex-boyfriend Luther, who still co-led their movement with her. Z was taking care of his precocious 7-year old cousin named Kali, whom people knew as an indigo child. Based on secret information she learned, Kali roused the other activists into more fiery action.  

This complicated play was written and directed by Guelan Varela-Luarca. It unfolded in one tense continuous act, one hour and 40 minutes long, with several scenes in which the young cast would be running all around the stage. Opening with a scene of a young girl Kali (Teia Contreras) talking to her petticoat-wearing cat (Nicole Chua) about the cosmos, you somehow get an inkling that this would not be as straightforward as you thought. 

When Kali let loose her long incendiary monologue in Act 2, it was at that moment that you be able to make sense of all the confusing dots together to that point. Still, Kali was such an over-the-top and and out-of-the-box character, as only Luarca could have created. Delicate-looking Teia Contreras really gave this character her all, even at the risk of losing her voice with her passionate orations, which required her to shout her lungs out. 

Jam Binay, Zoe De Ocampo, Teia Contreras, Kagi Umpad

The love triangle angle of the story gave a more personal dimension, but for me it did not work, mainly because a casting choice. I do not usually comment about an actor's physical features, but in this case, Zoe de Ocampo, his acting skills notwithstanding, felt miscast as Z, mainly because of his diminutive height and build beside Jam Binay as Astrid. Astrid saying "I love you" to him never once rang true, as there was no chemistry or "kilig" at all. 

That thought-provoking scene of Z and Luther talking about their art was very well-written. Ideally, it should have come across as something like a similar scene of the two men in Celine Song's current film "Past Lives." However again, de Ocampo as Z did not look like much of a credible romantic rival, because he looked and acted too immature to match the stronger stage presence of Kagi Umpad as the jaded Luther. 

Overall, all the bourgeois hypocrisies, double-dealings and double-crossings going on in student groups, rebel groups and corrupt dictatorships, and their violent consequences -- were solidly plotted. Luarca's stage tricks using actual flames, definitely raises the sense of danger in the play. By the time that scene with the "Three Little Kittens" video comes along, you are in total sympathy with Kali, even if we do not fully understand why she acted the way she did. 

*****

Guelan Varela-Luarca's "Ardor," maiden production of Tanghalang Ateneo's 45th season with the theme "Pag-ibig at Himagsikan," runs at the Rizal Mini-Theater, Faber Hall, Ateneo de Manila University, from August 26 to September 9, 2023, 2 pm at 7 pm. 

Ticket prices at P500 (General Audiences), P350 (ADMU Loyola School students) and P300 (for ADMU Loyola School scholars). Buy tickets via this LINK.

Reminders: "Ardor" is rated R-13 for its mature theme and scenes of violence. It has strobe lights, smoke and flames, gunshots and explosions.

Recap of APO HIKING SOCIETY 50 YEARS THE CONCERT

July 16, 2023

The very first concert I had ever seen was an Apo Hiking Society concert when I was still in high school and they performed in our school. That was 40 years ago, and tonight, they are already celebrating their golden year as an musical act. Like me, the whole Hyundai Hall of Arete in Ateneo was abuzz with excitement. At 8 pm, the concert began with an overture of familiar Apo Hiking Society tunes played by musical director Bond Samson and the 50 Years band, while a humorous history of the band was being flashed on the big screen onstage. 

Boboy Garovillo and Jim Paredes made their entrance on wheelchairs, pushed by nurses wearing bunny suits. Their first song was an upbeat new song about their 50 years together. Halfway though the song, Boboy and Jim changed into black Chinese-collared shirts with gold baybayin characters embroidered on the left side than meant "limampu" or "fifty.  Meanwhile their "nurses" had stripped off their PPDs and were gyrating in skimpy tops and shorts. 

The first hit song they sang was "Ewan" followed by "Love is for Singing". Then they stepped up the energy and sang the theme song of their first movie "Blue Jeans," letting the audience sing the "Whoo!" part.  After this, they performed their first comedy song number, singing classic songs like "Yesterday" and "Do, Re, Mi" with all the skipping, pitch changes and various other sound effects of a scratched up vinyl record. 

Boboy then sang a song he wrote entitled "Paano" which they said was their last major hit, and this was all of 15 years ago. The next song was "Yakap sa Dilim" which they naughtily branded as an "immoral" song. The guy who played the sax solo nailed his featured part and the audience appreciated that. This was followed by the novelty pop song "Syotang Pa-Class," with sexy back-up dancers and the giggling care of the female backup singer Camille Johnson.

Jim introduced their next song which was from their "latest" album,  which they then told us was released 13 years ago. This was "Boboy, Jim and Danny" which was the 27th album they had recorded. The song was a ballad entitled "Giliw," which Jim submitted to the soundtrack of a movie starring Regine Velasquez and Robin Padilla. Even if it was the first time many of us heard it, we still clapped and cheered.

The next three numbers were sung with a guest music ministry choir of Ateneo students called Hangad. They backed the Apo up when they sang "Wala Nang Hahanapin," a song they've dedicated to wives. When Boboy and Jim left the stage for a break, Hangad sang an Apo song (said to be inspired by a Pan-Am commercial) called "Minsan sa Buhay." The Apo guys came back out for another comedy number -- "Salawikain" sung in operatic style.

With Hangad

When Apo sang "Awit ng Barkada" and "Tuyo ng Damdamin," fans knew this was a tribute dedicated to their late friend and collaborator Danny Javier, who passed away last October 31, 2022.  The two guys sang with Danny's voice and video on songs like "One, Two, Three" and "Batang-bata Ka Pa." However, to sing the second verse of "Batang-bata", out came Danny's son Jobim Javier in a most touching surprise guest appearance. 

They then played a video of Danny singing the last song he ever wrote, a serio-comic song about dying called "Lahat Tayo". Despite its rather morbid lyrics, like "Lahat tayo'y mamamatay, gusto bang makisabay?" or "Sige akong mauuna, pangako susunod ka, ha? Malungkot ang nag-iisa, mas masayang kasama ka." In this new arrangement by Lorrie Illustre, Boboy and Jim comically responded with a vigorous "Ayoko pa!"

With Jobim Javier

Boboy and Jim proudly shared that the first local artist to coin the word "OPM" or Original Pilipino Music was Danny Javier. From there, they went on to perform "Pip-T," a elaborate medley of  folk songs and kundimans mashed up with foreign pop songs. Some of the notable ones are "Magtanim ay Di Biro" with EWF's "September", "Waray Waray" with Van Halen's "Jump," Diomedes Maturan's "Bulong-bulungan" with the "Voltes V" opening theme, and "Penpen de Sarapen" with the "Ting Ting Tang Tang" viral Tiktok dance craze. 

They shared an anecdote about an extravagant man who hired them to deliver a Valentine morning serenade of a single song in an effort to win back his ex-wife, then sang the song itself "Panalangin." This was followed by another one of their popular love songs "When I Met You." After they they argued about the definition of "medley," they sang their "Tagalog Medley" with "Lumang Tugtugin," "Pag-Ibig," "Araw" and the beautiful "Nakapagtataka." 

They could not resist to crack a political joke before singing "Tanggapin Mo Kung Gusto Mo" (from their 1996 album "Dating Alternatib") in a limbo rock rhythm. They then sang the rousing and hopeful "Kung Gusto Mo, Gusto Ko Pa" (from their 1991 album "Songbuk"), introducing their band, dancers and backup singers (one of whom was stage actor Juliene Mendoza!), which turned out to be the final song of their main set.

Of course, the audience clamored for more. So for their encore, they obliged to return onstage and sing three more of their most popular hits "Pumapatak ang Ulan," "Mahirap Magmahal ng  Syota ng Iba" and finally "Show Me a Smile." Everybody in the 900-strong audience that night was standing up, singing and swaying along up to the very last note. The rain was pouring very hard outside the Arete, but everyone's mood and energy was definitely happy and positive from their healthy dose of Apo Hiking Society music that night. 

Congratulations to Boboy and Jim, as well director Leo Rialp and his crew, for the success of this concert. 

Review of VIRGIN LABFEST 18- SET D (Muwang): Mind, Maid, March

June 21, 2023

1. ANG TUYOM

Writer: M. Manalastas

Director: Gio Potes

M (Jude Matthew Servilla) was a playwright cross-examining himself as he was drowning in his own loneliness. In the process, he interacted with his characters representing his younger self Batang M (Zöe De Ocampo), his mother Ma (Opaline Santos), his friend Raul (Fred Layno) and his love Elimar (Serena Magiliw).

To be fair, I came in a little late so I missed how it started. However, I never really got into the drift of this piece at all. The concept was theoretically good, but everything felt so abstract onstage. The lines were not connecting with each other. The humor was not working for me. The actors were trying to make things work, but I was not getting it. It just ended with a whimper with barely any impact to remember. 

2. HAWAII, HERE WE COME

Writer: Shenn Apillado

Director: Mark Mirando

As a crowd was forming outside Malacanang Palace during the final day of the ruling family, trusted aide Shirley (Madeleine Nicolas) asked her niece Angge (Sheryll Villamor Ceasico) to help her pack things for her dear Madam (Gem Padilla-Thomas). Angge came with another purpose in mind, to ask Madam's help to look for her missing son who was a political activist.

The story of this play could had more impact had it been part of Virgin Labfest 17 last year. However, since it was only staged this year, it was simply too late. The very controversial mega box-office hit film, Darryl Yap's "Maid in Malacanang" (2022) already beat it to the punch. Nicolas and Ceasico were dynamic in their banter as the lead duo. It was a pity that Padilla-Thomas's dry portrayal of the iconic Madam was not up to par, rendering the anticipation to her grand entrance a disappointment.

3. O'DONNELL

Writer: Jerry O'Hara

Director: Issa Manalo Lopez

A group of Filipino soldiers were in a field in Camp O'Donnell, where the Japanese confined prisoners of war from the fall of Bataan who had survived the death march.  Tunying Isleta (Eshei Mesina) was trying his best to keep the spirits of his comrades up. Pedro Peralta (Aldo Vencilao) had dysentery. Francisco Basa (Miguel delos Santos) wanted to escape. MSgt. Melchor Bautista (Joel Garcia) had gone mad. 

Like "Room 209" in Set D, this was another play that featured an all-male cast of characters who were struggling with serious issues of life and death.  It was interesting that, like "Room 209," this was also directed by a female director, Issa Manalo Lopez, who was able to give the formidable material a beating heart. This was undeniably powerful, moving stuff, but the play could use some streamlining, with edits of certain repetitive lines and situations.

Restaging Reviews: RED and PRIDE PLAYS (UNICA HIJAS, LARO)

June 17, 2023

RED (The Necessary Theater)

Writer: John Logan

Director: Bart Guingona

In 1958, abstract expressionistic artist Mark Rothko had just signed a contract to paint murals for the walls of the swanky Four Seasons Restaurant in the Seagram's Building. Because of the extensive scope of this job, he hired a young aspiring artist Ken (JC Santos) to be his work assistant at his studio in New York City. While working on the project for two years, the two discuss and argue about their clashing philosophies about art and legacy.

Bart Guingona was in his element as the arrogant, temperamental Rothko, after all he had played him before 10 years ago, with Joaquin Valdez as Ken. I was not able to see this original staging. This time around, Ken is played by JC Santos, whose command of English may surprise those who only knew him by his Filipino films. This is not a play that an actor can simply just memorize his lines to portray. They need to live and breathe their characters, immerse themselves fully into their talents, knowledge and neurotic idiosyncrasies before they can pull them off.

This was a deep, multi-layered script written by John Logan, who was nominated for a Tony in 2010 in its original Broadway run. It even actually required a glossary of artistic and historical terms in its souvenir program. However, despite its formidable premise, "Red" was a truly absorbing and immersive theater experience that will make us evaluate how we see our respective "arts" (even if they did not involve paint and brushes.  It will also make us reflect on your own professional principles as we grow older in our careers. 

**********

PRIDE PLAYS (Barefoot Theater Collaborative)

Writers: Mikaela Regis, Floy Quintos

Directors: Pat Valera, John Mark Yap

This twin-bill of LGBTQIA+ plays has been staged by the Barefoot Theater Collaborative to celebrate Pride Month. The first feature "Unica Hijas" written by Mikaela Regis and directed by Pat Valera. It was a one-act play first staged last year as part of Set C of the Virgin Labfest 17 "Hinga." The second feature "Laro" was written by no less than Floy Quinto, directed by John Mark Yap. It was a two-act play first staged in 2004, then only restaged in 2019 by Artists Playground. 

"Unica Hijas" was about two senior high school girls -- Nikki (Joy delos Santos) and Mitch (Ash Nicanor) -- who were caught in the act of almost kissing. They were called to the Principal's Office for this offense. This dreaded meeting will also have their parents in attendance. Before this moment of truth, the two were talking with each other, trying to come to grips with their sexuality, their parents and their school. 

Mitch was already sure of her gender orientation and was out and proud about it, even with her mother. The more interesting character here was actually Nikki, a girl who was still in the closet, hoping that she could still shake off this unnatural feelings she had sometime in the future. She did not want to disappoint her parents by announcing that she may be gay. She wanted to deny everything, keep things status quo, and not stir a hornet's nest.

The winsome and very realistic portrayals of both girls made this play light, sweet and engaging, despite the sensitive LGBTQ topic that it tackles. Gay audiences would invariably be behind Mitch all they way. Straight audiences may feel that doubtful Nikki was being pressured into coming out. It was just too bad that the director chose that Nikki's final decision had to be done via a phone call with loud music drowning out that actual words. 

"Laro" was a series of short intense scenes following a chain of gay men, with one character connected to two other characters. It began with an Call Boy and a Policeman, who later met a Drag Queen, who later met a User, who later met a random online Lover, who went home to his Ideal, who then met up with a Student, who then confessed to a cousin Writer, who then interviewed a Model, who then met his Philosopher boss, who later hired a Call Boy.

The most memorable scenes and acting were those which involved the scary Policeman (Gio Gahol), the perverse Ideal (Al Gatmaitan) and the megalomaniac Philosopher (Jojo Cayabyab). I had seen the original staging before and these scenes felt like Quinto could've upped the shock factor, or if not, director Yap may have intensified these specific encounters to make them seem more monstrous with his improved lighting, sound design and sets. 

Of course, only Phi Palmos can play a Tina Turner Drag Queen. Al Gatmaitan played Ideal and Mike Liwag played User before, though it was their alternates that I saw. The other members of the original cast took on different roles. Ross Pesigan from Student to Call Boy, and Gio Gahol from User to Policeman, and both of them upped their acting intensity. However, Andre Miguel, who went from Call Boy to Model, looked awkwardly miscast in his new role. 

Even if there was dark humor imbued in all the episodes, even queer audiences will find these salacious stories very disturbing. Straight audiences will likely react with disgust and revulsion to the sex scenes, all non-consensual. With all the gay predators depicted here, there was nothing positive nor feel-good in the whole of this lurid play. 

As "Pride Plays," while "Unica Hijas" tries to make straight viewers understand lesbian issues, "Laro" could actually alienate them against gays more. Provocative as he always is, Quintos surely will not let something like that get in the way. The cold truth needs to be told, uncomfortable and inconvenient as it may be.