Dulaang UP: Review of NANAY BANGIS (TDR): Motherhood and Management

November 10, 2024

It was 1971, and Mindanao was being rocked by a violent conflict between the Christian military and Muslim rebels. Nanay Bangis (Geraldine Villamil) pushed a cart around the roads to sell her goods to the soldiers on both sides. She had three children: Elvis (Ethan King), Kesong Puti (Raymond Aguilar), and a mute girl Christine (Khay Eva). Over the next ten years, she met various people along the way: the prostitute Ynez (Air Paz), the minister Brother Mike (Jigger Sementilla) and the cook Pedrong Tabako (Ronah Rostata- de la Pena).

"Nanay Bangis" is based on Berthold Brecht's "Mother Courage and Her Children," a play often hailed by critics as one of the greatest plays of the 20th century. Prolific playwright Rody Vera had adapted it in Filipino, transposing the original setting of Europe in the 17th century during the bloody Thirty Years' War, to Mindanao from 1971 to 1981 during the bloody Muslim separatist movement there.  Both of these destructive wars were rooted in religious conflicts -- Catholics vs. Protestants in Europe, Christians vs. Muslims in Mindanao. 

I was invited to what was called the Press Preview of this show last Saturday, November 9, 2024, 2:30 pm. However, when Dulaang UP Artistic Director Issa Lopez Manalo gave her welcome remarks, she called the show a Technical Dress Rehearsal. So, essentially the show I saw was not yet the actual show. There were technical elements which were not yet final, I guess depending on what worked or didn't work during this run-through. 

As of now, I can only describe what I saw in this open TDR. When you read this, keep in mind that what I saw was just a rehearsal and not the final show. The pacing felt off, where the transitions between subsequent scenes seemed to take too long. For example, it was announced repeatedly at the start that the show will run for 2 hours and 4 minutes with an intermission. This TDR ran for almost 3 hours, or at least felt like it.

The individual main scenes were very well-performed, especially during Act 2, by which time the viewer would have already gotten drift of the story, and there was already more action than exposition. However, the transitions between these main scenes still felt awkward, and needed tightening and streamlining. The singing parts felt jarring because they seemed so out of place, but later I would read that these songs were really there in the original after all. 

I have to admit that the acting style felt strange while I watching, rather aloof and unengaging. The characters here were all very flawed, such that I did not really like any of them, not even, or especially Nanay Bangis herself, who was particularly incorrigible. I would later learn that in Brechtian plays were written purposefully to alienate audiences from the characters emotionally. Therefore, expect this play to be a different experience, as I did.

Also unique for a Brechtian play is breaking the fourth wall. King and Aguilar went out of character to do narration. There was a part when Villamil took a break as Nanay Bangis, so the narrator King begrudgingly took over, as instructed by the stage manager. Brecht did this technique in order so audience would realize that they were only watching a play now. It reminds the viewers that the real fight happens outside the confines of the theater.

Brechtian epic theater is meant to be a living newspaper, where issues of society and politics are presented on stage. This aspect of a Brechtian play was definitely well-reflected in this play. The detailed narrations about the history of the Muslim separatist movement in the 1970s, complete with all the personalities and events, were very educational, thanks to the dramaturgical research work by Jonas Garcia and Popo Amascual.  

Nanay's Cart on the Road Stage

Directing this play with its specified rules and expectations must have been a welcome challenge for veteran director J. William Herbert Sigmund Go. Having Angel Dayao's musical score played by a live band with traditional Muslim instruments was an excellent idea. Mark Daniel Dalacat designed a stage formed like two wide intersecting roads on which Nanay Bangis's cart moved all around. Go did not limit the action on that main stage, but he also involved the rafters above, which can be accessed by a rope ladder. He even set major death scenes up there. 

Again, the only version of this play that I've seen was only a TDR, not a real full run of the play. There was even no curtain call at the end of the show for us to be able to show appreciation to the actors. Like ure that the full play will proceed more smoothly, exactly how director Go had envisioned it to be. I hope I still have the chance to go watch this play full-fledged, if not during this run, then a future rerun. 

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Dulaang UP's "NANAY BANGIS" runs from November 15 to December 1, 2024 at the Ignacio B. Gimenez - KAL Theater, UP Diliman.

Showdates and times are as follows: November 15, 22, 28 (7:30 p.m.), November 16, 23, 29 (2:30 p.m. and 7:30 p.m.), and November 17, 24, December 1 (10:30 a.m. and 2:30 p.m.).

Regular ticket price is P1000, with appropriate discounts as warranted.

Non-UP student tickets are priced at P750. PWDs and senior citizens may also enjoy a discounted rate of P800, while regular tickets are available for P1,000. 

TA: Review of MEDEA: Motherhood and Murder

November 11, 2024

Medea (Miren Alvarez-Fabregas) was deep in despair and rage. Her ambitious husband Yason (Yan Yuzon) had left her and their two sons to get married to the princess of Corinth, daughter of King Kreon (Chot Kabigting). Fearing for the safety of his daughter, Kreon ordered Medea to be exiled out of Corinth. Medea pleaded for one more day, which the King granted begrudgingly. Medea knew that was enough time for her to set her plans into action.

"Medea" is a classic tragedy play written by ancient Greek playwright Euripides which was first performed in 431 BC. It was about characters from Greek mythology -- Jason, leader of the Argonauts and hero of the Golden Fleece, and Medea, the sorceress who helped him obtain it. I did not hear the word "sorceress" last night, but the play mentioned that Medea was from Asia, and played a big role in Jason's rise to prominence in society. 

Joseph dela Cruz, Katski Flores, and 

Joel Macaventa

This adaptation of "Medea" was translated into Filipino by none other than National Artist for Theater Rolando Tinio. It stars some alumni of Tanghalang Ateneo who had just been spurred back to activity by the death of their inspirational mentor Ricky Abad. I was in awe when I watched Miren Alvarez-Fabregas, Yan Yuzon, Joseph dela Cruz reunite after a 20-year acting hiatus in "Mga Multo" last July, and I made sure I will not miss this new show.

Miren Alvarez-Fabregas was a force of nature here as Medea. We only hear her eerie cries of anguish and woe from offstage for the first fifteen minutes, and it was already giving us goosebumps. From the moment she appeared on stage, she owned our full attention the whole time. We felt her wrath and desperation escalating to the point of madness, until they peaked in that spectacularly-staged, smoky and chilling climax on her chariot. 

Pickles Leonidas and Goldie Soon

Yan Yuzon possessed a very strong and confident stage presence, with an easily malleable and expressive face. Yason's emotions were at a constant high in the last thirty minutes of the play, so he was practically shouting in rage, incredulity and shock the whole time, for which he would need ample quality voice rest afterwards to recover. We hated him as the scornful philanderer at the start, just as we can still empathize with his bereavement at the end.

The supporting cast likewise gave strong performances -- Joseph dela Cruz as Medea's supportive friend Egeo who also witnessed the outcome of her act of vengeance, Katski Flores played Medea's old Yaya who worried about her mistress, Joel Macaventa (Mark Aranal alternates) played Medea's sons' Maestro who worried about his wards. The chorus of two -- Gold Soon and Pickles Leonidas -- helped the story along with their narration and as Medea's friends. 

Yam Yuzon and Miren Alvarez-Fabregas

Under the direction of Ron Capinding, the show ran for 1 hour and 40 minutes without an intermission. Tata Tuviera's rectangular stage was the courtyard of Medea's house set in between two raised bleachers on both long sides for the audience. Don't take those seemingly textured walls on both short ends for granted. Tuviera's costumes and Ara Fernando's makeup gave a Central Asian vibe. Zak Capinding's sound and music evoke tension and danger.

What a strong central female character who took agency, no matter how divisive or controversial her decisions are, this classic is feminist at its core. Even up to the present time, in any corner of the world, women are still often in situations where they are caught between a rock and hard place. While Medea's dilemma may be an extreme example of agency, her story remains a thought-provoking piece that will always invite debate anytime and anywhere. 

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Tanghalang Ateneo's production of "MEDEA" runs from November 12 to 24, 2024 at the FA Black Box Theater in the Old Communications Building of the Ateneo de Manila University. Shows at 7 pm, with 2 pm matinees on Saturdays and Sundays. Tickets available via this LINK. Basic price is P700, with appropriate discounts as the case may be.

Review of SA TAHANAN NG AKING AMA: Wrecked by War

October 26, 2024

On New Year's Eve of 1941, the Santamaria family was gathered together in their opulent ancestral house fronting the church in Dumaguete. The patriarch was Don Carlos Santamaria (Gie Onida), and his wife was Dona Amanda (Katski Flores). Their eldest son was lawyer Miguel (Gino Ramirez), whose wife was Isabel (Bea Jose), Their second son was politician Franco (Johnrick Noynay), whose wife was Cristy (Chase Salazar). 

When the United States declared war on Japan after the latter attacked Pearl Harbor, the Philippines was very much part of the arena of that war in the Pacific. It was only on that New Year's Eve that the Santamaria family began to realize the impact that this war was going to have on their family. The youngest son, medical student Carlito, had just been drafted into the army in Luzon, while Miguel and Franco were about to join the troops in Cebu. 

This play was originally written in English by Elsa Coscolluela. She graduated with a degree in Creative Writing in Silliman University, which had been mentioned many times during this play. It was first staged by the UP Playwright's Guild in 1988, to critical acclaim. Coscolluela had written the play based on real stories of the war as told by her own father and father-in-law, which is why it resonated strongly with those who had lived through the war. 

Bea Jose (Isabel) and Gino Ramirez (Miguel) take their bows,

as Louis Paguia (Marissa), Jeremy Mayores (Emilio)

and Adrianne Ungriano (as mayordomo Benito) look on.

Even if the title referred to the father (based on bible verse John 14:2), but Don Carlos was absent in several scenes, purportedly out playing chess with the parish priest. Gie Onida's highlight was when he angrily confronted Franco about his unpopular decision. Johnrick Noynay was able to give heart to Franco's antagonistic stand. You'd think Jeremy Mayores's houseboy Emilio was just comic relief in Act 1, but he would ace his very serious scene in Act 2.    

The heaviest dramatic scenes of the play belonged to the women characters. Chase Salazar's highlight was that confrontation scene between Cristy and Franco about their marriage. Bea Jose's highlight was Isabel's mental torture after three days of walking to find food for her children.  Louis Paguia's Marissa only had a few scenes, but we are deeply moved by her trauma witnessing her teachers' deaths and her shame as sex slave to a Japanese officer. 

Over and above everyone was Katski Flores' emotionally-devastating turn as the family's matriarch Amanda. Flores was so totally possessed by her character, such that her every facial expression and her body language all spoke volumes about Amanda's pain. When she protested about her sons joining the war, we felt it. When she stopped her son's friend from telling his news, we felt it. When she issued a silent scream at the end, we all heard it. 

Gerald Morfe (as Japanese Capt. Haroda), Chase Salazar (Cristy), Johnrick Noynay (Franco)

with Katski Flores (Dona Amanda) and Gie Onida (Don Carlos) 

Jerry Respeto translated Coscolluela's play into eloquent Filipino.  I have not read or seen a staging of the original play in English, but I expect that this shift of language from English into the local tongue should make the drama even more heartfelt and the anguish even more palpable. It made the bitter sentiments against the enemy drip with more contempt. It made the declarations of heroism and patriotism ring even more sincere. 

As director, Respeto prefaced each chapter of the Santamaria family story with actual WWII newsreels to put the events in proper historical context. Essentially this play is a 2-1/2 hour summary of the Japanese occupation in the Philippines. Aside from expected tragic stories of victims of various atrocities, it also told about those who became guerillas and those who chose to serve as government officials, and the price their families had to pay. 

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"Sa Tahanan ng Aking Ama" runs from October 9 to 27, 2024 at the Doreen Black Box Theater, 3/F Soledad V Pangilinan Arts Wing. Areté, Ateneo de Manila University, with 7 pm shows on October 9-13, 15-20, 23-27, and 2 pm matinees on October 12-13, 19, 20, 26-27. Regular adult tickets are priced at P850, with applicable discounts. 

 

 

Review of REQUEST SA RADYO: Introvert's Introspection

October 15, 2024

When the first announcements about this play starring Lea Salonga and Dolly de Leon came out four months ago, everyone was abuzz was excitement. We would soon learn that they won't be sharing the stage at all. This was actually a one-woman play without any spoken lines. This meant that the actress would only have to use her facial and body language to tell the central character's story. Watching this play promised to be a very different experience. 

When you go into the theater early, you would be seated in a waiting area first, where you saw huge metal shipping containers stacked up. About 30 minutes before showtime, the viewers were led into the main staging area inside the containers. They arranged the seats theater-in-the-round, surrounding a fully-furnished studio unit with no walls, which we will later see had water faucets and electric outlets that worked. At almost exactly 7 pm, she would enter, and the play began.

It would be best to watch the play with a clean slate, without knowing anything about what was going to happen. The next paragraphs would have spoilers so you may want to stop here and continue reading after you watch the play. 

Upon entering her house and taking off her coat, the first thing she did was to go to her kitchen and prepare her dinner. This was not pretend cooking -- she prepared all the ingredients and turned on the appliances, which all worked. After a few minutes, we see the steam coming out of the rice cooker and the saucepan on the stove. She would later eat the very rice and viands which she cooked in front of us. This all happened in real time. 

Since she did not say a single word, we can only deduce things about our central character's life by context clues. We knew she was in a foreign country, because she wore a thick coat in February. She wore a scrub suit, so she is in the health care industry, likely a nurse. She is a Filipina who missed her home country, because she listened to a radio program that featured Filipino pop songs, and her favorite song was "Hallelujah" by Bamboo. 

We surmise that she was an obsessive neat freak, because we saw her wash the dishes, cookware and even the toilet right after using them. She also sharpened her colored pencils right after using each one. So basically for the first 1 hour and 10 minutes, we see her puttering around her studio unit mundanely -- cooking and eating dinner, bathroom rituals, her artwork hobby, prayers to her Sto. Nino, bedtime and lights out.

However, something unexpected happens in the last five minutes that put everything that transpired in the last 70 minutes in a different light. If at first you thought that watching our character do her nightly routines had no point, or a case of much ado about nothing or "The Emperor's New Clothes," the last five minutes will give you pause and make you reflect on everything you've just witnessed and how they actually made sense.  

The show I watched featured Ms. Dolly de Leon. Based on the plays and films I have seen her do before, there was no doubt in my mind that she could pull this challenging project off. As expected, she was riveting, not a dull moment, even if it felt like I was just peeping into the private life of a next door neighbor. With her sad eyes and hunched stance, De Leon made us feel the loneliness of the character, but not without hints of her sense of humor. 

Lea Salonga may have the more stellar name on the marquee, but we know her more as a powerful singer and articulate speaker. Acting alone in a wordless hour-plus-long one-act play is way out of her usual comfort zone. Her fans would be very curious to see her in another form of theater other than a musical. I may not be able to see a Lea Salonga show any more, but knowing her work ethic, she will surely give her performances her 100%.

Director Bobby Garcia and co-producer, set and costume designer Clint Ramos devised Franz Xaver Kroetz’s 1973 play "Request Concert" in the point of view of a Filipina nurse overseas, living alone and exhausted from work. This made the character's sadness feel more organic for local audiences, so that the ending did not feel random as it reportedly did during its original German run. It would also have been interesting if an alternate actor was male.  

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"Request sa Radyo" runs for 20 shows only from October 10 to 20, 2024, at the Samsung Performing Arts Theater in Circuit Makati. Tickets cost P9000 and P8000, available on Ticketworld via this LINK. Those seated in the F section seemed to have the best view.

The ticket prices are formidable, but this 7 pm show I watched on a Tuesday night was almost full house. Latecomers will not be admitted anymore once the show has begun. It has themes, issues, and references that may be triggering to some audience members, so rated R-15.

Rep: Review of JEPOY AND THE MAGIC CIRCLE: Feast of Filipino Folklore

October 14, 2024

Jepoy and his washer-woman mother Aling Barang may be very poor, but they managed to lived happily together with their pet dog Galis in their cottage at the edge of a big forest. One day, Galis ran off with a dress Aling Barang was washing, so Jepoy ran after his pet. To his amazement, his dog jumped into a mysterious circular portal floating in mid-air. Jepoy jumped right in with him and they ended up in another dimension called the Underworld.

"Jepoy and the Magic Circle" is the first of two original Filipino musicals Repertory Philippines is staging during this, their current 87th season.  The second one is "Going Home to Christmas," featuring the songs of Jose Mari Chan, timed for the holiday season. This continues Rep's initiative to stage original Filipino shows which started with "Miong" and "The Quest for the Adarna" in 2019, only to be interrupted by the pandemic. This new musical is directed by Ms. Joy Virata, the creative director of Repertory Theater for Young Audiences.

Rody Vera adapted the script from the children's book "The Magic Circle" by Gilda Cordero-Fernando, while the original music and lyrics were written by Ejay Yatco. Yatco is on an extraordinary creative roll this year. He was the musical director of Full House's Parokya ni Edgar musical "Buruguduystunstugudunstuy" (while Vera wrote the book). He was the composer of "Pingkian," Tanghalang Pilipino's musical about Emilio Jacinto. This makes "Jepoy" the second totally original full-length musical composed by Yatco in a single year. 

The play opened with a short introduction to endangered indigenous fauna, like mouse deer, warty pig, Philippine eagle, tarsier and pawikan. The first half of the play was expository, building up the real world where Jepoy and mother lived and teasing a brief taste of the Under-world on the other side of the portal. However, it was during the second half when the wondrous world of Filipino folklore bloomed in full color right in front of our eyes, featuring the fantastical costume designs of Raven Ong, and cute puppet work of Kayla Teodoro. 

As we joined Jepoy as guest of a Tikbalang wedding officiated by the elegant Dona Geronima, we get to meet the Tres Marias -- Maria Makiling, Maria Sinukuan and Maria Cacao, the duwendes in blue and the tiyanak in pink, the two manananggals in flight, the sirena who guides the sailors, and finally, the Kapre. There was also a guy carrying a blind guy, a mute guy and a lame guy on his shoulders (not sure who he was). Like Galis, there were other talking animals in attendance, like Cat, Frog, Monkey and Cockroach.  

Elian Dominguez as Jepoy

In the show I watched, Jepoy was played by Elian Dominguez in his first lead role in a major musical production. His Jepoy was full of energy, with a slight rascally vibe, which was a nice comic touch. His singing voice had a wide range, so he should have a promising career in musical theater ahead of him. As he is an environmental scientist by profession, he got his wish to merge his two interests with this play. (Alternating as Jepoy are theater veteran at age 20 Noel Comia, Jr. and former "Batang Rizal" Yhuan Gatbunton.)

Aling Barang was played by Mikkie Bradshaw-Volante, as bubbly as ever. (Ring Antonio alternates as Aling Barang.) Host Paqui was played by Luis Marcelo, who should be more careful with his intro spiels for the kids. He mis-defined the word "nocturnal" in the show I watched. (Joshua Cabiladas, Franco Ramos and Stephen Vinas alternate as Paqui.) Dona Etang and Dona Geronima were played by Pinky Marquez, her soprano as solid as ever. (Abi Sulit alternates as the Donas.) Real-world Galis was played by Francis Gatmaytan (Czar Decena as alternate), while Under-world Galis was played by Cara Barredo. 

A featured character that deserves special mention is that the Kapre, portrayed by Hans Ekstein in the matinee show I watched. You barely see the actor at all, as he had dark green face make-up on and a full-body costume of green leaves. He had to carry the giant's head and torso (with a moving mouth and arms!) above him, while wearing elevated clogs on his feet. The actor had to rely on his deep resounding voice to act and convey the Kapre's sad plight, and Eckstein delivered. (Juliene Mendoza and Joey G. Vargas alternate as Kapre.)

In the show I watched, the Tres Marias were played by Jay Barrameda, Barbara Jance, Paula Paguio (Mica Fajardo alternates).  The ensemble included Lance Soliman, Ayla Garcia, Nyla Festejo, Francesca Mata, Alyanna Wijangco, Ayam Eckstein, Cheska Quimno, Chan Rabutazo, Franco Ramos, JV Fulgencio, Kenny Isidoro, Pablo Palacpac, Broey Divinagracia, Sebastian Katigbak, and Dindo Divinagracia. (Sean Nicolas, Monica Tulio, Chesko Rodriguez, Ado Villanueva, Deo Dela Cruz, VJ Cortel, Jay Pangilinan, Jae Valencia, Gabo Tiongson, Ian Hermogenes, Bea Remollo, Katie Bradshaw, Jacqui Jacinto, Meg Salud, Jalea Cabiladas, and Daniella Albano alternate in the Ensemble). 

For the rest of the artistic team: Cara Barredo was the assistant director. Stephen Vinas and Francis Gatmaytan did the choreography. Mio Infante designed the set. John Batalla designed the lights. GA Fallarme and JM Jimenez designed the projections. Johann dela Fuente designed the hair and makeup. 

Marquez, Gatmaytan, Dominguez, Barredo

and the colorful ensemble

Parental guidance is needed so the kids can get the messages of this show straight.  Traditional Filipino dark monsters were portrayed here as colorful friends. Their continued "existence" remains valuable only for our heritage and cultural identity as Filipinos, certainly not as fact. Discrimination against those regarded by society as different is correct. However, calling everyone "all a little weird" (and having Jepoy proudly declare himself as a "weirdo" as the final line) can be confusing for kids and should be explained to them properly. 

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"Jepoy and the Magic Circle" is Rep's first play staged in their new home in the fourth floor of the Eastwood City Walk. Tickets are available at Ticketworld. For ticket reservations, send a message at: 09626918540 & 09669054013. Orchestra Center and Loge seats go for P1500 each, while Orchestra Side seats cost P1000 each. 

CAST: Review of OTHELLO: Jumbling in Jealousy

October 8, 2024

Venetian army ensign Iago (Reb Atadero) was furious that his Moorish superior officer Othello (Tarek El Tayech) had promoted an aristocrat Cassio (Davy Narciso) to the position he aspired for instead of him. Recruiting unwitting accomplices in his wife Emilia (Maronne Cruz) and his lovesick friend Roderigo (Rafael Jimenez), Iago executed a devious plot to plant a seed of doubt between newlyweds Othello and his virtuous bride Desdemona (Gab Pangilinan).

"Othello" was one of William Shakespeare's more popular plays that I have not read nor seen performed on stage. When I learned that CAST was going to stage this classic, I immediately bought a ticket once they were released for sale. I had known about CAST's previous staged readings and productions, but unfortunately, I never got a chance to see any of them yet. I made sure I was not going to miss this one anymore. 

Before watching any play by Shakespeare, I was afraid that I may not be able to comprehend the Old English verse since I did not have any idea about the story. These apprehensions doubled when it was announced that the play would run for a formidable 2 hours and 45 minutes, with 20 minute intermission. However, once the play started, my worries were unfounded, the language was clear and the pace was engaging.

Reb Atadero and Tarek El Tayech

Tarek El Tayech was effortlessly intimidating as Othello, towering over everyone with his hefty frame. When his rage reached its peak, his big eyes were aflame, and we would cower in fear.  Paired with the waifish Gab Pangilinan as his Desdemona, she was like rag doll in his massive arms. The skilled wrestling choreography made the rough violence that transpired between them feel so shocking and real, as we helplessly watched on the sidelines. 

At the center of everything was Reb Atadero, who played the sly, cunning Iago with sinister relish. We needed to understand Iago to be able to understand the whole play, and Atadero's clear delivery of his lines gripped us and drew us into the complex web he spun without much difficulty. He was able to balance the duplicitous nature of his character, appearing like loyal and honest friend on one side, while being relentlessly ruthless traitor on the other. 

Emilia was Iago's wife and Desdemona's maid, a role which may feel small with a lesser actress, but Maronne Cruz definitely made sure she would make her mark on that stage. She and Pangilinan shone in that scene where the worldly Emilia advised naive Desdemona not about their husbands, but also their self-worth. Emilia memorably called men "stomachs", while women were the "food" which their men eat, and belch out when they're full. 

 

Maronne Cruz and Gab Pangilinan

Veteran actor Jaime Del Mundo was featured as Desdemona's father Brabantio. The rest of the cast also donned military fatigue uniforms like Othello, Cassio, Iago and Emilia, including Dippy Arceo as Cassio's lover Bianca, MC Dela Cruz as Desdemona's cousin Lodovico, and director Gomez as Venetian official Montano.  Jimenez wore humor t-shirts as the play's dark comic relief. Panganiban radiated innocence, virtue and purity with her flowy dresses.  

Director Nelsito Gomez was very bold to stage a big play like this in the limited space of the Mirror Theater Studio. The stage was just a flat square floor, with the audience seated on all four sides around it. This close proximity of actors and audience in this tiny black box venue added to the suffocating atmosphere of percolating toxic jealousies. These emotions just erupted in full hurricane-force into our faces at the climax. I was left gasping for breath. Whew!

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CAST's "Othello" runs only for two weekends, from October 4 to 13, 2024 at the Mirror Theater Studio, on the 5th floor of the SJG Building, 8463 Kalayaan Avenue, Makati City. Tickets were sold at P1000 each. The whole run is already sold out.

Today, in response to the overwhelming demand, another performance date has been added on October 19 at 8 pm! Go and watch this!

Review of 3 UPUAN: Dealing with Death, Looking at Life

September 28, 2024

Three siblings come together when their father passed away from esophageal cancer. Eldest son Jers (Jojit Lorenzo) was a philosophy professor who quoted Plato and Nietzche in his daily conversations. Second son Jack (JC Santos) was a visual artist whose dream was to interpret Rolando Tinio's poetry into paintings. Youngest was Jai (Martha Comia), a journalist who migrated to the US while advocating for indigenous peoples.

This new play written and directed by Guelan Luarca runs for 1 hour and 40 minutes without an intermission. However, during that single act, the story was not told in a linear manner, as the scenes jumped forwards and backwards in time. At one point, it went so far back into the "juicy" past that even the big bang entered the conversation. A guest narrator would indicate the passage of time, but sometimes it was just a whooshing sound effect that did so.   

As if to embody the title, the set only consisted of three simple chairs, one for each of the three characters. They not only sat on their chairs, they carried them around, or also stood on them. Further elaborating on the theme of chairs, there was an interesting and enlightening discussion about Joseph Kosuth's 1965 installation called "One and Three Chairs." A popular Burt Bacharach song about a chair was sung in a karaoke segment.   

The siblings contemplated on broad topics, like life and death, words and language -- parts where Luarca displayed the breadth of his knowledge on philosophy, religion and literature. However, the tearjerking moments were those parts when they reminisced about their parents and about each other. Luarca knew how to write beautiful lines which can hit raw nerves, be they in Filipino or English, giving each actor a highlight moment of raw emotion.

JC Santos's best moment as Jack was that scene when he was listening in on a bonding moment between Jai and her daughter Jackie. Jojit Lorenzo's best moment as Jers was when he shed tears as he talked about being ashamed that his children saw him shedding tears.  Martha Comia's best moment as Jai was that scene when she read a text another death in the family. It was her Jai who became the central focus of the play, and Comia owned it.

The play was staged at the Arete in Ateneo, but not in the big theater spaces. It was held in a humble second floor dressing room of the Hyundai Hall, the entrance of which was a side door, probably for the use of the cast and crew. The room can only accommodate an audience of 30 people, 10 of whom were seated on the floor. Being so up close to the actors, we can see every little gesture, facial tic and rolling teardrop -- intimate theater at its best.

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"3 Upuan" ran only for 8 shows, September 22, 24, 26, 28 and 29, at 8 pm, with 4 pm matinees on Saturdays and Sundays. Regular tickets cost P700 each, subject to appropriate discounts as warranted.  

Recap of STRINGS OF GOLD: Captivating Cello Concert

September 19, 2024

I first knew of Damodar das Castillas from the effusive posts of veteran writer Pablo Tariman about this cello child prodigy. As my favorite musical instrument was the cello, I had been wishing that I could watch him perform live in a concert, and my chance to do so came to pass today. It was a bonus that the venue for this benefit concert was also new to me -- the MiraNila Heritage House and Library, located along Mariposa St. in Quezon City. 

Because it was not located in a gated community, I did not expect the elegant beauty of the main mansion and expansive grounds that I saw when I drove through their gate. MiraNila was built in 1929 by Conrado and Francisca Benitez, parents of the late Dr. Helena Benitez of the Philippine Women's University. The pre-war grand style house and its collection of art and books are now open to the public for guided tours and catered events.

Damodar das Castillo and his cello now

Damodar das Castillo was born in 2007, which makes him all of 17 years of age now. According to his bio, he started playing cello at age 4. He won his first international competition in 2017, and since then, he had won 4 more. Since 2017, his studies, competitions, and cellos are all sponsored by the Standard Insurance Co., Inc. Tonight's concert was also a send-off concert for him, as he flies off tomorrow for Salzburg. 

When he first stepped out onto the stage, I was surprised how he did not look like the boy in the poster above for this event. He was much taller now, and wore a thick mop of hair on his head. According to the emcee's introduction, das Castillo was a well-rounded guy. His hobbies include playing basketball and football. He could also play death metal on his electric cello, (too bad he did not include one such song in his repertoire tonight).  

Passion in Playing

The program proper started a little after 6 pm. The performers were introduced by the emcees, who were a couple of 4th generation Benitez scions. Das Castillo was to be accompanied on piano by Julliard alumna, concert artist and music professor Mariel Ilusorio. The piano Ms. Ilusorio played was a 1904 Steinway grand piano, refurbished by the same technician who serviced Cecille Licad's pianos. This concert celebrates this piano's successful rehabilitation. 

Das Castillo opened the concert with a solo number -- "Cello Suite no 3. Prelude" by Johann Sebastian Bach. Ilusorio joined him to play Frederic Chopin's 30 minute-long piece with four distinct movements of various moods and tempos -- "Sonata in G minor for Cello and Piano." During the 10-minute intermission, I really felt the society page experience that this concert as the guests, politicians and ambassadors among them, hobnobbed with each other. 

Precision Partnership

The second act opened with another cello solo -- "Transcendence" by Faye Miravite (a Filipina composer from Italy), notable for including the cellist's singing vocals (!) into the piece. It was followed by a composition by National Artist for Music Nicanor Abelardo -- "Cavatina". The next two songs were lighter popular fare -- Henry Mancini's "Moon River" from "Breakfast at Tiffany's" (VIDEO) and Richard Rodgers' "Edelweiss" from "The Sound of Music" (VIDEO).  

The final number was described by Ilusorio as "meaty" and indeed it was -- the 11 minute-long "First Movement for Cello Concerto in B-minor" by Antonín Dvořák (VIDEO). For his encore, he first played the 8-minute long "Pezzo Capriccioso, Op. 62" by Tchaikovsky (VIDEO), with the piano taking over the orchestra parts. Finally, the concert ended with the beautiful "Gabriel's Oboe" by Ennio Morricone, the theme music from Roland Joffe's "The Mission" (1986).  

Acknowledging the Applause 

This evening of beautiful classical music played in a nostalgic historical setting was such an enriching experience. I have a personal bias for the full-bodied string music emanating from a cello, so this concert of cello music from a rare Filipino prodigy of this majestic instrument like Damodar das Castillo was certainly extraordinary. Mariel Ilusorio's piano complemented his cello in a precise and passionate partnership. Glorious.

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This concert is only the first in a series of future performances from the nation's best talents to be held in MiraNila. MiraNila Heritage House & Library is located at 26 Mariposa Street, Brgy. Bagong Lipunan, Crame, QC (find us on Facebook: MiraNila Heritage House and Library). If you want to visit the house, contact 87220243 or 09454876827 to set an appointment. 

The MiraNila House (from their FB page)

TP: Review of BALETE: The Farmers' Fight

September 14, 2024

In the town plaza of Rosales, Pangasinan stood one old magnificent balete tree. The biggest rice farm there was owned by a corrupt politician Don Vicente. It was run by by a stern caretaker Espiridion, who was the father of the narrator / protagonist, Francisco or "Kiko." As a child,  Kiko got along well with their farm servants. However, he also witnessed how his father had been a very harsh employer, often resorting to violence. 

"Balete" is a reworking of Rody Vera's stage play written in 2002 originally for PETA. It was adapted from "Tree," a 1978 novel by National Artist for Literature F. Sionil Jose. It was the second book of his epic 5-volume Rosales Saga, written from 1962 to 1984 (not in chronological order). Director Chris Millado also shared in his notes that they also incorporated parts from Jose's 2021 autobiography, "Promdi." 

The magnetic Mr. Nonie Buencamino 

The story was being narrated by the adult Francisco in English, which then segued to dramatizations in Filipino detailing these stories. Narrator, child Kiko and father Espiridion were all played by one awesome actor -- Nonie Buencamino. Passion was always burning in those piercing eyes of his, it was mesmerizing to watch him perform. His portrayals were so distinct for all three roles, I'd say that the award for Best Actor in a Play 2024 is already wrapped up as early as now.

The four senior members of the Actors Company were at the top of their game as usual. Marco Viana played Kiko's long-lived grandfather, and his artist-philosopher Tio Marcelo. Jonathan Tadioan played the motherly cook, the affable horse groom David and the reviled landowner Don Vicente. Lhorvie Nuevo played Ludovico's father, housemaid Marita and farmhand Anghel. Toni Go played Hilda from the carnival, a Chinese businessman and the mysterious woman Kiko's father visited. 

The three younger members of the Actors Company also get to play some memorable characters. Earvin Estioko played Tio Baldo, Kiko's relative who later actively fought for farmer rights. Gelo Molina made a strong impression as the young servant Ludovico. He was Kiko's favorite playmate, something which got him into trouble with the boss. Ynna Rafa played Ludovico's mother, as well as Clarissa, Kiko's cousin from Cebu. 

Wika Nadera's stage was one huge circle with a trapdoor in the middle. A wooden lounge chair descended on the stage when needed. The actors sat around the circle, with all their props and costumes all on the floor beside them, as they changed as the scene required.  It was only the second show of the run that I watched, but everything went like clockwork, from Delphine Buencamino's dance movements to Roman Cruz's lights. This show could only get more polished from here. Bravo!!

The whole cast at the curtain call

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"Balete" runs from September 13 - October 6, 2024 at the Tanghalang Ignacio Gimenez, Cultural Center of the Philippines. Play runs for about 2 hours and a half, with a 15-minute intermission. 

Get your tickets at: Google Form (LINK), Ticket2Me (LINK), Ticketworld (LINK), or Klook (LINK). Ticket prices: VIP Php 2,000, VIP (20% Discount for Season Pass Holder, Senior Citizen, PWD) - Php1,600, VIP  (10% Discount for Students) - Php1,800, Regular Php1,500, Regular (20% Discount for Season Pass Holder, Senior Citizen, PWD) - Php1,200, Regular (10% Discount for Students) - Php1,350

9 Works: Review of ONCE ON THIS ISLAND: Lilting Legend of Love

September 7, 2024

After a terrible storm hit their island, Tonton Julian (Raul Montesa, alternate Noel Rayos) and his wife Mama Euralie (Lani Ligot) found orphaned Little Ti Moune (Reese Iso, alternate Bianca Estacio) on a tree. Despite their age and poverty, they decided to adopt her as their daughter. When she grew up into her teens, Ti Moune (Thea Astley) always helped her parents work in the fields, but she wanted to do more, and was excitedly waited for her life to begin. 

The four gods -- mother of the earth Asaka (Radha), god of water Agwe (Garrett Bolden), goddess of beauty Erzulie (Shiela Valderrama-Martinez, alternate Jasmine Fitzgerald) and demon of death Papa Ge (Lorenz Martinez) -- heard Ti Moune's yearning and granted her wish. Agwe created a strong storm which caused young "grand homme" Daniel (Jef Flores) to crash his car. Ti Moune witnessed the accident and took care for the young man.  

This is not the first time that I watched this play as it had been staged a number of times locally before. I am already familiar with the story adapted by Lynn Ahrens from a 1985 novel "My Love, My Love" by Rosa Guy, which in turn was adapted from Hans Christian Andersen's "The Little Mermaid." I already loved a number of its catchy songs with lilting calypso beats written by Stephen Flaherty -- particularly "We Dance" and "Waiting for Life." 

As for this new production, 9 Works and director Robbie Guevara chose their Ti Moune well. Triple-threat Thea Astley delivered strongly during her dramatic moments, belted with her crystal-clear singing voice in her musical numbers, and displayed terpsichorean chops during Ti Moune's impromptu island dance number at the ball. (I had seen alternate Angela Ken do very well in "Spelling Bee" last February, so I am looking forward to see her as Ti Moune.)

Jef Flores seemed to be having an off day at the matinee show today as Daniel. The chemistry between him and Astley was not working because he seemed tired and lacked energy, even in his solo "Some Girls." He came across as much older than her. We know he is capable of better work, 2-time Gawad Buhay best actor winner that he is. (The alternate is Sam Concepcion. Curious what he can bring to this character.)

The vocal powerhouses playing the gods all had knockout solo spots -- "Rain" for Agwe, "Mama Will Provide" for Asaka, "The Human Heart" for Erzulie and "Promises/ Forever Yours (Reprise)" for Papa Ge. The aristocratic Andrea, Ti Moune's rival, was played by Krystal Kane (alternate Shanaia Gomez). The storytellers were Fay Castro, Samantha Libao, skillful dancer Jordan Andrews and the delightfully cute scene-stealer Jonjon Martin. 

There were scenes where the blocking choices for certain characters looked awkward from where I was seated.  The center area of the circular ramp going all around the stage was a rather tight space, so there were dancers bumping into each other. Those hula hoops with long strips of paper hanging all around used in the "Rain" number did not look good for me. Anyhow, this is only opening weekend, so there is still time to tighten things up.  

Lani Ligot, Reese Iso, Lorenz Martinez, Radha, Thea Astley, Jef Flores and Shiela Valderama-Martinez at their curtain call

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UPDATE: September 21, 2024

Got to watch the alternate cast of this run of "Once on the Island" this afternoon. With her long curly hair in pigtails, Angela Ken looked very young and barely out of her tweens as Ti Moune. Her voice was clear as a bell, but compared to Thea Astley's, it was thinner and had less power. Sam Concepcion was better fit as Daniel, but the character is really unlikable, it was difficult for any actor to put a positive spin on him. Based on what I have seen, I think the combination of Thea Astley and Sam Concepcion would be the best to watch. I was also able to focus on more on the strong vocal performance of Ms. Lani Ligot as Euralie. 

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9 Works Theatrical's production of "Once on This Island" has a LIMITED RUN ONLY from September 6 to 29 at the RCBC Plaza, Makati City. The show is about 90 minutes long, without an intermission.

Get your tickets NOW via this LINK. 

Ticket prices are as follows: 

> Orchestra Center Premium: PHP 3900.00, 

> Orchestral Center: PHP 3700.00, 

> Orchestra Center Front: PHP 3600.00, 

> Orchestra Side: PHP 3300.00, 

> Orchestra Side Zone 2: PHP 3100.00, 

> Loge Center: PHP 3400.00, 

> Loge Side / Back:  PHP 3100.00

> Balcony: PHP 2200.00. 

Review of THE HALF-LIFE OF MARIE CURIE: Sisters in Science

August 25, 2024

In 1911, Marie Curie won her second Nobel Prize, this time in Chemistry, for the discovery of radium and polonium. However, she was not in the mood for any celebration. At that time, the widow Curie was being bashed in public for having a clandestine love affair with another scientist named Paul, who was very much married.  The Nobel organization even asked her not to attend her awarding ceremony because of the controversy she will attract. 

At this lowest point of her life, Curie was visited by her very good friend, electromechanical engineer Hertha Ayrton. Ayrton invited Curie and her two daughters Irene and Evie to come visit her in her seaside rest home back in Great Britain. Away from the distressing public scrutiny in France, Curie and Ayrton bonded over stories about their late husbands, about Curie's illicit affair, about Ayrton's criminal record, among other things.

Lauren Gunderson is a prolific American playwright who usually wrote about female scientists. Of her 25 plays written since 2001, I have only seen one of them so far -- "Silent Sky" (2011) about astronomer Henrietta Leavitt -- staged by Repertory Philippines in 2018. "The Half-life of Marie Curie" (2019) was about the most famous female scientist -- Curie, but sharing the stage was a fellow scientist, lesser-known, but also deserving of notice -- Ayrton.

Missy Maramara as Marie Curie

The first time I had seen Missy Maramara in action onstage was in 2018, in Dulaang Up's "Ang Dalagita'y Isang Bagay na Di-buo," and I had admired her since then. Maramara was very intense in portraying Curie's frustration and depression as her respected career crumbled down over the weight of a scandal.  Those who know Maramara more as a improv comedian of SPIT would also relish her sharp comic timing in the moments of levity here.

Caisa Borromeo was such a ball of energy throughout this play as Hertha Ayrton, from her introductory spiel about her invention. to her story about how she got her unique name, to her ribbing Marie to share juicy details. She was the best friend we all wish we had -- always looking on the bright side, always excited over our achievement, always honest in her criticism. The chemistry of Maramara and Borromeo was impeccable and a joy to watch. 

Caisa Borromeo as Hertha Ayrton

The fact that most of us now knew nothing about this "big scandal" which caused Marie Curie sleepless nights from 1911-12 proved that, more likely than not, history will eventually just remember us for our important achievements than our moments of human weakness.  Meanwhile, while we are still saddled with these mental health issues, we are lucky if we have loving family and loyal friends to rely on for support during these tough times.

Gunderson brings up now and again the constant challenge women go through to find equal footing in a world dominated by men. Women had always been judged with a different standard, be it about scientific achievements, political decisions or moral issues. Curie and Ayrton both loved their late husbands very much, but they also wanted to be known as brilliant scientists on their own merits. This play brings us into the intensity of their struggle. 

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"The Half-life of Marie Curie" is a two-hander play that runs for about 90 minutes without an intermission. This MusicArtes production is directed by Kiara Pipino, and staged at the Doreen Black Box Theater at the Arete in the Ateneo. Play runs 7pm on August 23-25, 27-30 with 3pm matinees on August 24-25, 30-31. It is rated PG-13 as there are scenes that tackle sex, gender discrimination, self-harm, and violence. 

Recap of A LA CARLOTTA: Celebrating Carla's Career!

August 13, 2024

The Cultural Center of the Philippines kicked off its first "Triple Threats" concert series in 2013, when it featured solo concerts by Audie Gemora, Nonie Buencamino and Menchu Lauchengco-Yulo. The latest one in 2022 featured Leading Men Markki Stroem, Arman Ferrer and Poppert Bernadas. This year, it's the turn of the Leading Ladies: Carla Guevara-Laforteza, Shiela Valderrama-Martinez and Tanya Manalang-Atadero.

Carla Guevara-Laforteza's concert was supposed to have been held on July 25, 2024, Thursday. Unfortunately, typhoon Carina flooded the metropolis Ondoy levels on July 24. This forced Carla to postpone her show to August 11, a Sunday, instead. I can just imagine the stress Carla and team had with this abrupt change of date, especially since some guests pegged for the original date would not be available on the new date, a list that included no less than her stage director Paolo Valenciano. 

When I received a personal invitation to attend this concert from Carla herself last June 2, of course I accepted without a second thought. I immediately knew this was going to be an extra-special event because the invitation even indicated a dress code -- Strictly All-Black Formal. This unique requirement was both intimidating and exciting, as it guaranteed that it will be elegant night.

On the night of August 11, the guests were indeed all dressed up in their all-black finery as they milled around the lobby of the Tanghalang Ignacio Gimenez, hobnobbing with the Who's Who of Philippine Theater who were also in attendance. By 7:30pm, everyone was settled in, eagerly anticipating the grand entrance of the star, while the Filharmonika Orchestra, with musical director Gerald Salonga at the baton, played the overture. 

Carla entered the room dressed in a voluminous scarlet ball gown made from luxurious satin. Her introductory spiel brought us back to when she was 14 years old, wanting to quit high school to become a stage performer. She began to sing Barbra Streisand's "Papa, Can You Hear Me?" (from the 1983 film "Yentl"), while telling the rest of the story of how she began in theater via Repertory Philippines. 

She segued to sing "Waving Through a Window" (from "Dear Evan Hansen") and "Can You Read My Mind?" (from 1978 film "Superman") to express her initial anxieties about her career choice. Then concluded this segment with "Horror Audition," a song specifically written for her by Rony Fortich, about her least favorite aspect of theater life -- auditioning.

Carla went to sing a couple of songs from two jukebox musicals she's involved in this year. First, she sang "Magpahinga" from the box-office record-breaking hit by PETA featuring songs by Ben&Ben, "One More Chance the Musical." Then, she talked Rep's coming holiday production "Going Home to Christmas," featuring songs by José Mari Chan, who was in the audience that night. She sang "Hahanapin Ko" (originally sung by Anthony Castello) to pay tribute to Chan,  whom many might not know was the one who composed this beautiful song.

Carla then called in four theater actors who had been her leading men before to sing a series of Broadway songs for her, as she sat downstage. Audie Gemora started the ball rolling with "Stars" (from "Les Miserables"), followed by Loy Martinez with his version of "Music of the Night" (from "Phabtom of the Opera"). As I only saw him in comic supporting roles previously, Raul Montesa surprised me with his powerful rendition of "If I Can't Love Her" (from the "Beauty and the Beast" musical). Last but not the least was the Beast himself, Arman Ferrer who sang the roof off of "This is the Moment" (from "Jekyll and Hyde").

Returning centerstage, Carla shared that the two singers who had inspired her the most had been Karen Carpenter and Lea Salonga. To pay tribute to her two icons, she asked Lea's permission if she could perform a medley of sentimental Carpenters hits which had been arranged for Lea by her brother Gerald before. The songs in the mix included: 'We've Only Just Begun," "I Won't Last a Day Without You" and "You (Are the One That Makes Me Happy)." 

For the next number, Carla intimated that she also idolized Gary Valenciano as a livewire performer. Her favorite number of his had always been jazzy scat classic "Spain." Sir Gary was supposed to have joined her for a duet, but he was out of the country on the new date. Therefore, Carla called on her so-called "favorite guest" Gian Magdangal and the inimitable dynamo Ms. Shiela Francisco (who had her own Triple Threats concert 10 years ago). I knew all three of them were vocal powerhouses, but their exuberant take on this frenetic song was certainly extraordinary. She took time during this song to acknowledge the members of the orchestra playing for her.

For the next number, Carla invited fellow leading ladies Shiela Martinez and Yanah Laurel, with again her favorite Gian Magdangal,  to join her in singing and rapping "Work." This snappy, catchy ensemble song number from "Hamilton" brought Act 1 to a rousing close. Guests were invited to partake of cocktails in the lobby during the 15-minute intermission.

Giving 100% in Every Song!

When Act 2 opened, Carla came in wearing a white satin ball gown with a huge complicated bow adorning her back. She immediately called next next guest Floyd Tena to sing a playful duet version of "Pure Imagination" (from the 1971 film "Willy Wonka and the Chocolate Factory").

Her next set of songs were dedicated to the members of her family.  First was a special request of her mother -- "Smile" (from Charlie Chaplin's 1936 classic film "Modern Times"). Her parents even did a short impromptu sweet dance while Carla sang the final chorus. Up next was a medley of  two hits by Stevie Wonder -- 'Too Shy to Say" and "Overjoyed," dedicated to her husband, Chef Godfrey Laforteza. Finally, for her children, she sang "Not While I'm Around" (from "Sweeney Todd"), a song she used to sing for them when they were still small kids.

Two duet numbers followed. For the first one, Carla saw Regine Velasquez sing "With You I’m Born Again" with no other than her concert conductor Gerald Salonga, and now Carla wanted one too. Salonga continued conducting while he was singing, which amused the audience. She then reminisced about her stint as Kim on "Ms. Saigon," then called one of her first leading men Noel Rayos to sing "Sun and Moon" with her. 

Carla talked about her difficulties during the past pandemic, during which her thirst for performing live could not be quenched,  even as she tried singing via streaming. The first show to open after the quarantine was lifted in 2022 was "Joseph the Dreamer" by Trumpets. She was given the role of Rachel, who got to sing the meaningful song of hope -- "He Opens a Window." Tonight, Carla belted this power ballad out of the park, while her niece gracefully danced ballet around her.

Her penultimate song number was about her continuing drive to face the future, uncertain as things may be -- Elsa's anthem from "Frozen 2" -- "Into the Unknown." To sing the operatic siren call Elsa was following, Carla invited acclaimed soprano Lara Maigue. Their ethereal collaboration filled the room with a otherworldly fairytale-like magical atmosphere.

To come full circle, Carla returned to Streisand's "Yentl" for her closing prayer, singing "Piece of Sky" -- for a contemplative yet hopeful finale. After she hit and nailed the soaring last note of this song, the audience all rose up to their feet simultaneously to give Carla a warm, spontaneous, well-deserved standing ovation. 

For her encore, Carla decided to go upbeat with a medley of disco hits by Earth, Wind and Fire, which included crowd favorites "Fantasy" and "September." At this point, Carla was cutting loose, gleefully dancing freestyle with her backup singers -- Johann dela Fuente, Jim Ferrer, Abi Sulit, and Paula Paguio -- who all had supported her expertly and unselfishly the whole night. What an exhilarating way to celebrate one's milestone 30th year in show business, La Carlotta! Brava!

Carla's Curtain Call

Sandbox: Review of LITTLE SHOP OF HORRORS: Carnivorous Comedy

July 8, 2024

Mr. Mushnik (Audie Gemora) owned a flower shop in a decrepit part of the city called Skid Row. Working for him were a foundling orphan boy named Seymour (Nyoy Volante), and a pretty but not-so-smart young lady named Audrey (Karylle). Because business was very bad, Mushnik declared that he has decided to close down shop. Desperate to keep the shop open, Seymour revealed that he had a new discovery which may improve business.

He brought out a strange plant which he found after a recent solar eclipse, which he called Audrey 2 for his crush. However Audrey currently had a boyfriend, the sadistic dentist Dr. Orin Scrivello (Markki Stroem), who frequently beat her up. At that time, the plant appeared to be dying, so Mushnick was not so impressed. That night, Seymour accidentally pricked his finger on a rose thorn. When drops of his blood fell onto the plant, it suddenly sprung to life. 

The original "Little Shop of Horrors" was a 1960 horror-black comedy B-movie directed by Roger Corman. Two decades later, Alan Menken and Howard Ashman (before their Disney renaissance with Ariel and Belle) turned the film into an acclaimed off-Broadway stage musical which ran from 1982 to 1987. In 1986, there was a film version of the stage musical directed by Frank Oz, starring Rick Moranis as Seymour and Steve Martin as Dr. Scrivello.  

I had long heard about this show and film, but I had not seen any version at all. This was the first time I was actually seeing this in full, so I was very excited to finally get to know what the fuss about it was all about. I was very pleasantly surprised how fun and entertaining the whole show was. Despite all the inevitable violence, abuse and deaths in the story, I, along with the rest of the audience, was laughing all the way through the supposedly revulsive scenes.  

In the show I watched, Seymour was played by Nyoy Volante (in all his wide-eyed nerdiness), Audrey by Karylle (always seductively sweet), Mushnik by Audie Gemora (amusingly cantankerous), Scrivello by Markki Stroem (so good being slick yet crazed) and Audrey 2 by OJ Mariano (channeling a vicious Zuma without snakes) Their ability to sing and act had long been proven by their impressive track records, and their performances were all just so lovable.

The alternate cast will have Seymour by Reb Atadero (I can see him already simper so delightfully), Audrey by movie star Sue Ramirez in her theater debut (someone I am most excited to see), Scrivello by David Ezra (an actor I have never seen in an antagonist role before), and Audrey 2 by Julia Serad (this female interpretation of the blood-thirsty carnivore should be totally different from OJ's take, and I want to see it). 

Hanging around Mushnik's flower shop and witnessing the events on Skid Row were three ladies, namely Crystal, Ronette and Chiffon (singular forms of 60s girl groups), collectively called the Urchins. This group functioned as a Greek chorus of sorts, filling in the details of the story with their inside information and insights. Abi Sulit, Paula Paguio, and Julia Serad (or Mikee Baskinas when Julia is Audrey 2) provide the Urchins with powerful singing vocals. 

The other most remarkable aspects of this show is the colorful way how director Toff de Venecia and his crew conjured up Audrey 2. Puppeteers handled Audrey 2's various parts, as he grew from a tiny weak potted plant withering away in hunger, into a murderous monstrosity occupying the whole stage, engulfing entire human beings. One can't really capture this phenomenal execution fully in words. You've really got to go see it live to appreciate it best.

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UPDATE: July 20, 2024

My wife and I watched the matinee show as part of our wedding anniversary weekend. Caught Reb Atadero as Seymour and Sue Ramirez as Audrey. Atadero seemed to have been born to play the bumbling botanist Seymour, effortlessly cute performance. In her films, Ramirez knew how to play quirky like the back of hand, and she knocked it out of the park here. Her Audrey was flirty and lovable, and her singing was unexpectedly rich and delightful -- it was hard to believe that this was her stage debut! 

Got to watch Julia Serad's portrayal of Audrey II this time around, and she gave it her sinister snarling best. Still preferred OJ Mariano's Audrey II. Also got to watch David Ezra's take on the sadistic dentist Scrivello. He did not seem to be the right fit for the role. The effort was showing but was not selling. Still preferred Markki Stroem's Scrivello.  

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"Little Shop of Horrors" runs from July 6-28, 2024 at the Globe Auditorium, Maybank Performing Arts Theater, BGC. Ticket are available via Ticketworld, with prices ranging from P3,600 (L1 Center Premium) to P2,000 (L3 Sides).