The Book of Mormon (Pantages, Los Angeles)

October 21, 2012

I knew this musical was going to be a satire about the religion of the Mormons.  Knowing that this was written by the makers of "South Park" already prepares you somehow how scandalous the material is going to be.  I knew the subject matter of the play will make it difficult to for it to see the light in very conservative and onion-skinned Manila.  I felt sure that if I wanted to see it (this is after all a multiple Tony Award-winning musical), the only way that I was going to see would be it in the States.  

It was lucky that this show is having a run at the historic Pantages Theater just when I was going to Los Angeles for a high school reunion. Schedules were not so clear yet so we could not buy tickets in advance.  On the only possible day I could watch which was October 13, the matinee show was at 2 pm.  My cousins brought me to the Pantages Theater about 2 hours before the show to join the lottery for which we could buy tickets for the show for only $25 each, compared to the expensive $120-$180 original prices.  As luck would have it, my cousin Ted was one of the 13 lucky ballots drawn!  When we got to enter the theater at 2pm, we discovered that the seats raffled out were actually on the very front row!  It was very exciting as I have never seen a musical from the very front row, much less in a famous theater like the Pantages.

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The show itself started nicely enough, with a clean catchy tune called "Hello" where the new Mormon missionaries were introducing themselves.  The lead character is the ambitious over-achiever Elder Kevin Price (Gavin Creel), who was disappointed that he was paired with the incompetent nerd and uncontrollable liar Elder Arnold Cunningham (Jon Bass).  Price was even more shocked when they get assigned to far-off Uganda, instead of his original choice of Orlando, Florida.

When the two reach Uganda and see the sorry state of the people there, living under the constant persecution of a General Butt-F*****-Naked (Derrick Williams), Price gets more and more disillusioned with his mission, eventually requesting for a transfer.  While the idealistic Cunningham, inspired by the lovely Nabulungi (Samantha Marie Ware), had to resort to unconventional means to get his message of conversion across, especially since he has not even read the "Book of Mormon" himself!  

From this simple premise arises one of the most politically-incorrect yet optimistic and fun musicals ever written.  There was something said or done in each scene which can offend in either religious or racial contexts.  The name of the general alone lets you know that this show will be peppered by frank profanity and sexual references.  

However, the music is so easily accessible, catchy and even vaguely familiar so that all of the very naughty references could actually be excused somehow (by most people, that is).  As cute as the "Hakuna Matata"-like song "Hasa Diga Eebowai" sounds, its English translation is blasphemous, and can really be offensive to less tolerant people.  My personal favorite part of the show was the "Uncle Tom's Cabin"-like presentation by the Ugandan tribesmen of the Mormon teachings as taught to them by Elder Arnold Cunningham.  Very silly and outright hilarious!

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A very controversial show like this can only be conceived, produced, performed and succeed in the USA, it seems.  The totally irreverent sense of humor may not be taken well anywhere else.  Remember, this is a product of Trey Parker, Matt Stone and their gang.  You expect them to push the boundaries of comedy musical theater, and "The Book of Mormon" definitely does.  Take the whole experience as good-natured friendly ribbing only, and you will certainly have a LOL-rollicking good time!  This is NOT something to take too seriously.  Even the Mormon Church itself did not, even taking out ads in the Playbill, declaring "the book is always better."  Now that is what I call positive action, taking full advantage of this show's immense popularity to promote their religion further, and that is playing it smart.

Atlantis Productions' "NINE": A Major Casting Coup and More

September 22, 2012

I remember being disappointed when I saw the film version of the Broadway musical"Nine" shown a couple of years back.  The film, a glamour project which featured renowned film stars Daniel Day-Lewis, Nicole Kidman, Sophia Loren, Penelope Cruz and Kate Hudson, seemed too disjointed to be good and even memorable.  I don't remember much of the film frankly.  

However, when Atlantis started to promote its own local production of "Nine" with Jett Pangan, surrounded by major actresses like Menchu Lauchengco-Yulo, Cherie Gil, Eula Valdez and others.  I resolved that I need to watch this show and see why this musical won many Tony Awards back in 1982, including Best Musical, Best Original Score (Maury Yeston) and Best Director (Tommy Tune). The film must really have done something wrong, or this musical is simply not film-able -- I needed to know why.

"Nine" is the story of revered Italian film director Guido Contini (Jett Pangan) and the women in his life. Mainly there was his wife Luisa (Menchu Lauchengco-Yulo), his mistress Carla (Carla Guevara-Laforteza) and his star actress Claudia (Eula Valdez).  Peripherally, there was his mother Magdalena (Joy Glorioso), his film producer Liliane(Cherie Gil), and the prostitute who initiated him Saraghina (Ima Castro).  Yanah Laurel plays Stephanie, a scathing film critic who could not stand Contini, while Sitti Navarro plays the Lady of the Spa where this musical is set.

I thought the title "Nine" referred to the number of women who played important roles in his life, but no.  "Nine" was the age when Guido became a man, well sort of, making it the most impressionable and influential age in Guido's growing up.  The nine year old Guido (Ethan Baranda-Paras, son of actress Phoena) actually played an instrumental role in adult Guido's self-discovery and survival in this play's climax.  

Jett Pangan is really becoming the go-to guy when the lead is a middle age male character, as he was also cast as the husband in "Next to Normal" and "Jekyll and Hyde". His performance of the rapturous "The Bells of St. Sebastian" and the climactic "I Can't Make this Movie" were very strong vocally and emotionally.

Menchu Lauchengco-Yulo was perfect as the perfect wife, Luisa.  She was very sweet in "My Husband Makes Movies" as she was infuriated in "Be On Your Own."  Ms. Menchu can do no wrong as she gets absorbed into her characters in her every project.

Carla Guevara-Laforteza as Carla, wow!  I can't believe I knew her first as the very sweet Kate Monster. She was very daring indeed as Carla as she sexily slinked on the stage in her fishnet stockings and cavorted with Guido.  Her singing voice was appropriately sultry in her featured song "A Call from the Vatican".

Eula Valdez was a riveting presence onstage as Claudia, and it was quite understandable that she is Contini's muse.  She simply oozed with glamour even as she was only sitting there on her central pedestal.  She was a revelation in her singing the dramatic song"Unusual Way." She nails it and how!

Cherie Gil was a dominating featured character in the first act as Liliane.  Her serio-comic rendition of "Folies Bergere" was flawless and on point performance-wise, a true showstopper. Her very hoarse voice though was precariously on the brink the whole time when she spoke, and especially when she was singing.  I hope she can take care of her instrument for the rest of the run.

Ima Castro was the unexpected choice to play the prostitute Saraghina.  Her vocal prowess was certainly there during her song "Ti Volglio Bene/Be Italian."  However, there is some physical disconnect with the way she looked and the character she was playing, so it was not too convincing.

The stage design is the most elaborate and wondrous I have ever seen for an Atlantis production. The whole RCBC theater stage was converted into a marble spa with multiple pedestals, stairs and doors where the actors performed on its multiple levels.  This is definitely award-winning stage design, in both its look and functionality.  When an actor was performing on the top most tier, it looked absolutely breathtaking.  No words I write can fully capture the majesty of that stage.

(Photo Credit to Ga Fallarme for broadwayworld.com)

I am glad I did not let my disappointment in the film version stop me from watching this play.  This play is for adults only because of its mature theme. There will be some potentially scandalous scenes for some conservative audiences.  However, overall, it is an excellent production.  It is definitely going to impact the most on the middle age group, who could easily identify with Guido's midlife crisis portrayed.  There is an important life message in there somewhere which each member of the audience would have to figure out for himself.

Congratulations to Director Bobby Garcia and the rest of the Atlantis cast and crew for another thought-provoking and very entertaining show!

Altantis Production of "Nine" will run only on the weekends Fridays to Saturdays from September 21 to October 7, 2012.  Do catch it and be enthralled, not only by its exotic look, but also by its deep introspective message!

American Idol Season 11 Live in Manila! (Sept. 21, 2012): Recap and Videos!

September 21, 2012

We reached the Araneta Coliseum early enough, about 630pm, or so I thought.  We entered the new and improved Green Gate with the new facade.  When we got inside, the lobby was so much brighter and cleaner ambience-wise compared to the lobby we remember, and that was great.  When we got to the second floor though, it was still the same.

Anyway, it turned out, people had already been falling in lines to enter the Upper Box Areas, both for the reserved seat of Section A, and the unreserved seats of Section B.  The rehearsals were still ongoing inside the theater and so they were not letting people enter the auditorium proper yet.  It was already a little past 7pm when the doors were finally opened, and as predicted people surged in and scrambled to their seats.

The people still had to wait another antsy full hour or so before the concert began.  The audience was quite diverse that night.  My daughter and I were seated in an area where in front of us was a gaggle of senior citizen matrons on a night out, while in the row above us was a group of what seemed to be English-speaking beer-guzzling exclusive school graduates.  

It was almost 845 when Ryan Seacrest appeared on the big screens to announce the beginning of the show.  There was a pandemonium of screams when the lights were dimmed and the auditorium became a sea of multi-colored glow sticks.

The initial VTR introducing the current group of Idols was shown.  Instantly you knew something was was wrong with the huge LCD screen backdrop as there was an entire square section in the upper left section that was not working and was black.  During the intro, you cannot see the whole face of the Idol being introduced, but that did not stop the rabid fans from screaming for their favorites. Even that early you knew who were the most popular idols -- Colton, Phillip, and of course, Jessica!

The LCD screen problem continued to distract for the most part of the first act.  The technicians would try to fill the gap by fitting in patterns from another section of the screen, but it was obvious the patterns were not correct, but better than when it was just black. 

The show opened with the top 9 (except Phillip) singing "Sing" (My Chemical Romance). This opening song would actually set the trend for the entire first act, song choices were familiar not the really big hits, a little underwhelming.  I mean, like Deandre sang "Master Blaster," Skylar and Hollie dueted on "Undo It" (Carrie Underwood), Erika sang Pink's "Glitter in the Sky" (in a fantastic restrained performance with her new pink hair!) (VIDEO).  Things livened up when Colton, Erika, Jordan and Hollie did "Moves Like Jagger."

Next up was Heejun with John Legend's "Green Light" in a rather weak performance, followed by his cheesy rendition of LMFAO's "Party Rock Anthem" with Deandre and Jessica.  Then the boys sang "Everybody Talks" by Neon Trees before giving way to Elise and her two songs Led Zep's "Whole Lotta Love" and Adele's "Rumor Has It."  Elise was very good in these rocking songs, but she was not exactly connecting with the audience too much.

When Colton Dixon came out, the females in the audience went wild with their screaming! His version of Switchfoot's "Meant to Live" started shakily but ended OK.  He then introduced his upcoming single "Never Gone," though the melody did not really stick with me.  He had a big moment though when he sat behind the piano and sang Billy Joel's "Piano Man" (VIDEO).  His voice was rather high-pitched than solid, but it was a very moving performance of the song.  The LCD screen suddenly worked properly at this point to the delight of the audience, but temporary only as it bogged down again after a while.

After that the Top 9 (still without Phillip) came out to sing a medley of Bruno Mars' "Just the Way You Are" and One Direction's "What Makes You Beautiful."  It was as corny as the numbers we see on TV but the young audience was buying it.  When Colton came out wearing a white tank-top, he looked like a skinny white ghost in the bright stage lights, but hey, his fangirls still screamed so loudly to greet his entrance.  

Then Ryan Seacrest again appeared on the big screen to announce an intermission. The gap lasted more than 20 minutes.

When the lights dimmed for the Act 2, the LCD screen was already working properly!  And the audience screamed with anticipation when the picture of a smiling Jessica Sanchez appeared on the screen!  She had a grander entrance than anyone else at that point, framed by silvery crystals.  She came out wearing a glittery black outfit singing Beyonce's "Best Thing I Never Had" (VIDEO).  Then she sang her version of Prince's "How Come You Don't Call Me Anymore" (VIDEO) with Deandre and Joshua singing and dancing backup.  The three of them then segued into a rocking version of Ike and Tina Turner's "Proud Mary",  You should hear the audience scream when Jessica growled!  They love it.  

Next up was Skylar Laine, who was surprisingly had local fans despite being very country.  She sang a couple of country rock songs "Gunpowder and Lace" (Miranda Lambert) and "Stay with Me" (The Faces).  Sweet Hollie Cavanagh was next as she entered to the opening beats of Adele's "Rolling in the Deep" (backed up by Elise and Erika).  Her next song was Demi Lovato's "Give Your Heart a Break."  Just two solo numbers for these two girls, while lower-ranked Colton had 3!  You know who is really popular, huh?

Third placer Joshua Ledet sang Bruno Mars retro hit "Runaway Baby" and his vocal showcase James Brown's "It's a Man's Man's Man's World."  Jessica joined him for his third song "I Knew You Were Waiting For Me" (VIDEO). This guy really has strong vocal chops. His style though is really retro, and not current at all.

We were then brought back to the night of the AI finale.  The screens then showed Ryan Seacrest again when he was announcing the winner.  The girls in the audience again screamed in anticipation.  They knew Phillip Phillips was next!

Phillip was just wearing a drab olive t-shirt.  He went through his four songs in his true WGWG style with his signature spastic dance moves. His fangirls loved it.  He sang Stevie Wonder's "Superstition" first, then his version of Usher's "Nice and Slow".  Two duets came next, Gotye's "Somebody That I Used to Know" with Elyse (VIDEO), then Damien Rice's haunting "Volcano" with Jessica (VIDEO).  All in all it was a solid set, but Phillips was really just always stuck to one spot while singing.  No movement at all.  Of course, he ended his set with his coronation song and first single "Home" (VIDEO). He was first backed up by Colton and Deandre, then the rest of the other Idols joined in singing the anthemic chorus.

This led to the finale number (VIDEO) where the girls started singing Pink's "Raise Your Glass", then the boys countered with The Wanted's "Glad You Came."  Phil looked geekily awkward in the group number, changing into a white t-shirt this time to be coordinated with the rest of the Idols.  I am sure he was thankful he did not have to dance in any of the other group numbers in Act 1, haha!  That was it after that fun song.  Ryan Seacrest appeared on screen again and finally bid everyone goodbye.

So, another AI tour ends.  This is the last show of their tour, and their only date in Asia.  I cannot help but feel many in the audience were disappointed that Jessica would not sing any of her big diva ballads that she sang on TV.  No Whitney Houston. No "And I Am Telling You." I am pretty sure those senior ladies seated in front of us were waiting precisely for those songs.  Anyhow, 30 songs were performed, no joke!  The second act was much better than the spotty first act.  All in all though, it was a very young fun night!

PhilStagers "Ang Bangkay": The Dark Side Very Up Close

September 20, 2012

I was fortunate to have been invited to a special staging of a play written, directed and starred in by Atty. Vincent Tanada.  This special limited two-day run (from Sept 19 and 20, 2012) was spurred by the recent victory of this play entitled "Ang Bangkay" ("The Corpse") at the prestigious Carlos Palanca Memorial Awards for Literature, First Prize in the category for full length play.

The other better known plays by Atty. Vince and PhilStagers, like "Enzo Santo," "Ako si Ninoy,""Cory ng EDSA" and their latest one "Joe." In total stark contrast, this play is dark, sinister and morbid as its title, "Ang Bangkay."  A play like this can only be staged in an intimate theater venue, not a big auditorium. Tonight's show was held in the PhilStagers home studio in Sampaloc, which seats only a maximum of 70 people.  And while his previous plays were geared to student audiences, this one is strictly for adults only for its "high level of violence, sex scenes and coarse language."

When I arrived at the venue at show time of 7pm, things were running very late.  The PhilStagers cast and crew had just come from an unexpected "emergency" showing of their fun and rollicking "Joe" at 3pm in Pasig.  Now they had to internalize a totally different set of characters for a play with a totally different and darker mood.  This was going to be very tough for them.

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"Ang Bangkay" is set in a small town in Pangasinan in the turn of the century 1900.  First-class undertaker Señor Segismundo (Vince Tanada) of Funeraria Corintho had just lost his wife Milagros.  He ruled over his 25-year old virgin daughter Isabel (Monique Azzereda) with an iron fist, literally tying her down to her bed.  The two servants of his household, the serious senior Meding (Glory Ann Nacional) and the lusty junior Oryang (Cindy Maree Liper), were constantly cowed and terrorized by his tempestuous temper.  When his poor assistant undertaker Limuel (Jordan Ladra) asked the Señor for a big favor, the wheels were set in motion for a most scandalous and diabolical series of shocking events ever portrayed in Philippine theater.

The level of intensity in the acting of the five members of this talented cast was non-stop from beginning to end.  They gave it their all, with no inhibitions whatsoever for whatever the scenes called for.  They were all totally immersed in their characters.  There was no indication whatsoever that they just came from an afternoon of singing and dancing in a happy rock musical.  Atty. Vince simply commanded the stage whenever he was on. Glory Ann's acting was haunting and totally possessed.  Cindy was able to handle funny and crazy with riveting charisma.  That final scene of beautiful Monique must just be so draining on her emotions.  Jordan held his own despite his limited stage time.

The gestures and facial expressions were inspired by Greek drama in its latitude, very broad and loud. The text of the script was exceptionally deep and rich Tagalog. The dim lighting, period costumes, Gothic hair and make-up, macabre music and eerie sound effects all added to the total somber mood. The atmosphere was solemn and serious with capital S's.  The audience was totally quiet and absorbed while the unsettling story unfolded in front of them in close-up detail.

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Atty. Vince shared in a post-show Q&A session that he wrote this to prove to a critic that he is more than just a writer of light-hearted musicals involving historical Filipino personalities. "Ang Bangkay" certainly takes us to the very dark side of Atty. Vince. There was nothing light and breezy about this play at all.  This is not for the weak of heart or delicate constitution.  This is a play that Atty. Vince himself calls "cruel and merciless."  I fully agree. You will not forget it once you have seen it.  Watch this at your own risk, and you should.  

Tanghalang Pilipino's "WALANG KUKURAP": Political Drama Goes to Extremes!

August 15, 2012

After tackling a 110-year old sarswela for its season opener, Tanghalang Pilipino goes all the way to the other extreme of the theater spectrum to give us a contemporary political thriller for its second offering.  Publicity defined "Walang Kukurap" as a "production which blurs the lines between art and life, fiction and reality, as it vivisects the darkest parts of the Filipino soul."  With such a stark description, I had no idea exactly what kind of play I was getting into.  

I only knew of playwright Layeta Bucoy recently when she adapted Lino Brocka's movie"Bona" for PETA, as a serio-comic theater piece for Ms. Eugene Domingo.  Now with her exciting script for  "Walang Kukurap," we know that her success with "Bona" was no fluke.  Ms. Bucoy has certainly gone a long way from writing tabloid erotica or ghosts stories, and has now become a playwright to reckon with. 

We are presented with what is supposed to be a typical small town in the Philippines. Director Tuxqs Rutaquio calls it a modern-day version of Rizal's San Diego. As the characters play mah-jong in the first act, we immediately know this will not be just an ordinary play about an ordinary town. We will be shocked right away with its frank and graphic violence, not only in the dialog generously peppered with crisp profanity, but more so in the unspeakable action that unfolds. 

This tense atmosphere will pervade through the play's two acts and 25 scenes. Within its span of two hours, we will be treated to scenes of bloody torture, mutilation, assassination, murder, as well as multiple scenes of double-crossing, underhanded deals, political gimmickry and intrigue in all its forms.  Is this really how corrupt politics is in a typical small town in our country nowadays?  If Ms. Bucoy wants us to be disturbed, I assure you, you will definitely be disturbed with what you will see in that small intimate space inside the Teatro Huseng Batute of the CCP.  She was not dubbed the "Female Quentin Tarantino of Filipino Theater" for nothing.

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The senior cast was composed of actors we have seen before on other plays, movies and TV. It is the women characters who were the most memorable.

Suzette Ranillo played Cristina, the widow of the beloved ex-mayor who is now running to be vice mayor. It is her character who witnesses the corruption around her and struggles as it starts to corrupt her.  Her acting style and line delivery can be distractingly reminiscent of Ms. Nora Aunor at times.  Her scene with the intense Lou Veloso (who plays her Papang) and another one with brash Peewee O'Hara (as Panchang, the tricycle driver-mom whose son was killed in a brawl) were outstanding!

Sherry Lara plays the proud and wily Mayor's wife Purita, Those scenes of hers as she prepares the statue of the Virgin Mary for the procession showing her fluidly transforming her character as she interacts with her husband and incumbent mayor Molong (Crispin Pineda), and later her brother-in-law Paquito (Paolo Cabanero) was amazing.

Mymy Davao plays the ruthless and opportunistic accountant Melba. She dominates the scene whenever she is onstage with her strong stage presence.  Her scene as she strikes a cruel deal with the young lawyer Vic (Remus Villanueva) was particularly chilling.

The other senior members of the cast are Ced Torrecarion (who plays Christina's cousin and town gambling lord Alex) and Ding Navasero (who plays the rich and influential trapo Santiago, Sr.)  On the night I watched, Mr. Navasero majorly flubbed his climactic campaign speech in the final act, which considerably diminished the final impact.  Ironically, this was just after he had a great scene with his son (Nicolo Magno) talking about how he had manipulated the town's politicians to his benefit.

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The younger cast members were mostly members of the TP Actors Company,  who regularly undergo an intensive training program under the TP.  Who knows, one or all of the young talents who are with TP Actors Company now could be the future Nonie Buencamino, Shamaine Centenera, Allan Paule, Irma Adlawan or John Arcilla, all of whom also owe the honing of their craft to the Actors Company.

Again the more memorable performances from this group were also by females.

Doray Dayao plays Doray, the poor and idealistic mayoralty candidate.  It was surprising to read from her CV that she is just a new Actors Company scholar.  She completely won the audience attention and sympathy as she quixotically rallied against illegal logging and floods. The scenes where she interacts with her SK-chair son Gutierrez (Nar Cabico) were the liveliest in this play. I was jarred to witness this one character who sincerely wanted to do good for the community playing the comic relief in this dark play.

Regina de Vera plays Rhoda, the socialite daughter of Melba, whose life had been molded by the political whims of her mother.  She always kept in character with her sassy and snappy collegiala Taglish lines.  This was whether the scene was funny (like how she defended herself wearing stiletto shoes during her campaign) or dramatic (as in a couple of confrontation scenes with her cousin Marky, played by Marco Viana).

The other TP Actors Company members in this production are:  Jonathan Tadioan (as the Chinese drug lord Lu), Ralph Mateo (as Purita's son Dino), April Joy Inigo (as the singer August) and Jovanni Cadag (as the stuttering Pong).

*****

Congratulations to Tanghalang Pilipino, Layeta Bucoy and Tuxqs Rutaquio for bringing us this bold and shocking piece of theater.   In her notes, Ms. Bucoy points out that "Walang Kukurap" "simply aims to unsettle," not exactly to lead or inspire.  "Walang Kukurap" will certainly jolt us to the disgusting corrupt realities of our current local political systems.  As we are disturbed by what we see on stage, we are being challenged to decide on what to do next to correct the situation.  It is then up to us to take the challenge and do what is needed to bring our beloved country back onto the straight path, and we should not blink in doing so.

"Walang Kukurap" will play Fridays (8pm), Saturdays (3pm and 8pm) and Sundays (3pm), from September 14 to October 7, 2012 at the Tanghalang Huseng Batute of the CCP.

Potted Potter: A Case of Emperor's New Clothes?

September 1, 2012

Even when I first saw the posters for "Potted Potter" who promised to deliver "all seven Harry Potter books in 70 hilarious minutes," I was sold since I read all the books and watched all the movies and lived J.K. Rowling's world.   I knew there would only be two actors, one will play Harry and the other will be playing all the other characters.  "Potted Potter" is an Olivier Award nominee created by two British guys Daniel Clarkson andJefferson Turner. It supposedly played to sold-out audiences the world over.

Despite the fact that the ticket prices were rather expensive for an unknown act (P3,000 Orchestra, P2,000 Loge and P1000 Balcony), I went ahead to purchase five tickets for my whole family.  This would only be in Manila for a week only 10 shows, oddly starting its short run on a Tuesday and ending on Sunday (last 2 shows today), I got tickets for the Saturday night show maybe in the first week they were out. With the effusive advertising blurbs I read pre-show, needless to say, I was stoked with anticipation.

The show started with the two actors introducing themselves and what they would be doing over the next 70 minutes.  The Manila show did not feature the original duo of Dan and Jeff, instead we got Gary Trainor and Jesse Briton.  Gary would be playing Harry, and Jesse would play the rest of the other characters.  Gary is the Harry Potter nerd, narrator and producer, and Jesse did not know a thing about any of the books and was (ir)responsible for the props. Gary had an Albert Brooks vibe to him, while Jesse was more the roguish Chris Rock type.

While everything started very energetically, it became plain to see (for me, at least) that this show was nothing like intelligent spoof that I expected.  Gary and especially Jesse really tried hard to wind up the audience with exhortations for applause, and the occasional Filipino references (Boracay, walis tingting, even Eraserheads!).  However, when they "finished" the first book in less than five minutes with a brick representing the Sorcerer's Stone, it dawned on me that this show would simply be a silly and juvenile one, with stupid little props. I had to temper down my expectations if I were to enjoy the rest of the show.  

The show only came alive for me in Book 4 when they engaged the audience in a "Quidditch match."  They divided the audience into Griffindor and Slytherin. The comedy actually came more from the reaction of the audience as Jesse threw the 'quaffle" among them to try to shoot into the hoops, and the two cute kids who volunteered as seekers as they clobbered the "golden Snitch."  For me, this was the only part that made the show laugh-out-loud funny.

The last three books were a blur.  They made a tiresome prolonged joke about Dumbledore's prophesy that between Harry and Voldemort, only one will live and the other will die.  It was good for extra snickers only when they got the audience interacting with them.  In the last book they broke into a song number, which was good to break the monotony of narration.   Then it ended already!  I just said to myself, that was it?

OK, I was disappointed in the show.  I may have had too high expectations about this production because of the hype.  They should have just said this is strictly for kids, and not really for "the whole family."  I felt this show was a case of the "emperor's new clothes."  There was really nothing in it.  The occasional improvisations by the actors were funnier than the actual scripted parts.  This was definitely no "Forbidden Broadway" which was one smart and sharply witty parody show.  For "Potted Potter," I was only mildly amused at parts as the comedy was more physical than really witty.  Mostly, "Potted Potter" is just childish empty foolishness.  I did not feel I got my money's worth.  My wife and eldest daughter share my opinion.  At least, my two younger boys seemed to have fun.

"The Phantom of the Opera" in Manila: Fantastic Stage Design, Fantastic Christine!

August 26, 2012

It took more than 25 years before Andrew Lloyd Webber's "Phantom of the Opera"was finally formally staged in the Philippines.  I had already seen this classic musical live on Broadway at the Majestic Theater, as a film adaptation starring Gerald Butler andEmmy Rossum, and just last year, the 25th Anniversary Concert at the Royal Albert Hall.  I know this play and its music very well I think. Yet I still felt compelled to watch this production because I am very curious on how they could possibly bring the show to life in a local theater such as the Cultural Center of the Philippines, more than anything else.

The story is already very well known.  Christine Daae breaks out as the up and coming star of the Opera Populaire, under the tutelage of a mysterious "Angel of Music."  Her mentor reveals himself to be a masked man who had built a labyrinthine underground lair in which he hides and creates his musical opuses.  When Christine accepts the romantic advances of Raoul, the Vicomte de Chagny and her childhood friend, the Phantom lets hell break loose in the Opera House.  Christine reaches a point of no return, and has to choose whether her heart belonged to the Phantom or Raoul.

The cast in this international tour is uniformly amazing.  Jonathan Roxmouth played an excellently dramatic Phantom.  His singing voice was big and strong when it needed to be, and soft and pleading when it needed to be.  There were some big notes that wavered at the start, particularly noticed in his solo aria "Music of the Night."  Not sure if those were microphone problems only though, because in general the voice was solid.  However, he still managed to pull things together and give a grand finish to all his songs. Last night, it was the alternate David Schlacter (not Anthony Dowling who did the press conference) who played the noble and dashing Raoul.  His performance in his featured song "All I Ask of You" with Christine was excellent, though he admittedly seemed wanting for a little more stage presence. 

Phantom Manila Stars Claire Lyon, Anthony Dowling and Jonathan Roxmouth at the Press Con
(photo from Jonathan Roxmouth's FB page)

For me, it was the singer/actress who perfectly portrayed and sang the challenging role ofChristine Daae who gave the best performance of the night. It turns out that she was the alternate Emilie Lynn of the USA who played Christine last night (not Claire Lyon who did the press conference). In any case, all of Christine's classic songs were sung with effortless ease and heartfelt drama -- from "Think of Me," "Angel of Music," "All I Ask of You,"  "Wishing You Were Somehow Here Again," and "Point of No Return" -- all so beautifully rendered.  That exquisite soprano voice of hers singing the word "SOAR" at the rooftop with Raoul did just that. I really could not believe that Ms. Lynn was only the alternate as she definitely delivered a STAR performance!  I wonder what Ms. Lyon could still do to top how the superbly sterling Ms. Lynn portrayed Christine.

As for the supporting characters, I give special mention to the following.  Andrea Creighton plays brassy resident soprano Carlotta solidly with much humor.  My favorite Carlotta moment, the big note at the end of the song "Prima Donna," was delivered flawlessly! Rebecca Spence on the other hand played the severe ballet headmistressMrs. Giry with requisite dread and seriousness.  The guy who played Carlotta's consortUbaldo Piangi had excellent vocals as well as good comedic timing.  I was hoping the one we saw was Pinoy tenor Dondi Ong, but it was hard to see his face well because of the heavy darkening make-up.  It turns out though that Piangi was played by Thabiso Masamene that night.

I have to say something more about the awesome production design.  It was said that P15 million budget had been spent to bring the “jaw-dropping scenery and breathtaking special effects” to CCP.  I was most curious to see how they will recreate the subterranean candle-lit world of the Phantom which needed a boat to navigate through.  It was the most memorable scene for me when I watched the Broadway show.  It took some time to set the stage up as the first few lines of the "Phantom of the Opera" song was being sung, the stage was bare with only stage smoke.  However when the "candles" started to appear and the gliding boat...the whole number was dreamlike.  Really amazing how they pulled this illusion off!

The Phantom's Underground World
(photo from Jonathan Roxmouth's FB page)

In addition, it was also great to see the elaborate Hannibal production in the beginning of the show complete with the life-size elephant, the grand Masquerade ball with the grand staircase and the myriad of colorful sparkling costumes, and the whole finale confrontation scene of the three leads in the climax up to the final disappearing act of the Phantom when he was uncovered by Meg Giry at the end.  The audience gasped audibly in each of these stage spectacles.  The tour version of the Grand Chandelier, as much a star of the show as the actors, was indeed huge and ominous.  However, I thought it did not "crash" very well on this night we watched.  The timing seemed off and the "falling" seemed too slow, thus the audience response was thus rather tentative. 

Overall, this tour production of the Phantom was executed and staged very well.  The tickets may have been expensive, but the magical production design and wonderful special effects is well worth the steep price of admission.  While I am pretty sure a full Filipino cast could have pulled off the singing and performing parts, but the main highlight of this show is the grandiose world-class sets and ornate costumes which could not have been possible (or financially sound) for a local production.  I must say that of the other international touring musicals we have seen at the CCP Main Theater lately, namely "Cats" and "Mamma Mia," "Phantom of the Opera" is the best and grandest of them all!

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The Phantom of the Opera runs from August 25 to September 30, 2012 at the CCP Main Theater, Cultural Center of the Philippines, Roxas Blvd. Pasay City. Tickets are available via Ticketworld. Ticket prices: P7,280, P6,032, P4,680, P3,640, P2,340, and P1,820. For more info, visit facebook.com/POTOManila and ticketworld.com.ph.