November 24, 2013
I know about the Addams Family, although I cannot really call myself a fan of their macabre sense of humor. I was not able to watch the two movies made about them in the 1990s starring Raul Julia, Anjelica Huston and Christina Ricci. About this musical theater version (with music by Marshall Brickman and Rick Elice, and book/lyrics by Andrew Lippa), I must confess I was not that excited to watch it at first. But this being an Atlantis production and with the good reviews from the first weekend, I decided to take the whole family to watch it. We did not regret it.
This musical takes place sometime twenty five years into the marriage of Gomez and Morticia Addams, when eldest daughter Wednesday is now a young lady in love. When her beau Lucas brings his parents Mal and Alice Beineke to meet the Addams for dinner, her younger brother Pugsley hatches a prank gone wrong that wreaked havoc on all the relationships on the three couples on the table.
The set design, as was the standard for all Atlantis productions, was impeccable. It was amazing how the expanse of the Meralco Theater stage had been converted by Faust Peneyra into a graveyard, to a receiving hall of a creepy mansion to a dining room with a long table. The complementary lighting design by Dong Calingacion was essential to achieve the requisite eerieness of the atmosphere.
As you can see from the posters, the cast had been completely transformed into the well-known, and mostly, well-loved characters, thanks to the amazing make-up talents of Johann dela Fuente, in full cooperation with the costume designs by Pepsi Herrera and Edwin Tan. You certainly cannot see Arnell Ignacio or Eula Valdez or Jamie Wilson (or anybody else for that matter) as how you usually know them. You just see them as their character.
Arnell Ignacio was simply flawlessly in character as Gomez Addams. At first, I was not so sure he could pull this off, especially he had a wan uneven performance in his last musical The Full Monty. But as Gomez, his voice was full and strong in his songs and in his delivery of those tricky lines. This was indeed an award-worthy performance that we have seen from this veteran entertainer.
Eula Valdez, I already was mesmerized with her since her last musical Nine. This beautiful woman can really turn heads and draw attention to her whenever she was onstage even then, more so now in her tight body-hugging black gown as Morticia, Her accent was adorable. Her tango was so graceful with all those turns and dips. Her singing voice was on point, as the songs were completely within her range (something that went uneven in Nine due to some very high notes). This was a totally different Eula here, no hint of Amor Powers.
I had been wanting to see K-La Rivera perform again since I first saw her in In the Heights. I missed her in Aladdin (which I was not able to see) and Carrie (I saw a Mikki Bradshaw lead performance). As Wednesday, her role is rather limited by the love story angle of the musical compared to the memorable Christina Ricci Wednesday in the films. Fortunately she had a song entitled "Pulled" in the first act that was the Wednesday we know and love.
Jamie Wilson completely transformed into bald-headed and freaky Fester Addams. This guy can really do no wrong, tackling even the most offbeat of characters so well always. Too bad that Fester was not entirely an integral character in the main story in this musical version, so we mostly see him interact with the ragtag group of odd ghostly characters called The Ancestors. He had a delightful and sweet song "The Moon and Me" dedicated to his lady love that was giddy in its lunacy.
Anton Posadas, just fresh from his successful performance as Tyltyl in The Bluebird of Happiness, is back on the Meralco stage again as Pugsley. I really like the way this character was written for this show. I enjoyed his moment on the electric chair with Wednesday in Act 1. I loved his tender talk with his mother Morticia in Act 2. He showed off his singing pipes too with the song "What If".
Calvin Millado and Carla Guevara-Laforteza play the odd Beineke couple. Husband Mal is gruff and headstrong as wife Alice was a flighty romantic. These two actors are really veterans of the musical stage. Calvin is not awkward in this role (unlike some of his previous roles in Legally Blonde and Rock of Ages). Carla had the more challenging featured role as Alice experienced a change of personality within the show which required a demanding song number "Waiting" which Carla totally killed! Their son Lucas was played by American actor Ryan Gallagher. Too bad this role is so small you hardly remember anything about the actor afterwards. He does not even have a solo song number.
And finally, the guy which had the most memorable look and song solo of the show, Ikey Canoy. This guy played the butler Lurch who generally just strangely grunts his way throughout the show. However, look out for a big surprise from him before the show ends. He gained what must have been the loudest spontaneous applause within the show from the audience.
I thought the Grandma character was not too well-played, nor were her costumes fitting into the general Addams motif. I do not know why this role had to be portrayed by a man (Jimmy Marquez) in this production. I found it more distracting than funny. Nyoy Volante alternates in this cross-dressing role.
Congratulations to director Bobby Garcia and the rest of the Atlantis cast and crew for again coming up with another world-class showcase for the Filipino theater talent.
The Addams Family opened last November 15 and will run up to December 1, 2013 at the Meralco Theater. For tickets, contact Atlantis Productions, 8927078 (look for Claire).
October 16, 2013
"THE PRODUCERS" has a book, music and lyrics by the hilariously multi-talented Mel Brooks. And when it is by Mel Brooks, you know you will have a LOL-good time watching this show. As expected, the talented Repertory Philippines' cast does not fail us, and we the audience had an incredibly great time last night as the premiere.
Slimy Max Bialystock was a has-been Broadway producer who has seen better days in his career. With the box office failure of his latest show (a musical version of Hamlet called "Funny Boy"), his new high-strung bookkeeper Leo Bloom commented that he can actually earn more money with a flop than with a hit. With that idea as inspiration, Bialystock and Bloom joined forces to produce a preposterous musical called "Springtime for Hitler", fully expecting it to fail miserably with the critics. But fate seems to have other ideas for these two scheming producers.
Carlo Orosa was a riot as Max Bialystock. I did not recognize him at first with the thick mustache he was wearing, but that piece of facial hair was essential to establish his character's sleazy personality. This guy can really sing with that soaring voice of his, which you hear from his very first song, "The King of Broadway". Those scenes where Max was hustling little old ladies with sex games to sponsor his theater production in the song "Along Came Bialy" were super naughty and funny (making the show flirt with R-16 territory). Carlo's alternate in this role is another theater veteran, Robie Zialcita.
Topper Fabregas plays the insecure, wide-eyed accounting clerk with Broadway dreams, Leo Bloom. He was just in a much similar role in Rep's "Boeing Boeing" last year, so he has got this naive innocent schtick down pat. His best solo song number was "I Wanna Be a Producer" which he sang fantasizing while slaving in his boring accounting office.
The chemistry between Fabregas and Orosa together was amazingly vital, which was very important for the whole play to succeed. I enjoyed the duets they sang together, especially "Where Did We Go Right?" and "Till Him." Both tunes had sweet tunes, with sentimental yet witty lyrics.
Giselle Tongi-Walters oozed with sex appeal playing the ditzy Swedish blonde bombshell Ulla who swept Bialystock and Bloom off their feet during her audition. Joel Trinidad was perfect as the fanatical Hitler fan, Franz Liebkind, who wrote the script for "Springtime with Hitler." Noel Rayos swished and sashayed as a director's assistant Carmen Ghia with such gleeful relish and elan.
However, there was no question that the most scene-stealing role of this entire show is that of the flamboyant cross-dressing theater director, Roger de Bris, so memorably played last night by no less than Mr. Audie Gemora. It turns out the short cross-dressing we saw of Gemora in his last show "No Way to Treat a Lady" was just a small preview of the considerably wilder, totally flaming queen role Gemora is playing here. Every time he stepped on stage, he just owned it with his eye-catching outfits from glittery gowns to mini-skirt. He will surprise you too with his acrobatic prowess! I simply cannot imagine someone else, even his alternate, Noel Trinidad, tackle this very bold and showy role.
Director Jaime del Mundo, just fresh from the success of "The Bluebird of Happiness" for Trumpets, was able to harness the grandiosity of the script and scale it down to a production that fit very well into the confines of the Onstage stage. That challenge of making the most of the limited stage space was addressed so well by Mio Infante by his set design. The costumes in the colorful "Keep It Gay" and the spectacular "Springtime for Hitler" scenes were a triumph for designer Raven Ong. Congratulations once again to the entire Repertory Philippines cast and crew of this very energetic outrageous show!
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"The Producers" opened last night November 15, 2013, and will have Saturday 8 pm and Sunday 3:30 pm shows up to December 15, 2013, at Onstage in Greenbelt 1, Makati City.
Buy your tickets online at the Repertory Philippines website at www.repertoryphilippines.com, or from the Ticketworld website at www.ticketworld.com.ph. Tickets are also available in all Ticketworld outlets in Metro Manila.
October 9, 2013
"Ang Pagdadalaga ni Maximo Oliveros" is a familiar title among recent favorite local indie films. Unfortunately, I have not watched the film version myself, though the general gist of the story is already familiar (but I still do not know how it ends). The DVD is already available, and the full film is also posted in Youtube, so I will be able to check it out one day. This is especially because tonight, I have just watched this new all-original musical theater version of this film entitled "Maxie The Musicale."
Maxie is a twelve-year old gay kid who lives with his father and two elder brothers who were burly, macho and cellphone thieves in the slums of Sampaloc. Victor is a new, still idealistic young policeman who gets assigned to the same area. One night, Victor saves Maxie from being molested by two drunks. Maxie begins to fall in love with his handsome savior. Conflict develops in their budding friendship when Victor begins to close in on the criminal activities of Maxie's family.
Having a colorfully gay lead character lends the material a natural pick to be translated to the medium of the stage musical. Big song and dance numbers with the whole company (which are not directly related to the story) are interspersed between smaller, more intimate scenes (that actually relate the story). Among the more memorable of these big musical numbers is the Procession of the Sto. Nino, the showering policemen, and the most extravagant of all (and certainly most expected in a play like this), a local gay beauty contest, complete with talent competition! The story is told in three acts, with the intermission coming after Act 2.
While this all can be a lot of fun, for me this show is rated R-16 due to the sensitivity of the subject matter, sexually-charged humor and the coarseness of the language, especially during the greetings part of the Parade of Nations where the words were crisply graphic. The gay story line may also be uncomfortable for people not familiar with their subculture. But anyhow, the pink posters do not hide the fact that the main character is gay, so people who decide to watch this show should be ready for things like this.
The eclectic music of William Elvin Manzano, Janine Santos and JJ Pimpinio brings alive the book and lyrics of Nicolas B. Pichay. The music is an unusual mix of pop, rock opera and classical opera, with samples from 80s pop music and Filipino folk tunes. This varying genres may be unsettling for some audiences as the transitions can be abrupt.
The lead role of Maxie is played by a high school senior flamboyantly named Jayvhot Galang. This talented young boy was a champion of several TV singing competitions. He was actually invited to audition because of his online video clips. He is a natural fit for the role of Maxie. Despite this being only his first theater production, he carried on like a pro. He shone in his delightful scenes of glee, his dramatic scenes of heartbreak, and even in those scenes where his microphone died. He may occasionally not be too clear in the enunciation of words in his songs, especially in those where he was required to sing in a falsetto.
The role of Victor was played by architect turned model, then theater and film actor Jojo Riguerra. He was able to provide the role with requisite charm and dignity, with his dimples and tall stature. His singing voice was also very strong for the demanding pop-rock songs his character gets to sing.
Maxie's father Paco was played by Nazer Salcedo tonight. He was a grand national champion in a kundiman singing competition, which went perfectly with the practically classical operatic arias his character sings. While he sings well, his songs tend to bog the production down with their bitter seriousness. Also, it was confusing that Nazer looked more like an elder brother rather than a father to the actors who played his sons Boy and Bogs. The alternate in this role is Roeder Camanag.
Maxie's brusque brothers Boy and Bogs are played tonight by Al Gatmaitan and Jay Gonzaga respectively. These guys also get to sing very challenging songs (meaning very high notes) together where they had to harmonize. On top of that, they also have a number where they had to rap, which was also very well done. They also share very intense acting moments with Maxie which were quite heartwarming showing brotherly devotion despite, or maybe because of, Maxie's gender preference. OJ Mariano is Al's alternate, while Jay has none.
Playing Maxie's close friends are Aaron Ching, Nomer Limatog Jr. and Teetin Villanueva. Aaron was shameless in his hilarious and naughty antics, not caring how awkward or how ugly he can look. Nomer is very young, only in sixth grade, but he looks very smart and bold. Teetin is so different from when I last saw her as the divine Hermana Augusta Beata in Dulaang UP's Collection earlier this year. They are quite a wacky group. Their highlight was the opening segment of Act 3, where they play out a very funny summary of the entire Acts 1 and 2. That bit is a must-see!
Playing the new police chief Dominguez is baritone Greg de Leon. His rich tones can really be heard from the rest of the group when everyone is singing together. Standing out in the chorus is Jules de la Paz, who plays multiple roles that become notable, especially that of the sassy carinderia owner. We remember not only because of his hefty body size and stage presence, but also his unexpected skill and excellence in dancing!
Congratulations to Director Dexter M. Santos and the rest of Bit By Bit Production, under producers Darwin Mariano and Carlo Miguel Francia, for coming up with an all-Filipino musical theater production with a story that was entertaining, emotional and thought-provoking, eye-opening to people still alien to the real world of homosexual teenagers, their pleasures. their loves and their travails.
The Philippine Center of the International PEN (Poets & Playwrights, Essayists, Novelists) held a book-club discussion on writer-director Lito Casaje’s collection of stage plays, “Mga Premyadong Dula,” yesterday, October 26, 2013, at 5 p.m. This was held in the Solidaridad Bookstore, along Padre Faura St. in Ermita, Manila. It was also a re-launching of sorts for this award-winning book of award-winning scripts for the theater.
“Mga Premyadong Dula” was first published by De La Salle University Press back in 2006. Five of Casaje’s award-winning plays are featured in this book. These are:
1. “Juan de la Cruz, New York” - This play is about Filipino living in New York, amid the HIV-AIDS outbreak and rallies against Marcos in 1984. This play won Second Prize in the Don Carlos Palanca Memorial Awards for Literature in 1986. This is first play Casaje wrote.
2. “Editoryal” - This play is set in Tagum, Davao in 1985. It dealt with crusading journalists and their fate during the Martial Law era. It also won Second Prize in the Cultural Center of the Philippines’ Playwriting Contest in 1986.
3. “Separasyon” - This is a feminist play. Its original production starred Eugene Domingo. It won First Prize in the Don Carlos Palanca Memorial Awards for Literature in 1993.
4. “Matrimonyal” - This play is about an estranged married couple. This also won the First Prize in the Don Carlos Palanca Memorial Awards for Literature in 1995.
5. “Padre de Familia” - This was an experimental play within a play. This won the Third Prize in the Don Carlos Palanca Memorial Awards for Literature in 1998.
This published anthology itself won the National Book Award in 2007. This award is given every year by the National Book Development Board (NBDB) and the Manila Critics Circle (MCC) to the best books written, designed, and published in the Philippines.
This is the first time I have attended an event like this. I have been inside the Solidaridad Bookstore before, but I never knew that they had a meeting room on the third floor where the country's premiere organization of writers, the Philippine PEN meets regularly. This group was born in 1958, founded by F. Sionil Jose, who later became a National Artist for Literature. Other PEN members who also became National artists were Francisco Arcellana, N.V.M. Gonzalez, Bienvenido Lumbera, Alejandro Roces and Edith Tiempo. It was heartening to be in the same room with Sionil Jose and Lumbera, who were actually in attendance at the event yesterday.
During the event, Lito Casaje talked about himself and his brush with Stage 4 Burkitt's Lymphoma this year, recently just receiving his last dose of chemotherapy. He looked very good yesterday, his body not showing evidence of his ordeal, except maybe for the bald pate. He talked about his fascination about the relationships between men and women. He talked about his favorite playwrights, especially Strindberg. He talked about his forte, that of writing realistic dialogues.
Of course, he talked about his book and the plays therein. He invited some young actor friends and students to read selected excerpts from these plays. Here are a couple of readings which I was able to record:
This is a monologue from "Juan de la Cruz: New York":
This is an impromptu reading of a scene from "Matrimonyal":
This was a new experience for me, to be watching actors read plays and listening to the playwright himself discuss his work. I was also happy to be seated with Lito Casaje's father, Dr. Louie Casaje, during this occasion.
Listening to the plays yesterday, they are as vital and pertinent now as they were back when they were first staged. I think it is high time for the new generation to rediscover the work of Mr. Lito Casaje.
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October 7, 2013
I had seen a stage production of "Closer" (I actually found the ticket!) back in December 1, 2001, staged by the Actor's Actors, Inc. at the Republic of Malate. I do not recall who were the actors anymore ( I hope someone can remind me) but I recall that it had an innovative presentation. There was a square stage in the middle of the room. At each corner stood the four actors, delivering their lines facing outwards towards the audience, even if they were talking to one another.
There was also a movie version of "Closer" shown in 2004 with a stellar cast which includes Julia Roberts, Clive Owen, Jude Law and Natalie Portman. This was directed by no less than Mike Nichols, who won the Oscar for Best Director for "The Graduate". He was also nominated by the Academy for his direction of "Who's Afraid of Virginia Woolf," "Silkwood," and "Working Girl". His direction of "Closer" was nominated by the Golden Globes. I have not yet seen this film version of "Closer" yet, but it does have a creditable rating according to critics and fans.
"Closer" is the story of four people. Danny is a frustrated novelist, now wallowing as a writer of obituaries. Alice is a young free-spirited stripper. Anna is a successful professional photographer. Larry is a lonely dermatologist who visits sex sites on the Internet. Their lives are intertwined in this story of love and deception, told in two acts by playwright Patrick Marber.
The set in this current Red Turnip production is quite spare, just a rectangular floor with a map of the London subway system, as the audience is close by, around the stage on three sides. The backdrop is a white wall where photos were projected to suggest the setting, like an emergency room or the aquarium.
The play started with light and funny "getting to know you" scenarios. There was even a whole silent scene that simulated a chat session on a sex website, with the hilarious conversation flashed on the wall, as the actors were typing on their laptops.
But of course, it would not all be about the pleasantries of romance. In fact, Act 1 ended with major explosive scenes occurring alternating with each other. Act 2 is a series of big confrontation scenes after the other involving one character individually with each other.
Heavily loaded words are dropped every so often by all four characters as they discuss and argue about their relationships with each other: jealousy, boredom, disappointment, mercy, selfishness, revenge, guilt, compromise, cowardice, etc.
The four actors did their best to flesh out their characters.
Bart Guingona is perfectly cast as Larry, the doctor. You can really see that he is the veteran player in this quartet. His character had the wittiest lines in the play and Bart's delivery was so good. He manages to be likable and sympathetic despite the sleazy nature of his character.
Angel Aquino was gorgeous as Anna. She was simply a riveting presence every time she was on stage. She embodied this perfect specimen of womanhood most irresistible to men. I can totally see how and why men fall obsessively in love with her. Angel in that black and white long gown during Anna's photo exhibit was an angelic vision. She was truly mesmerizing.
Cris Villonco is quite a revelation as the frank and daring stripper Alice. We know her more for her wholesome roles in various musicals, but here she had had no qualms baring some skin and spouting foul language. For sure this was the ingenue role of this show which Cris is expected to play. But this Alice was definitely no typical ingenue, and Cris nails it nevertheless.
Now about Marc Abaya in the central role of Dan. It was this character that messed up the lives of the other three, but as embodied by Abaya, his Dan was not convincing as a jerk who could literally sweep girls off their feet. Abaya did not have the right look and swagger for the part, and his benign performance could not completely overcome that deficiency. In this film, this role was played by Jude Law, so you can imagine how that would look. The performance was not bad, it just felt lacking.
Overall though, "Closer" remains to be an excellent intimate theater experience. The script by Patrick Marber is crisp and frank, with words as real as it could sound when such situations occur in actuality. The talented Filipino cast as usual transcends the cultural context of the play, and they thankfully do not need to affect fake British accents.
Kudos to director Ana Abad Santos and the rest of Red Turnip Theater crew for this brave debut production. The meet and greet after the show is also a nice touch. I must say though that the venue Whitespace is not exactly the easiest place to reach and find. I hope they can find a more accessible theater for their future productions which promise to be avant garde and edgy. I am definitely looking forward to watching more of this progressive theater group.
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"Closer" runs on October 4 to 27. Fridays at 9 pm, Saturdays at 3 and 8 pm [except for October 12 - no shows], and Sundays at 3 pm, with 8 pm shows for the last 2 Sundays
Whitespace is located at 2314 Chino Roces Ave. Extension, Makati.
Tickets are available at TicketWorld [891-9999 or www.ticketworld.com.ph] and also at 215-0788 / 0917-537-8313.
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Epilogue: Oct. 9, 2013
I have just finished watching the 2004 film version of "Closer" now. Since the screenplay was also written by Patrick Marber, it pretty much follows the play, almost word for word. I still freshly remember the words I just heard last Sunday in Whitespace as I was watching the video. Words do take on another meaning when someone else delivers them in their own way. It was fascinating to compare. A main difference only lay in the ending. The epilogue sequence in the play was rendered as a dramatic montage of scenes in the film, which I thought was neater. While I thought Jude Law was a better Dan than Mark Abaya, Bart Guingona was actually a better Larry than Clive Owen. Natalie Portman stood out in her role as Alice, but Cris Villonco gives the role an extra dose of vulnerability. Angel Aquino is more beautiful than Julia Roberts.
October 7, 2013
The Atlantis production of "Carrie" opened to great acclaim on September 20, 2013. However, the very next day, the four shows that weekend were cancelled due to "an illness in the company." I was one of those who had tickets to that unprecedented "postponement" (which also had an unprecedented sudden change in the lead role). Being in conflict with previous travel plans, I had no choice but to reserve tickets for the very last show, an additional 8 pm show on October 6.
Carrie White is a bullied high school girl who was over-protected by her religious zealot mother. When Carrie discovers that she has telekinetic powers, she defies her mother and goes with popular jock Tommy Ross to the prom. I think most of us have already read Stephen King's book or watched the 1976 film starring Sissy Spacek to have an idea of how that prom went.
Mikkie Bradshaw is such a precious discovery as Carrie White. Her voice is very strong with great range. Her acting is also quite impressive as the timid, tormented and eventually very angry young girl. It was revealed tonight that it was Mikkie who fell ill after her triumphant opening night. But what started with Mikkie ended with Mikkie again tonight, who again had a phenomenal performance on this final show. K-La Rivera learned the role and songs in an incredible six days in order to fill in for the succeeding play dates. We were lucky to witness and hear the two Carries sing a duet version of "You Shine" after the curtain call in this final show.
Menchu Lauchengco-Yulo as expected delivers with all her heart, soul and misguided religious fanaticism as Carrie's mother, Margaret White. Her range is really pushed to its upper limits with her punishing songs she had to sing, especially "And Eve Was Weak" and ""I Remember How Those Boys Could Dance". She never fails to enthrall her audience even with the most off-beat of roles, and this certainly counts as one of her strangest roles (after Mrs. Lovett in Sweeney Todd").
Sue Snell, the popular classmate who was stricken with guilt, was played by the pretty Yanah Laurel. I have only seen her perform previously in a minor role in "Nine," but this show showed us more of what she is capable of doing. She had her own featured moments in songs like "Once You See" and "You Shine." Markki Stroem played Sue's sensitive jock boyfriend Tommy Ross like it was written for him. He had his moment to shine in his solo "Tommy's Song" and his duet with Sue in "You Shine".
Jill Pena was amazingly effective in her major antagonistic role of the hateful Chris Hargensen. The degree by which we sympathize with Carrie's plight depended so much on how cruel Chris was, and Ms. Pena certainly played the perfect bully we all want to turn the tables on. Mako Alonzo was also seethed with evil intentions in his role of Billy Nolan, Chris' brutish boyfriend and accomplice in her terrible prom prank.
Sheila Valderrama-Martinez does well in her role as the supportive gym teacher Ms. Gardner. Her duet with Carrie on the song "Unsuspecting Hearts" was magical. Jamie Wilson had smaller role as another teacher Mr. Stephens, but he also took on the role of Rev. Bliss, the host of a gospel radio show Margaret listens to. His was the welcome humor midst the maudlin plot.
The set design and lighting design were very effective to create that creepy horrific atmosphere in which this musical thrives. The special telekinetic effects were amazing. That scene where Menchu levitates in her chair is a must-see. I thought the climactic conflagration scene could have used more orange light and better fire effects than what they used now.
The book written by Lawrence D. Cohen had many uncomfortable scenes which may not be for everyone. The excessive religious zealotry and the relentless abuse and bullying were very difficult to watch. However, the songs written by Dean Pitchford (lyrics) and Michael Gore (music) were unexpectedly very good with that gritty rock edge in a lot of them.
However, once again, Filipino artistic talent is the main reason to watch this production. The performers, veteran and new alike, nailed each and every one of those challenging songs to bring to life this unconventional musical. The enthusiastic audience response after each emotionally and vocally brutal song number was a testament to this tremendous trove of talent.
Congratulations to Director Bobby Garcia and the rest of the Atlantis cast and crew of Carrie for its memorably dramatic and courageous run. A future re-run will be very welcome!
September 25, 2013
My daughter and I were fortunate enough to have been able to watch the final Technical Dress Rehearsal of the comeback production of Trumpets entitled "The Bluebird of Happiness." I will not be able watch during the regular run because of prior travel plans, so it was indeed lucky that the stars aligned for me to be able to see and write about this musical before I leave. I am very happy because this play is one of the most beautiful original Filipino theater presentations I have ever seen, both musically and technically.
Set on Christmas eve in a village somewhere while neighbors are fussing around with their gifts, little Mytyl and her younger brother Tyltyl were feeling miserable inside their poor little hut. They have no tree, and no gifts, their dad's still out working and their mother is about to give birth to a younger sibling they are not looking forward to.
Later that night, an ugly fairy named Berylune tells them that the first step to finding happiness is to find a certain Bluebird of Happiness. She also turns their pet dog Tylo and pet cat Tylette into human forms to serve as their guides. Finally, she gives them Light to serve as their illumination during their overnight quest.
Their quest brings them to the Land of Memory (where they meet their dear departed Grandparents), the Land of Night (where they meet the charismatic Night), the Land of the Trees (where they learn some lessons about the environment), the Land of Luxury (where they discover how to set priorities), the Land of the Future (where they meet their future little brother) and the Graveyard (where they face their ultimate fears). Will the ever-combative siblings ever get along with each other? Will they ever catch the Bluebird of Happiness before daybreak and live happily ever after?
As the lead characters, Chimmi Kohchet-Chua (playing bossy Mytyl) and Anton Posadas (playing the mischievous Tyltyl) had perfect chemistry with each other as siblings who cannot stand each other. Kohchet-Chua was positively incandescent in her stage debut, especially in her remarkable solo rendition of the title song in Act 2. Despite a lapel microphone glitch for a number of scenes in Act 1, Posadas, a stage veteran already at his tender age, was unfazed, singing and delivering his lines with confidence like a true professional. Their awesome talents in singing and acting are proof that there IS a bright future to Philippine musical theater. Their alternates in these central roles are the team of Alessa Zialcita and Guido Gatmaytan.
The characters the kids interact with were all played by seasoned professionals. Jennifer Villegas-dela Cruz has such a clear singing voice as Berylune. A luminous Carla Guevarra-Laforteza illuminates the stage with her beauty and lilting soprano as Light. Robie Zialcita plays the loyal dog Tylo very delightfully. He really shone in "Tylo's Spot", a song and dance number which he performed with the cute "unborn" children. The slinky cat Tylette was played with feline wiles by Lynn Sherman. Her highlight was her sinister "Tango of Treachery" duet with Night.
Who best to play Grandma Tyl but the ever-reliable Ms. Joy Virata? Grandpa Tyl was played by a sprightly Steve Cadd. Night was a dark yet flamboyant character played with aplomb by Joel Trinidad, who was oozing with evil glee. Raymond Concepcion gets to play three characters, the Oak Tree (with the deep Optimus Prime-like voice), Father Time and the kids' Father. His reverberating deep baritone voice is strong and masterful. Mayen Bustamante-Cadd lovingly plays their Mother.
The whole production had a vibe that you were not watching a Filipino play. It had a distinctly foreign flavor, very much like a Disney production. While the story was based on a Belgian play by Maurice Maeterlinck, this production is proudly all-Filipino. The music was composed by Rony Fortich, now on his seventh year as Musical Director of Hongkong Disneyland. The sweeping musical arrangements were care of Mon Faustino. The book and libretto by Director Jaime del Mundo was so witty and insightful, such a joy.
The stage design was a magical work of art in itself. No expense had been spared for the elaborate set pieces and colorful costumes by Mio Infante. As with the music, you can see influences of Walt Disney films, like "Beauty and the Beast", "Hercules" and "Princess and the Frog". The opening of Act 2 alone in the lavish Land of Luxury with a huge real chandelier as its backdrop is a prime example of the opulence of the sets. The intense scene with the giant trees in the Enchanted Forest was very imaginatively staged. The amazing lighting effects by John Batalla impressively create illusions of three-dimensionality and drama.
Sweet Plantado's expert voice coaching was very much evident in the vocal interpretation of the songs, especially by the kids. She will also be playing Light in some shows. The other members of the crew were: GA Fallarme for the Video Projection Designs, Myrene Santos for Hair & Make-up Design, and Nancy Crowe for Choreography.
"Bluebird" is a fine example of Filipino talent and ingenuity that is world class and first rate. You will forget that you are in Meralco Theater when you watch this play, because of the magical atmosphere the play creates. Since Trumpets is the Asia’s first professional gospel theater group, aside from enjoying the show, you and your kids will also pick up valuable life lessons about being happy and content.
Congratulations to Director Jaime del Mundo and the rest of the cast and crew of Trumpets, led by its president, Mr. Audie Gemora for this highly entertaining and deeply meaningful production! This promises to be a future Christmas season staple for years to come.
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"The Bluebird of Happiness" runs weekends from September 27 – October 20, 2013 at the Meralco Theater with shows at 8 pm on Fridays, 3 pm and 8 pm on Saturdays and Sundays. Ticket inquiries can be coursed through 901-4364, 891-9999 or www.ticketworld.com.ph.
