Review of Atlantis' FUN HOME: Fathoming Frailties of a Father

November 21, 2016

Since it was announced that Lea Salonga will be returning on a local stage for a play, fans had been looking forward to watching this production. I have heard of the title "Fun Home" and the multiple Tony Awards this musical play brought home just last year. Therefore the hype and anticipation for watching such a recent Broadway hit show locally is very high leading up to its debut at the CP Romulo Auditorium at the RCBC Plaza, Makati City last November 10, 2016. This is the international debut of this show, a real big deal.

"Fun Home" is the nickname fondly given by the members of the Bechdel family for their maudlin family business, the Bechdel Funeral Home. We follow the story of the narrator, eldest daughter Allison: her childhood growing up, her sexual awakening in college and her current occupation as a comic book graphic artist. The story is told with regard to her delicate bond with her jack-of-all-trades father Bruce, who may or may not have been as ideal a dad as she thought.

This story originated from an actual 2006 autobiographical graphic novel by the real Alison Bechdel. The musical was first developed in 2009 with book and lyrics by Lisa Kron and music by Jeanine Teson, and first played Off-Broadway in 2013 before its Broadway debut in 2015. The show went on to win five Tonys out of its twelve nominations, including Best Musical, Director (Sam Gold), Book, Original Score and Lead Actor (for Michael Cerveris).

The flow of the play is familiar and typical enough. We meet what seems to be an ideal happy American family composed of father Bruce, mother Helen and their three kids Alison, Christian and John. Later in the course of the play as events unfold, we see that they are actually a dysfunctional family. So far, so familiar.

However, this play goes beyond just simple dysfunction to tackle one sensitive issue after another: from gay girls cavorting and gay guys seducing, to child abuse and marital abuse, all the way to lying inside coffins, and there is even talk of body lice! These are all very serious controversial stuff that the more conservative musical theater fans may not really feel comfortable about. After watching, it was frankly very difficult to process how I liked the story, or not. 

If you go to watch the show without any knowledge about the story, the unfolding of the story can be quite discomfiting for some more right-wing folk. The show is rated PG-13 for some intense scenes which require maturity, but there are actually young kids in the cast so those sensitive scenes can come as quite a shock for some people. I'd personally rate it R-16. Anyhow, you need to remember that this is already a Tony award-winning book so more people love it than you don't.

If the story may evoke conflicting reactions as it progressed, I believe that the conclusion will be universally loved. The touching way the ending scene ("Flying Away") was executed by director Bobby Garcia with his three Alisons (of three different ages) really hit its mark. When that beautiful drawing of small Alison playing airplane with her father flashed on the screen behind the actors, I was swept by an overwhelming rush of emotion as the image of me and my own father (as well as me and my own daughter) flashed in my mind. 

It was really amazing how they cast three actresses of different ages to play Alison. The 43-year old Alison Bechdel was played by Cris Villonco and of course, she could do no wrong as she was practically onstage the whole time narrating the story while working on her graphic novel. As good as Villonco was as always, impossible as it may seem, the two younger Alisons were given more to do in terms of character development and the two younger actresses actually do much better.  

10-year old Small Alison was played by the young dynamite Andee Achacoso. 11-year old Achacoso played her character very naturally with the right balance of charm, smarts and mischief. She also had a good rapport with two boy actors who played her kid brothers (Ronan Crisologo ? and Albert Silos). Fathers in the audience (like me) will be able to feel the father-daughter connection. Her biggest song is also the most controversial and , "Rings of Keys," telling us how she felt when she first saw a butch lesbian. Hearing a child sing this brave song can be unsettling for the uninitiated. (Katie Bradshaw alternates as Small Alison. Daniel Drilon and Teddy Velasco alternate as Christian, while Noel Comia, Jr. alternates as John.)

19-year old Medium Alison was played by Mikkie Bradshaw. I first saw her as "Carrie" and knew back then that she is one very good actress and singer. Bradshaw had a light, Disney-esque vocal quality that conveyed her character's innocence and curiosity (so well heard in her humorously naughty song of awakening entitled "Changing My Major"), in perfect contrast to that incredibly deep earthy voice used by Yanah Laurel as her girlfriend Joan. 

Atlantis decided to get a bonafide Broadway star, Eric Kunze, to play Alison's father Bruce. This role is complex and meaty -- a flawed character that actors love to sink their teeth into. For audiences, his scenes were very discomfiting to watch. That scene when he picks up male student in his car was particularly squeamish, especially with that Hitchcock-like music that played in the background. His big moment of painful and ultimately mortal catharsis came in a song called "Edges of the World." Ironically, of all the actors, I had most trouble hearing Kunze's lines. His mic might not be working perfectly that show.

Young Fil-New Zealander actor Laurence Mossman played multiple roles of Roy, Mark, Pete, Bobby Jeremy, boys who hung around the Bechdel home for various reasons. At first we thought he was just there mainly because of his good looks and buff body as those roles required. However, he actually surprised us with his strong tenor singing voice in the song "Rainbow of Love". I think we will be seeing more of this guy in future stage productions.

Despite what audiences would expect for a star of her magnitude, Lea Salonga actually had very little stage time as Alison's long-suffering martyr of a mother Helen. Anyhow, Salonga would make the most of her big showcase moment when she gets to spill out all the harrowing emotions and frustrations Helen had held back all these years in a powerful ballad entitled "Days and Days." This single song alone, rendered with simmering intensity coming to a full boil, is able to highlight why Salonga is our national treasure.

Lending creative support to Director Bobby Garcia are the talented and ever-efficient technical geniuses: Musical Director Ceejay Javier, Vocal Director ManMan Angsico, Choreographer Cecile Martinez, Light Designer Adam Honore, Set Designer Faust Peneyra, Costume Designer Oz Go, Sound Designer Kevin Heard, Projection Designer GA Fallarme and Hair and Make-up Designer Johann dela Fuente. As with other Atlantis shows, the production ran seamlessly with no obvious hitches. We do not really have to go to Broadway to catch these hit shows anymore. (Coming up next year is Cyndi Lauper's "Kinky Boots".)


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There are only five shows remaining of their limited 18 show run: Nov 25 (Fri) 8PM, Nov 26 (Sat) 3PM/8PM and Nov 27 (Sun) 3PM/8PM. On Ticketworld, tickets cost P 4,180  (Orchestra Center), P 3,657.50  (Orchestra Right / Left), P 3,135 (Loge Center / Sides) and P 1,567.50 (Balcony). 

Review of PETA's THE TEMPEST REIMAGINED: Intricate Integration

November 12, 2016

Adapting Shakespeare into Filipino certainly sounds like a formidable venture. However, in various such local productions, the talents of Filipino theater artists have made the tricky transition look easy. This year alone, Dulaang UP had done "A Comedy of Errors" while Tanghalang Pilipino did "A Midsummer Night's Dream" to great success. In recent years, PETA had done "King Lear" in 2012 and "Twelfth Night" (as "The Wonder Twins of Boac") in 2013, both of which were very well-received. 

This present production of PETA entitled "The Tempest Reimagined" was done in cooperation of the British Council, the Royal Academy of Dramatic Art and The Japan Foundation Manila. The director and playwright of this play Nona Shepphard is British, as is the set designer Marsha Roddy. The lighting director Tsuguo Izumi is Japanese. This international technical staff together with the all-Filipino cast gives this play its unique look and flavor. The script was translated to Filipino/Taglish by Liza Magtoto. The sound design is by Teresa Barrozo.

"The Tempest" was about a sorcerer Prospero who ordered his enslaved spirit named Ariel to whip up a destructive storm at sea, sinking the ship which carried the Queen Alonsa and her family. The survivors all sought refuge on Prospero's island, enabling his daughter to meet and fall in love with Alonsa's son Ferdinand. This main story line was complicated by subplots about Prospero's brother Antonio and his treacherous plots, as well as about the island monster Caliban and his drunken encounter with the fools Stephano and Trinculo. 

In her adaptation, Shepphard changed "The Tempest" from a play containing only one major female character (Miranda) into one with six female characters. The central character of the sorcerer Prospero remained to be male, but was now played by a female actor. The King Alonso was now a Queen, Alonsa. The king's brother Sebastian was now a sister Sebastiana. And in the most inspired deviation from the original, the powerful sprite Ariel is now being portrayed by three actors, one male and two female. 

Furthermore, this main story was extended to include the story about the fates of Papa Boms, Edith, Alina and Diego, four strangers who got together when they were swept up by the giant storm surge that rose and flooded Tacloban City at the height of Super Typhoon Yolanda. Social commentary was directed towards the national government, local government and the private sector and the quality of their relief and rehabilitation efforts for the victims of the disaster.

I was not familiar at all with the story of "The Tempest" so it took some time for me to get into the drift of the story. The casting of Prospero as a woman (CB Garrucho) was a particularly puzzling modification of uncertain significance. The portrayal of Ariel as a trio was initially confusing (but this later turned out to be a fantastic decision). Why were Jenny Jamora and Brian Sy (who seem to be the same age) cast as mother and son?! The whole Caliban, Stephano and Trinculo subplot did not seem to fit too well into the narrative.

The inclusion of the Yolanda characters, portrayed by the same actors running around the stage and varying their costumes to signify the character they were playing, did not make it any easier for me to understand what was going on at first. To be honest, the manner how and the reasons why the two stories connected to each other at the end were not so clear for me even up to now that I am writing about it. 

This was the first time I saw PETA President CB Garrucho in a major stage role. She had those long Prospero lines perfectly down, delivered with no errors. While I can imagine a man play this character with ruthlessness, but Garrucho instead imbued her Prospero with gentility and compassion. Bodjie Pascua is such a reliable veteran with his effortless natural style as Papa Boms. Norbs Portales had an easygoing sense of humor as the narrator Jaime. This was the first time I have seen the Red Turnips Jenny Jamora and Topper Fabregas deliver lines in Filipino. Meann Espinosa, John Moran and Renante Bustamante all had their moments to shine as Edith, Caliban and Antonio respectively.

In the show I watched today, Ariel was played by Gio Gahol, Neomi Gonzales and Gab Pangilinan.  The conceptualization and execution of this character was flawless, great lines. Their makeup and costume really stood out among everyone else. Their harmonizing in song was also so beautiful to hear. There was another memorable trio that made a lasting impression: John Moran, Jack Yabut and Topper Fabregas as Gods 1, 2 and 3. Their hilarious exchange of lines made its implicit mocking of governmental action (or inaction) during Yolanda most engaging with effective satire. 

The acting talent on that stage was undeniable and this was the saving grace of this show. The set may have looked very simple before the show began, however the way they portrayed the titular tempest onstage was so good. We all felt like we were aboard that ship being tossed around by the waves. The lighting and sound design both deserve commendation as well. I admit my difficulty in fully grasping the structure of the play and some of the casting decisions. The intention to integrate stories of Yolanda with Shakespeare may have been noble, but the overall result of the complexity was a little unwieldy for me.

"The Tempest Reimagined" will run from November 11 to December 4, 2016 at the PETA Theater Center. For tickets, ticketworld.com.ph, 8919999.

Recap of VIENNA BOYS CHOIR Live in Manila 2016: History and Harmony

November 11, 2016

The Vienna Boys Choir is one of the oldest choirs existing in the world with a history dating back at least 500 years. Illustrious musicians like Mozart and Salieri have worked with the choir, while Schubert and Haydn have actually sung with the choir. It was really fortunate that the boys performed at the Plenary Hall of the Philippine International Convention Center for a one-night only concert on November 11, 2016 as the final stop of their Asian tour this year. The last time this famed choir performed in Manila was back in 2004.

The show opened with the Philippine and Austrian National Anthems sung by the girls and boys of the Hail Mary the Queen Choir from Cubao, decked in bright and colorful Muslim-inspired costumes. The young current principal of Xavier School, Fr. Aristotle Dy, SJ delivered his opening speech, followed by the Ambassador of Austria to the Philippines, Dr. Josef Muellner. Their speeches reminded us that this concert not only celebrates the 60th anniversary of Xavier School, it also celebrates the 70th anniversary of diplomatic relations between Austria and our country.

The members of the Vienna Boys' Choir were mainly from Austria, but over the years, more and more boys from other countries have joined. This present visiting group (the Bruckner group) was multi-racial. There were at least four Asians in the group, including Yu (from China), Ryusei (from Japan), Jeong-Min (from Korea) and Lance (from the Philippines). Lance So is the first Filipino member of the choir. He is the son of Mr. Eric So, a member of Xavier School batch 1992 who was responsible for bringing the choir over in cooperation with the Embassy of Austria. Their current choirmaster (since 2008) is the youthful and energetic Italian pianist and conductor Manolo Cagnin. 

Lance So delivers his speech

with Maestro Manolo Cagnin beside him

The first half of the program was dedicated to classical choral pieces by Vivaldi, Schubert, Verdi and Strauss. Two rather unique pieces stood out and were most well-applauded. The first was the amusingly rhythmic "Capricicciata a tre voci" and "Contrappunto bestiale alle mente" (from Adriano Banchieri's farce "Festino", 1608) where the boys sang with sounds of a dog, a cat, a cuckoo and an owl. The second piece was the strange but delightful "Cat's Duet" compiled by Robert Lucas de Pearsall (using melodies from Gioachino Rossini's 1816 opera "Otello"), where four boys sang nothing else but meowing sounds the whole time. The main boy soprano Robert (from Ireland) offered a stirring solo performance of Schubert's "Ave Maria" to the country. 

The second half of the program after a short 10-minute break featured an eclectic mix of more familiar songs. It opened with the Rosemary Clooney ditty "Mambo Italiano" (Bob Merrill, 1954), then Enrico Caruso's Neapolitan barcarolle "Santa Lucia". More popular songs followed with some boys showing off their talents on guitar, violin and percussion: "O Sole Mio'", "That's Amore," "Nella Fanstasia," "Amazing Grace" and "Volare". For me, the most beautifully-rendered song of this set was the quintessentially Austrian "Edelweiss" from Rodgers and Hammerstein's "The Sound of Music." Their final song on the program was "Blue Danube" by Johann Strauss II, Austria's so-called "secret national anthem". 

The impressive Sopranos whose soaring voices defined the VBC sound

The Hail Mary the Queen Choir came out again and sang the Ilocano folksong "Pamulinawen" together with the boys. After that, another soloist Matthew (from New Zealand) came forward to render the very popular Mandarin standard song "Yue Liang Dai Biao Wo De Xin (The Moon Represents My Heart)" to the delight of the Chinese members of the audience. The boys generously entertained the calls for a few more encore numbers (including a Christmas song medley) until the concert of angelic voices finally came to an end. We had just heard one of Austria's national treasures sing for us live, and that was an extraordinary experience to cherish.

Review of Trumpets Playhouse' ALWAYS UPON A TIME: Learning Life Lessons

October 29, 2016

One of the first projects of Trumpets in 1993 was "Fables and Parables" by writer-director Freddie Santos. In the same vein and spirit with that pioneering show, the maiden production of Trumpets Playhouse is an all-new musical of the same genre entitled "Always Upon a Time." In fact the title of this new show came from the lyrics of the former show.

What made this new show more special was that the main people behind this production were all former Playshoppers, graduates of the Trumpets Playshop theater training sessions ongoing now for the past 23 years. The list includes Steven Conde (writer and director), Vince Lim (original music) and Joaquin Valdez (current executive director of Playshop and Playhouse). The present cast of kids and teens were all Playshoppers as well for the past three years or more. 

Brothers Daniel and Tommy brought their Father up to the attic of their house to look for story books that their recently-departed mother Vicky used to read for them. At first, Father was ill-tempered and impatient, to the extent of dismissing "happily ever after" as but a myth. But as circumstances keep them stuck in the attic for a long while, Father eventually warmed up to his sons' fantasy and biblical tales, and later actively participated by imparting important lessons from each story told.

The story-telling started simply with a straightforward telling of "The Boy Who Cried Wolf." With the next story "The Lion and the Mouse," we already begin to notice the beautiful hand-crafted masks worn by the kids. By the time the next segment about "The Princess and Frog" came, we are treated to the first of a series of elaborately-executed episodes with increasingly more complex masks and puppets. "The Fisherman and his Wife" followed suit with its giant pop-up book style props. 

The Bible stories began with rapping "Adam and Eve" segment, with a very imaginative paper-chain puppet of the Serpent. The "David and Goliath" segment had an innovative way of showing the giant size of Goliath, with a most intricate, whole-body, life-size child puppet for David. The final story was the story of "Job" and his countless misfortunes, a sad story most unexpected to see in a show like this, but carried the message of faith and hope very effectively. 

These imaginative sets, puppets and masks of painstaking detail were by Make It Happen Workshop by Otto Hernandez, AC Hernandez and Paolo Mañalac. They are the same people behind the beautiful horses of a recent Trumpets' show "The Horse and his Boy" (MY REVIEW). 

Daniel Drilon (as Daniel), with his distinctive thick mop of hair, had a very good singing voice and a strong stage presence. Little Gabo Tiongson (as Tommy) had flawless delivery of his lengthy lines was most impressive, despite the observation that his eyes seemed to be irritated by the bright stage lights. For the whole 1-1/2 hour run of the show (without intermission), these two kids held their own against the ever-reliable veteran actor Lorenz Martinez who played their Father.

Gabby Concepcion (a young miss, not the actor) showcased her sweet vocals as she briefly sang some lines as the mom Vicky. She then went on to play the spirited princess who met the frog prince, played by Guido Gatmaytan (who wore his mask and worked his frog puppet to excellent effect). Gatmaytan was one of the boys who alternated as Tyltyl in Trumpets' triumphant "The Bluebird of Happiness" (MY REVIEW) three years ago. The other was Anton Posadas, who looked all grown up now playing the hapless Fisherman who had an ever-discontented wife (played by Crystal Paras). 

Their sister Mytyl on "Bluebird," Chimmi Kohchet-Chua, showed off her talents as the slinky Serpent and as David's friend (with a short but showstopping solo). Daniel Khan (who stood out with his facial hair) played the hiphop Adam and Eena Salvador played his Eve. The rest of the cast members rotating in various roles in the show are Andee Achacoso, Teddy Velasco, Ethan Paras, Vea Salvador, Rianelle Albaladejo, Michelle Chua, Eggo Velasco, and Reubz Galenzoga.

These kids were actually carrying the weight of the whole professional production on their shoulders. Kudos to Trumpets for taking such a gamble. They had to work on this show alongside their school schedules, which I can imagine is no joke. This matinee show I watched today is their first public performance and it may not be perfect with some flubbed lines and a number of sound issues with their microphones. However, the kids were such troupers, carrying on with their scenes despite these little lapses. There is no denying the smiles, energy and verve that carried the whole show forward. I realize this show is still a work in progress, and they will definitely continue to improve with every performance.

The future of Philippine theater is indeed up there on that stage, and, as far as we can see, this future is secure. 

This is a very limited run of only five shows on two days during the Halloween semestral break. There were two shows on the first day October 29 at 3pm and 8pm. There are three more shows on the second (and last) day October 30 at 10am, 3pm and 8pm. Venue is at the Carlos P. Romulo Theater at the RCBC Plaza in Makati. Tickets at only P800 for orchestra and P600 for loge seats.

Review of Atlantis' JERSEY BOYS: Volante is Valli!

October 15, 2016

I had only seen the film version of "Jersey Boys" directed by Clint Eastwood two years ago when it was shown in local theaters. I never got the chance to watch it on stage even though I had seen posters of the hit stage production in both Broadway and in Las Vegas when I was visiting those places before. I was very excited when Atlantis announced that they were going to stage this show with an all-Filipino cast from Sept. 23 to Oct. 16 this year. Unfortunately because of a very tight schedule, I was only able to catch it today, on its third to the last show. 

The music of this decidedly masculine musical was by Bob Gaudio with lyrics by Bob Crewe, while the book was by Marshall Brickman and Rick Elice. Using the group's name as basis, the play was divided into four sections each given the name of a certain season. 

Spring was narrated by Tommy de Vito, as it detailed the unsavory origins of the group. Despite its image as a clean-cut group, they actually had criminal records and shady connections with the Mob. Summer was narrated by Bob Gaudio, as their entry into pop stardom was described. This was the most exciting section as it was here that their unforgettable hit songs -- "Sherry" (#1 Aug. 1962), "Big Girls Don't Cry" (#1 Oct. 1962) and "Walk Like a Man" (#1 Jan. 1963) -- were sung.

After the intermission, it was Fall, narrated by Nick Massi. As the title of the section suggested, this part was the downer section recounting the band's fall from grace brought about by Tommy's reckless dealings with loan sharks and the IRS, something that eventually led to the group's disbandment. The last section Winter was narrated by Frankie Valli, telling about his strained personal relationships, as well as his emergence as a successful solo artist. This culminated in an electric reunion performance of "Rag Doll" (#1 Jul. 1964) during their induction in the Rock and Roll Hall of Fame in 1990.

Nyoy Volante was amazing as he delivered his lines and sang his songs in the very distinctly squeaky speaking voice and soaring falsetto singing voice of Frankie Valli. We know he had a talent for impersonation during his remarkable stint as a contestant on TV's "Your Face Sounds Familiar" when he impressively took on a most varied list of singers from Luciano Pavarotti to Sylvia la Torre. But to copy someone's voice for one song is one thing, and to stay in that voice consistently for the entire 2-1/2 hours duration of the play is something else. Volante's singing range was breathtaking as he tore into those iconic songs as if he were Valli himself. His sincere acting we can all empathize with.

Markki Stroem had been an erratic performer in the previous times I had seen him on stage or film. However, make no mistake, his performance in this show as Tommy de Vito was the best I had ever seen him in. He stood out with his strong stage presence, full of confidence and bravado as he realistically delivered those gangster lines of his, as well as perfect comic timing in those sly humorous zingers he had. 

Nino Alejandro is a very natural actor for someone who is new to the stage scene. His character Nick Massi was the most low key of the four, and he admitted to this himself, likening himself to Ringo Starr. We hear Alejandro's rich voice distinctly as he sang the baritone parts of the harmonies, in audible contrast with Volante's falsetto. His sense of comedy was also faultless in his delivery of his funny lines in that realistic Jersey accent. 

Christian Bautista is no doubt a very good singer. His very first song in this show "Cry for Me" showed off his singing range. However his range as an actor was noted to be rather limited in previous roles as Tony in "West Side Story" and Sam in "Ghost". Since he plays the rather one-dimensional goody-goody role here as Bob Gaudio, his performance was actually quite good this time. His dancing though still needed more verve when compared to the other three guys. 

Jamie Esteva Wilson played a serene Mafia don Gyp deCarlo, while Nelsito Gomez played a comical Joe Pesci. The other members of the hard-working company had to portray the numerous side characters around the central four, and their singing was all on-point as well. The men were Bibo Reyes, Altair Alonso, Steven Conde, Rhenwyn Gabalonzo, Kendrick Ibasco, Gab Medina, and Timmy Pavino. The ladies were Mikkie Bradshaw, Yanah Laurel, Giannina Ocampo, and Emeline Carmela Guinid. Thanks to the transforming hair & makeup design by Johann Dela Fuente and costumes by Erwin Tan, I did not recognize who was who anymore from where I was sitting. 

The set designed by Faust Peneyra looked like plain brown wooden boxes only at first, but they came alive with the multi-colored lighting design of Driscoll Otto. Those boxes turned out to be multi-purpose wonders as they were converted into a recording studio, a performance stage in a club, a line of prison cells, various offices and living rooms, by the fluid pushing in and out of the props. They did not fail to reproduce the light post under which the boys first realized they had magic sonic chemistry together. 

"December 1963 (Oh What a Night)" (#1 in 1976), my personal favorite Four Seasons song, was performed twice. The first time was sung by Bob when he got his Christmas "gift", and the second time was during curtain call (when you can't help but to stand up and dance along). A night spent watching this show is indeed quite a night. The music of the Four Seasons remains as vital as they were 40-50 years ago, under the adept musical direction of Ceejay Javier. The fantastic performances of our Filipino actors triumphantly transcended boundaries. The enthralled audience was clamoring for an encore after the last song. This first-rate Atlantis production of "Jersey Boys" as directed by Bobby Garcia is definitely worthy to tour the world. 


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"Jersey Boys" has one last performance at 3pm on October 16, 2016 before winding up their critically and fan-acclaimed run at the Meralco Theater. Parental guidance is advised for young viewers. The Jersey tongue is prone to profanity, so several crisp ones come up through out this show.  There were also scenes with overt sexual references. 

Review of TP's PANGARAP SA ISANG GABI NG GITNANG TAG-ARAW: Fanciful Farce with Fairies

October 8, 2016

For its season opener this year, Tanghalang Pilipino takes on William Shakespeare's popular comedy "A Midsummer Night's Dream" using the Filipino translation done by no less than National Artist for Theater and Literature, Rolando Tinio. Instead of the Little Theater, this production was staged in the much smaller Tanghalang Huseng Batute (Studio Theater) which was surprising given the complex scope and big cast of this story. 

However, upon entering the theater, the huge two-tiered stage design made the area look so much bigger than how it looked like when we watch Virgin Labfest shows. The backdrop design looked like houses rendered abstract and geometric, colorful and vibrant, with stylized green shrubbery in the foreground. After his awarded steampunk design for "Mabining Mandirigma," Toym Imao had again risen to the challenge, conquered and expanded the limited room and re-imagined Athens at the same time.

The Pyramus and Thisbe Scene

This was a very busy play with so many characters. There were two realms -- the human and the fairy. Teseo, duke of Athens, ravishes Hipolita, Amazon queen. Hermia loves Lisandro, but her father Egeo wants her to marry Demetrio, whom Helena is infatuated. There was a ragtag company of workers trying to stage their version of "Pyramus and Thisbe" for the duke's wedding. Meanwhile, Oberon, the King of the Fairies, wants to teach his proud wife Titania a lesson in humility. However, in fulfillment of his orders, Oberon's naughty servant Puck caused a major mix-up.

This was the first time I've seen local theater royalty Audie Gemora do a straight play in Filipino, and it was as fairy king Oberon to boot. This was the first time I had seen the ageless Jackie Lou Blanco act on stage, and her carriage onstage as Hipolita was nothing less than regal. This was the first time I had seen Richard Cunanan actually deliver lines in Filipino with his usual carefree insouciant air as Egeo. 

Audie Gemora and Aldo Vencilao

There were five actors who really stood out in this production for me. Liesl Batucan was riveting, fierce and sexy as Titania. Jonathan Tadioan was pure mirthful joy as the foolish Bottom, Pyramo, and the jackass that he turned into. Marco Viana's performance of Lisandro under the magical flower's spell was delightfully ironic. Lhorvie Nuevo was so intensely moving as the desperate, and later the confused, Helena. Teroy Guzman is really a quintessentially elegant Shakespearean actor, however small his role here was as Teseo. 

The rest of the main cast were played by the members of the TP Actors Company, like Aldo Vencilao (as Puck), Toni Go (as Hermia) and JV Ibesate (as Demetrio). Ybes Bagadiong (as Peter Quince), Joshua Tayco (as Starveling/Buwan) and Doray Dayao (as Snug/Leon) play the other wacky characters of the "Pyramus" crew, with guest actors Kristofer Kliatchko (scene-stealing as he played Snout/Pader) and Rafa Siguion-Reyna (in smeared lipstick and ragged drag as he played Flute/Thisbe). Monique Nellas, Eunice Pacia and Blanche Buhia play the fairy handmaidens of Titania (Agiw, Garbanzos and Mustasa, but I am not sure which one played which).

Jonathan Tadioan and Liesl Batucan

After an odd and rather violent opening scene, the comic premise of the play slowly unfolded until we are all caught up laughing in its gleeful clutches. Director Carlos Siguion-Reyna was sitting right in front of me during the show, and I saw that he was still laughing as the madcap show went along. I am guessing that the cast may be making impromptu comic ad-libs which make each show fresh. The costume design of James Reyes for the fairies, particularly Titania and her nymphs, played with bright colors, in contrast to most of the other noble characters in white (with black accents), and the workmen in shades of drab browns and dirty cream. 

I was surprised when the play started with English lines. The rest of the play would be in Filipino, but the occasional English lines will still be delivered by some characters, which I imagine is a big challenge to memorize for those actors. That rollicking fun performance of "Pyramus and Thisbe" in the last act  looked so natural as a disastrously amateur effort -- hilariously amazing! The show may be long (over 2-1/2 hours with a 10 minute intermission) and the language poetic (yet so refreshingly current), but overall it was mischievous fun, engaging and very entertaining -- another triumphant production by Tanghalang Pilipino! The happy and appreciative full house last night was proof of that. 

The Cast and Director Take a Final Bow

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The remaining shows of "Pangarap sa Isang Gabi ng Gitnang Tag-araw" are on: October 9, 2016 (Sunday) – 3PM, October 14, 2016 (Friday) – 8PM, October 15, 2016 (Saturday) – 3PM & 8PM and October 16, 2016 (Sunday) – 3PM. For tickets, call 832 1125 loc. 1620/1621 | 822 6920 or at TICKETWORLD 891 9999

Review of NEVER AGAIN: VOICES OF MARTIAL LAW Set C: Steamy, Silly, Searing

October 7, 2016

Last September 21, 2016, the Philippines marked the 44th anniversary of the day then President Ferdinand Marcos signed Proclamation No. 1081, which placed the entire country under Martial Law. This year, the results of the recently concluded national elections shook many Gen X people up that the public awareness against Martial Law now ran very low, and history was slowly being revised among the millennials. The organizers of this show entitled "Never Again: Voices Against Martial Law" aimed to re-educate the millennials of today about what really happened during these controversial years from 1972-1981. 

There were three sets of three one-act plays (most of them are originals specifically for this show) by several noted playwrights and directors in the Filipino theater world today. Because of my tight schedule these last two months, I think this Set C that I watched today may just be the only set I will be able to watch. All three plays are originals, first to be staged in this festival. 

The venue of the shows is in the Bantayog ng Mga Bayani (a museum dedicated to the Martial Law years and the People Power Revolution) located along Quezon Avenue near EDSA beside Centris) that I never even knew existed. While waiting for the show to begin at 8pm, I was able to look at some of the interesting though very eerie exhibits they had displayed. The auditorium had very comfortable seats. I was already seated at the last row, yet the whole stage was clearly visible with excellent acoustics.

1. Shhh

Playwright: Allan Lopez
Director: Jenny Jamora

One rainy morning in September 1977, lovers Kim (a photographer) and Mark (a law student) were dressing up to go have lunch. As they cavort around in their apartment, they discuss about the pictures Kim took during an open forum a few days ago. Mark's fraternity brother Archimedes Trajano, a student from the Mapua, who dared asked the distinguished speaker a question about her appointment as director of the Kabataang Barangay. He mysteriously went missing after that.

This was a voyeuristic play by 10-time Palanca winner Allan Lopez which took us to look and listen in to very intimate intercourse between two young lovers as sensitively staged by Ms. Jenny Jamora. Most plays use humor to break from serious issues. This one uses steamy scenes and sexually-charged lines, so apt for a play set in the liberated 1970s. Thea Yrastorza (last seen in Red Turnips' "Tribes") and Karl Medina (one of the three talented sons of Pen Medina) were very natural actors as they boldly and realistically play the vibrant Kim and the libidinous Mark. A third actor, Paulo Rodriguez, struck an ominous tone of fear as he appears late in the play as Kim's driver Vera.

2. Ang Lihim na Kasaysayan ng Huling Habilin ni Ferdinand Edralin Marcos (Spiritual King Solomon of Israel) Hinggil sa Pamanang Kayamanan ni King Bernardo Carpio at Jose Protacio Rizal Para sa Pagpapaunlad ng Bansang Pilipinas na Siyang Nalalaman ni Mang Ambo, Taxi Driver

Playwright: Guelan Varela-Luarca
Director: Roobak Valle

G was researching about Martial Law for a play she was writing. It just her luck that the taxi she was riding was being driven by Mang Ambo, the Number 1 fan of Ferdinand Marcos. He animatedly shares with the girl about Marcos' last will and testament which contained an incredible story about his fantastic wealth of gold and platinum, and how he inherited this treasure trove from past kings Bernardo Carpio and Jose Protacio Rizal, interwoven among other historical personalities and events. 

Yes, that is the full 42-word title of this very funny play by the prolific and multi-talented Guelan Luarca. Director Roobak Valle has a natural touch for these absurd comedies, like he did with Deldoc's "Ang Goldfish ni Professor Dimaandal", a classic favorite at the Virgin Labfest. Veteran actor Lou Veloso and the bubbly J-Mee Katanyag were such delightful performers as they took us on a hilarious trip around the world through time. The whole situation was so silly and out-of-the-box, it was downright brilliant. The audience was laughing from the very first scene.


3. Indigo Child

Playwright: Rody Vera
Director: Jose Estrella

Felisa just underwent a session of electro-convulsive therapy. She experiences a period of lucency when her past history as a rebel during the Martial Law days all came coming back so vividly, she shared it all with her son Jerome. She had to endure torture, electrical and otherwise, under her ruthless captor named Kidlat. She called Jerome an Indigo Child, a child born out of strife with a mission to save the world.

The first time I saw Skyzx Labastilla and Rafael Tibayan were in Virgin Labfest plays. Labastilla was the soulmate of her own father in the controversial "Daddy's Girl". Tibayan was the very patient butcher's apprentice in the acclaimed "Si Maria Isabella at ang Guryon ng mga Tala." This play was a showcase for the thespic talent of Labastilla as she ripped through the erratically emotional monologues of this damaged woman with searing ardor, and director Jose Estrella wisely just allowed her to carry us along with her inner pain. The metaphors of lightning and electrical torture and ECT were well-used by Rody Vera to convey Felisa's deeply-scarring life experiences. 


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The remaining show date for Set C is on Oct 14, Friday at 8pm. Tickets are sold for P500 per set. For tickets, text Joshua Chan (09176775141) or Eunice Rodriguez (09178047191).
  
Set A is composed of "Loyalist Redux" written and directed by Kanakan Balintagos, "Duyan Ka ng Magiting" written and directed by Erika Estacio and "Thingy Or Ang Pak na Pak Ganern na Ganern sa Pakikipagsapalaran ni Milenyo, D’ Great Pokemon Hunter," written by Chris Martinez and directed by Dennis Marasigan. The remaining show date for this set is on Oct 15, Saturday at 8pm.

Set B is composed of "Disco 1081" written by George De Jesus III and directed by Melvin Lee, "Princess Lilli" written by Layeta Bucoy and directed by Tuxqs Rutaquio, and "Bulong-Bulungan sa Sangandaan" written by Ramon Jocson and directed by Audie Gemora. The remaining show date for this set is Oct 16, Sunday at 1pm.