Review of THE LION KING: A Production of Pride and Pleasure!

March 22, 2018

"The Lion King" (Roger Allers and Rob Minkoff, 1994) was one of the classic animated Disney films of the 1990s. Up to now, it still holds the current record for the biggest hand-drawn animated film of all time with a worldwide total gross of $766M in its initial release. It won the Golden Globe award for Best Motion Picture - Musical or Comedy, as well as for Musical Score (for Hans Zimmer). It won the Oscar for Best Musical Score and Best Original Song (to Elton John and Tim Rice for the song "Can You Feel the Love Tonight?").

The musical theater version staged on Broadway in 1997 was also a big hit. Its director Julie Taymor had since been labelled a visionary because of the inventive use of puppetry to bring the animal characters into life. This won Tonys for Best Direction of a Musical for Julie Taymor, Best Choreography for Garth Fagan, Best Scenic Design for a Musical for Richard Hudson, Best Costume Design for a Musical for Julie Taymor and Michael Curry, and Best Lighting Design of a Musical for Donald Holder.

After 20 years, it was announced that the international touring production of this play will finally be staged here in Manila at the Theater in Solaire. Excited Filipino theater fans welcomed this news with open hearts and wallets, with the show selling out quickly, several months before its March 2018 debut, despite the hefty ticket prices.

I tried to buy my tickets for my whole family to watch on the second day of release, yet I was only able to score seats in one upper corner of the side balcony. That was the only section left where I could get five seats in a row, so I grabbed them despite the not-so-favorable location. Therefore, this review is going to be based on where we sat last night, Seats 1-5 high up in Row SS.

*****

The musical follows the animated film very faithfully. We recognize most of the songs and lines (and even the jokes) which were retained practically verbatim from the original script. Simba is the foolhardy son of Mufasa, King of the Pride Lands. One day, his jealous Uncle Scar arranged to have Mufasa killed, and blamed Simba for it. This guilt caused the cub to run off and leaving Scar to take over the throne. Years later, a mature Simba returned to challenge Scar and take over as the rightful King.

In this particular show, the main highlight happens right at the opening song number, “The Circle of Life”. It is here that we first see the fantastic puppet animals coming in one by one during Simba’s presentation ceremony at Pride Rock. So, coming late to this show is a big no-no, because no one will be allowed to enter the theater for the first 15 minutes once that song begins. Miss this opening number and you’ve missed the best number of the show. The moment those tall giraffes first entered the stage, followed by the birds, the cheetah, the zebras, the antelopes, the water buffalo, the rhinos, up to that massive elephant which came in from the audience area, we all gasped with awe and amazement. 

The Circle of Life

(publicity photo from The Lion King Manila FB page)

The male lead lion characters had their elaborate masks worn on their necks and suspended over their heads. Those hyenas carried their heads on their hands as they lumbered around. Zasu was a bird puppet on a stick carried around by the actor. Timon was a full-body meerkat puppet with the actor in green right behind it. Pumbaa was a huge warthog costume (with a slobbering tongue) worn by the actor playing him. There were also costumes that gracefully represented the dancing grasses of the African savanna ("Grasslands Chant"). These ingeniously-conceived and executed puppets and costumes were really the main conceit of this show. 

For the rest of the show, we looked forward to how they were going to stage all the famous songs in the film. “Be Prepared” was performed by Scar (a very slimy Antony Lawrence) and the Hyenas (delightfully disgusting Candida Mosoma, Bjorn Blignaut and Mark Tatham) on a huge set piece representing an elephant’s skeleton. “I Just Can’t Wait to Be King” sung by Young Simba (a spirited Gabriel P. Tiongson), Young Nala (a fiercely cute Felicity Kyle Napuli) and their feathered chaperone Zasu (a very comical Andre Jewson) had more imaginative animal puppets of more colorful designs to wow us with. 

On the other hand, “Hakuna Matata” with Timon (an irreverent Jamie McGregor) and Pumbaa (a hale and hearty Pierre Van Heerden) had a relatively empty stage, with only four balloon "trees" on the side as props. This was a bit of a disappointment especially that it was the closing number of Act 1. The moving plants decorating the “Can You Feel the Love Tonight?” sung by the mature Simba (Calvin Grandling) and Nala (Noxolo Dlamini) were also rather stagnant and felt inadequate to provide a romantic atmosphere for this song.

There were some new scenes which were not in the movie. One was "Shadowland", powerfully sung by Nala  after she was sexually harassed by a lecherous Scar in a most disturbing preceding scene. The other was "Endless Night", where Simba  sings about his father's promises. But the most impressive new song is "He Lives in You" sung by Rafiki (Ntsepa Pitjeng), which ends with spirit of Mufasa (Mthokozisi Emkay Khanyile) speaking to Simba in a most astounding piece of stage magic.

Scar vs. Mufasa

(publicity photo from The Lion King Manila FB Page)

Of course, there were some negative consequences for watching from the side balcony seats. While we can see the entire panorama of the whole stage from above, we also could clearly see big spaces between the characters, making the stage look emptier than they were intended. The emotional impact of Mufasa's death scene was not as strong as it was in the film. I'm sure these scenes would surely have looked more impressive from the Center Orchestra seats where the appreciation of stage blocking is perfect. 

There were some lull moments in the storytelling, but the powerful African rhythmic music kept the energy up. Even if the view from our seats was not ideal, the sound quality was never a problem even in our remote location in Theater in Solaire's Siberia section, so we can hear everything clearly. Some characters like Zasu and Timon frequently broke the fourth wall, and injected Tagalog words and modern pop culture references (like "Frozen") in their lines to the delight of the audience. Overall it was a fun show to watch, and nostalgic for us fans of the animated film, kids and adults alike.


*****


"The Lion King" runs at the Theater at Solaire from March 18 to May 6, 2018. Show schedules are: Tuesdays, Wednesdays, Thursdays and Fridays 8:00pm, Saturdays and Sundays 2:30pm & 8:00pm. The show runs for approximately 2 hours and 30 minutes, with a 20 minute intermission. Tickets are priced at P6,500, 5,500, 4,300, 3,350 and 1,900 for weekday shows; and P7,250, 5,850, 4,700, 3,300 and 2,250. 

Review of National Theater's Touring Production of THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME: Multi-sensory Marvel

March 18, 2018

In 2003, "The Curious Incident of the Dog in the Night-Time" was a critically-acclaimed book written by British writer Mark Haddon. 10 years later, Simon Stephens adapted Haddon's story into a similarly critically-acclaimed play. Its 2013 West End run won 7 Olivier Awards. Its 2014 Broadway run won 5 Tony Awards. In both awards shows, it won Best Play, Director and Lead Actor, as well as Lighting and Set Designs. 

I had read the book and liked it, so I was very curious about how it could be transformed into a play. The opportunity to go watch the play came late last year when it was announced that the same production by the National Theater of Great Britain was going to be staged as part of the Hong Kong Arts Festival. Knowing the popularity of the play, I immediately booked a ticket to go watch and planned a day trip to HK for that sole purpose. That day finally came last Sunday, March 11. 

Christopher Boone is a 15-year old boy, a mathematics whiz kid with autism-like behavior, who lived in a suburban town of Swindon. One night, he sees Wellington, the dog of his neighbor Mrs. Shears, killed with a garden fork. Despite the admonitions of his father Ed, Christopher went around the neighborhood to investigate who could have done the crime. Instead, Christopher discovers hidden truths about his very family, which would lead him to a harrowing solo train trip to London on a personal quest for love and safety. 

The set by Bunny Christie was seemingly just a simple black box open on the top and in front. The walls were checked with white lines. There was a dead "dog" lying at the center of the floor. Without warning, the play began suddenly with a burst of loud music and all the lines on the black box burst into strobe lights. This frenetic yet affecting musical score (by Adrian Sutton) and bright multicolored moving lights (by Paule Constable) and video images (by Finn Ross) would be enhancing the dramatic situations experienced by Christopher and his parents throughout the duration of this play. This play was as much about technical precision as it was about the actors' performances. There were Chinese surtitles being flashed on both sides of the stage. 

The main lead star playing Christopher is Joshua Jenkins, the actor seen in all the publicity posters and photos, who had also led the touring cast in the UK before this. However, on the day I watched, the matinee show of March 11, 2018, the role of Christopher was played by the alternate actor Sam Newton, only in his professional theater debut with this play. I don't have any reference for comparison, so I thought Newton nailed the challenging role pretty well. The role was not only emotionally difficult, but also very physically demanding.

Christopher's patient teacher Siobhan was played by Julie Hale. At first, it felt awkward that Christopher's thoughts were being narrated by a female character, but later you get the drift that she was reading Christopher's journal in a play within the play. (In the novel was narrated in the first-person perspective as a book by Christopher within a book). His father Ed and mother Judy were played by David Michaels and Emma Beattie respectively. Both roles were so emotionally devastating to play, and both actors earn our admiration for their heartfelt and painful performances. 

The rest of the ensemble have to recreate the overwhelming world around our fragile hero Christopher -- his neighborhood, the station, the train, the subway. Here is where the direction (by Marianne Elliot) and the choreography (Scott Graham and Steven Hoggett for the Frantic Assembly) shone so brilliantly, as accompanied in precise timing by the driving music and glittering lights. We in the audience definitely feel how someone with a special psyche like Christopher could be turned inside out and panicked by all the varied nonstop visual and aural onslaught of stimuli around him in these busy places. 

All in all, it was a 2 hours 40 minute-long play (with one 20 minute interval) well worth the expense and time of the overseas day trip it took for me to go watch it. It was well-deserving of critical acclaim and all the awards it had won for play, direction, lighting and set design. We were brought inside the brain of a teenage autistic-like math savant. The mathematical equations may just fly over our heads, but his confused mind and fractured heart definitely stirred my sympathy and emotions. 


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This play was staged at the Lyric Theater of the Hong Kong Academy of the Performing Arts from March 8 to 18, 2018. Showtime is 7:30 pm, with 2:30 pm matinees on Saturdays and Sundays. Ticket prices: Standard: $580 / $440 / $300 / $180; Local Full-Time Student with valid I.D. (limited quota): $290 / $220 / $150 / $90; Disabled with valid I.D. (limited quota): $290 / $220 / $150 / $90; Wheelchair: $150.

This touring production is going around Asia and Australia now. After Hong Kong, it goes to Singapore (March 29 to April 8 at the Esplanade Theater with tickets from $48, $68, $88, $108, $128, and $138). then China (starting May 9, 2018 in Shanghai, then going to Beijing, and finally Guangzhou up to June 3, 2018) then Australia (starting June 12, 2018 in Brisbane, then going to Canberra, Sydney, Adelaide and concluding in Perth by August 19, 2018). Click on this LINK for more ticket details. 

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Personal Backstory: 

I booked the ticket online on the first day of its release November 1, 2017, knowing the popular demand for this show. They sent the ticket and receipt by mail, without any shipping charge that I knew of. I booked the airline tickets once upon receipt of the ticket by December 1, 2017. 

On March 11, 2018 itself, I left Manila past 7 am, reached Hong Kong past 9 am already. At the airport I bought a ticket for Bus A12. Alone a ticket costs HK$45, but if you buy the return trip together via Bus A11, you only pay HK$65. The HK Academy of Performing Arts is the 6th stop along the route of A12. 

The play ended at around 5 pm or so. There was enough time to cross Gloucester St. via footbridge and look for the A11 bus stop on the other side. The route back to the airport passes through the plaza where the Filipino domestic helpers spend their Sunday off en masse, so you can see how many they truly are there. The bus reached the airport Terminal 1 just in time to check in for the 9 pm flight back home.

Review of Rep's SILENT SKY: Simple, Scholarly and Stellar

March 4, 2018

Aside maybe for Marie Curie, a regular person would be hard-pressed to name any women pioneer of science (in any field) at all. The contributions of women in the history of any of the sciences had been very limited, because it was only during the 19th century that women were admitted into scientific courses of study and societies. Even then, they still struggled for opportunities for study and recognition for discoveries. 

For their second production for this season, Repertory Philippines chose to stage a 2013 play by American playwright Lauren Gunderson entitled "Silent Sky." This is about a woman who made an important discovery in the field of Astronomy in the year 1908, whose name most of us have never heard of before. 

Henrietta Leavitt was a summa cum laude graduate from women's college Radcliffe, in her words "Harvard with skirts." She was accepted to work in Harvard Observatory, but it turned out she would not be handling the telescope itself. With Annie Cannon and Williamina Fleming in the women's department (jokingly called "Pickering's Harem"), she was tasked to count, label and describe stars from photographic plates.

However, Henrietta began to notice a pattern in the pulsations of Cepheid stars, and eventually concluded that there is a relationship between the brightness of the star and the length of time they take to blink, when she then correlated to the distance of this star. While Leavitt's discovery was published in journals, she was not allowed to do her own independent studies. However, eventually, her vital discovery was acknowledged as the basis of more well-known work by later astronomers like Edwin Hubble.

Simple stage bathed in dramatic blue light and stars

Cathy Azanza-Dy totally owned this play with her earnest and passionate portrayal of Henrietta Leavitt. She radiated Leavitt's burning desire to learn more and discover the unknown. She also made us feel the sense of frustration of a scholarly woman at that time who was treated as second-class citizen in the sciences, as it was in society. However, with her obsessive curiosity and probing intellect, we celebrated her triumphant discovery. With Azanza-Dy's performance, we totally felt Henrietta's uncommon strength of character.

Sheila Francisco and Naths Everett played Henrietta's senior colleagues Annie and Williamina, respectively. They were accomplished women of science in their own right, but unlike Henrietta, they seemed to be satisfied with the status quo. While Annie can be a strict supervisor type, Williamina balanced it by being ever-smiling and friendly. They played some sort of comic relief in order to lighten the serious nature of the play at certain points. 

Caisa Borromeo also does well as Henrietta's homebound sister Margaret, who portrayed all the typical roles expected from women at that time -- a dedicated daughter, wife and mother, deeply religious as expressed in her music. Her character changed quite a bit from her first scenes at the country home and her final scenes in the city, but her transition was not too clearly explained in the script. 

Topper Fabregas played imaginary character Peter Shaw, the fidgety apprentice of the head astronomer. As the only male character of a feministic play, he had the misfortune of portraying all of what is wrong with men (as perceived by women) -- pride, selfishness, insecurity, weak of will, lack of faith, lack of loyalty, lack of backbone -- name it. Fabregas had the nerdy, bumbling part of the character down, but he looked too young to be romantically paired with the formidable Azanza-Dy. I suspect the impression of male immaturity may have been done on purpose in this casting decision. 

The Cast at the Curtain Call

Francisco, Borromeo, Azanza-Dy, Fabregas and Everett

A quiet and serious play like this would seem like a very risky choice business-wise for any theater company to stage, especially since the play, playwright and its subject matter are all unfamiliar to the Filipino audience, hence it would not be an easy task to sell. However, Rep's belief in the play's sense of inspiration prevailed. With the talented cast, set and costumes by Joey González-Mendoza, dramatic lights by John Batalla, and subtle sounds by Jethro Joaquin, director Joy Virata definitely drove home the message of female empowerment with stirring conviction, without needless fireworks. 


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"Silent Sky" will run from March 2 to 25 at Onstage, Greenbelt 1, Ayala Center in Makati City. For show schedules (Fridays and Saturdays 8 pm, Saturdays and Sundays 3:30 pm) and tickets (P1,200 and P1,500), visit TicketWorld.

Review of DUP's ANG DALAGITA'Y 'SANG BAGAY NA DI-BUO: Suffocating Shame

February 26, 2018

(From the Dulaang UP FB page)

The original source of this play is a 2013 debut novel by Irish writer Eimear McBride entitled "A Girl is a Half-Formed Thing." In 2014, it was adapted into a play by Annie Ryan for one woman to perform. Ms. Ryan wrote the script under strict terms to not change a single word from the book, only managing its length to fit a reasonable time limit for a stage play. Dulaang UP had been granted the rights to translate and adapt this intense play for the Filipino audience by the pen of Rody Vera and direction of Ms. José Estrella.

The life of a young woman is traced from her time in the womb to her birth, through her childhood under the thumb of her abusive mother, her early teens when she first encountered her slimy uncle, then her days in the university when she apparently freed herself from her past. When her elder brother fell seriously ill though, she was forced to return home to be with him. It was then that she had to relive her old nightmares all over again, and then some. 

I read that it took Eimear McBride only six months to write her novel, but she had to wait 10 years before she found a publisher who had the guts to set it to print. The text of the novel was in no way conventional. It was not easy to read not only because of the distressing topic, but also because it was boldly experimental, written in a sort of stream of consciousness style, with no quotation marks to set off dialogues. 

(From the Dulaang UP FB page)

The script of Annie Ryan was likewise just a continuing monologue with no indication of which character was saying what. The translator, director, dramaturgist and the actresses had to figure out the various personalities the solo performer would have to embody in the entire length of this almost two-hour play all on her own. 

Aside from the girl, there was also the mother (very religious yet unsympathetic, always stern and angry with the girl), the brother (seriously ill since childhood, the "you" the girl addresses for the whole play), the uncle (a creep with a nebulous personality -- as if the girl was uncertain about what to think about him until too late). There were also a myriad of more minor characters: the strict grandfather, the patronizing aunt, the best friend, the doctor, the religious fanatics, those multiple sex partners in school and the sick sex pervert in the woods. 

Any actress who was willing to take up the challenge to perform this play is a very brave soul. Not only is she going to have to portray several characters, these are characters who were literally at each others throats in many cases. She would be practically be memorizing all the lines of all the characters, from the lead down to the extras. She needed to give each role a distinct face, voice and personality, and not mix them up as she went from one to another. She would have to bare her soul on that stage as the protagonist goes into various stages of her physical and emotional breakdown.

The Four Dalagitas: Labastilla, Maramara, Santos and Damole

(From Missy Maramara's FB page)

I have seen this play two times already before writing out this review in full. On my first day, I caught Missy Maramara as the girl. I was seated at the very back row of the theater towards the left side. On my second day, I caught Skyzx Labastilla as the girl, I was seated much closer to the stage on the fifth row center. The viewing experience was very heavy both times given the bleak nature of the play (but of course I was able to pay more attention to the details of the script better the second time around). 

The acting instructions of director Ms. Estrella appeared to be specific for each particular scene, since both actresses basically did the same general motions. The director set the boundaries of the roles, but allowed each actress to explore and come up with subtle individual detail changes to set their Girl apart from the other Girls. Opaline Santos and Harriet Damole also alternate to tackle the role on certain show times. Maramara and Labastilla seem to be the more senior actresses of the four. I wonder how it would be to have one of the younger actresses perform, especially since the Girl should only be age 20 by the final scene. The effect could probably be more hair-raising.

Talkback Session with Ina Bolivar and Missy Maramara (02-24-18)

There were constants that the actresses have onstage to work with: like the chair (the girl's only crutch onstage; specially designed for stability and abuse), the video projections to depict outdoor scenes, and those perfectly  timed disturbing sound effects by Jon Lazam that heighten the tension, emotion and pain of the scenes where they were used. They had some water waiting at both sides of the stage to keep their throats hydrated at very brief breaks. 

At the end, a square hall of mirrors opened up in the middle of the stark black backdrop to frame the haunting final scene. The lighting was so vital in the whole play, especially that final scene with the mirrors. The effect of the playing lights during that final scene with the mirrors looked different depending on where I sat, each with their own dramatic impact. Kudos to the mirrors designer Mark Justiniani and light designer Barbie Tan Tiongco for the mesmerizing illusion of depth, buoyancy and calm during this key moment of the play.

This was the first time I have seen Ms. Maramara perform. I only knew her by reputation as an experienced practitioner of solo theater. She had taken on the one-woman show "Clytemnestra" (as adapted from various sources by Kiara Pipino) and performed it both abroad and locally (which I unfortunately missed). She had also written, directed and performed her very own one-woman work entitled "Love, Liz" which she debuted in the United Solo Festival in New York back in 2013. 

Talkback Session with Ina Bolivar and Skyzx Labastilla (02-25-18)

As for Ms. Labastilla, I have seen her act in a couple of two-hander short plays back in 2016. One was the perplexing "Daddy's Girl" (MY REVIEW) at the Virgin Labfest XII, and later that year, it was the traumatizing "Indigo Child" (MY REVIEW) as part of the "Never Again" festival of Martial Law plays. In both plays, she delivered lengthy emotionally-draining monologues about a girl who was recounting her experiences of abuse (sexual and more). These two prior one-act plays more than prepared her for this much longer and more devastating full length project.  

Because the play dealt with a very disturbing subject matter, a talk back/debriefing session was held after each show where members of the audience can ask questions from the actress and the dramaturg Ms. Ina Azarcon-Bolivar, or vent their feelings about the play they just saw. 

This harrowing play confronts the audience with the fact that sexual abuse happens in real life and it is uglier than they can ever imagine. The victims' lives are destroyed, and many times, they have no family, no friends, no religion to turn to because of the shame that pervades their lives after suffering the abuse. This play aims to give all those girls who suffer in silence a loud enough voice so people can finally listen to their desperate calls. Do watch and echo their cries for help. 


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"Ang Dalagita’y ‘sang Bagay na Di-buo" is staged in partnership with the UP Diliman College of Social Work and Community Development, the UPD Gender Office, and the UPD Office of Anti-Sexual Harassment. The play is also part of Kat(h)awan: Bodies, Society, Culture, the UP Diliman Festival Culture and the Arts 2018.

The play runs from February 21 - March 11 at the Wilfrido Ma. Guerrero Theater, 2/F Palma Hall, UP Diliman, Quezon City.


For all inquiries, contact Camille Guevara (0917 823 9531) or the Dulaang UP Office (Tel. No.: 926-1349 / 981-8500 local 2449 / dupguevara@gmail.com).

Review of TP's NANG DALAWIN NG PAG-IBIG SI JUAN TAMAD: Laziness, Love and Laughs

February 17, 2018

Before this play began, the audience was addressed by Ms. Cecille Joaquin Yasay, a niece of National Artist for Literature Nick Joaquin. She welcomed the audience to this play which was adapted from one of her uncle's children's stories entitled "How Love Came to Juan Tamad" from his "Pop Stories for Groovy Kids" series (1979). I only knew Nick Joaquin for his serious works, like "Portrait of the Artist as Filipino," "May Day Eve" and "The Woman with Two Navels." I did not expect him to have written anything for children at all, so this was a pleasant surprise for me. 

The ever-angry god of war Monte Banahaw is smitten with the ever-alluring goddess of love Mariang Makiling. After his advances were rejected, Monte wanted to punish Maria. So he asked his alchemist brother Ba'i, the fairy of Laguna Lake, to whip up a love potion so that Maria would fall hopelessly in love with the ugliest, stupidest and laziest boy in town. Who else would that poor lout be, but Juan Tamad?

Juan Tamad makes his grand entrance sleeping on a bed

with Marco Viana's beautiful set design in the background

The prolific Rody Vera came up with a very engaging Filipino adaptation for theater of Joaquin's short story originally written in English. It was full of current local pop culture references so the lines never sounded old or stuffy at all. As delivered by the in-house TP actors with their usual verve and energy, with funky choreography by Ronelson Yadao and direction by Jonathan Tadioan, Vera's lines had audiences in stitches with all the ridiculous situations in this farce.

Technically, the stage design by Marco Viana was very memorable. That huge multi-tiered sunburst of wooden planks made for a riveting stage centerpiece that really commanded attention. The lights of John Batalla enhanced the dramatic look of this beautiful main set piece. Even though singing is not exactly the forte of most of these actors, the songs by TJ Ramos were a delight to hear. 

Aldo Vencilao was a perfect fit as Monte Banahaw. You know how it is about short guys and their tendency to overcompensate. Monique "Manok" Nellas played an earthy and sexy Mariang Makiling, very proud of her long legs and feminine wiles. Lhorvie Nuevo was very cute as the Kerubing Ulap, a friendly cloud who could break the fourth wall and be our narrator. Antonette Go was on point with her Kris Aquino impersonation as Maria's sarcastic lawyer. JV Ibesate effectively mined the absent-mindedness of his character Ba'i for laughs. 

Aldo Vencilao and Manok Nellas take their bows.

I am not so sure that Ybes Bagadiong was the best choice to be Juan Tamad. I am not referring to his acting talent, but his particular look. I felt it was an unfortunate decision that the only dark-skinned actor in the cast was made to play the "ugliest, stupidest and laziest boy in town." There was even a line that taunted him how Juan looked like a monkey ("Mukha siyang matsing!"), which called to mind that ill-conceived H&M "coolest monkey in the jungle" ad photo. I am worried how this may feed children's ideas about stereotypes against their dark-skinned schoolmates. 

There were overtly sexual double entendre in so many of the lines exchanged between Mariang Makiling and the men who fall for her charms.  These naughty lines were very hilarious for sure, but at the same time, I could not help but worry about the children in the audience. I was seated beside a child less than five years old, and there were plenty more kids in the audience last night. I just hope these lines just sail above their innocent heads. 

The lesson of the play at the end was not clear. We see Juan Tamad get to become very rich, however we do not see him change his lazy ways at all.  Juan Tamad never got his comeuppance for being lazy. The twist at the end about the love potion sort of sent a confusing message, as if it was saying that Juan's laziness was somehow an aphrodisiac in itself.  For me, the end the play came rather too abruptly, without exactly making very clear its message against this capital sin of sloth. 

The Cast at the Curtain Call

I do not want to be a wet blanket about this because overall I found this colorful show to be quite entertaining for all ages. There were scenes which were really laugh out loud funny. However, because of the reasons for concern I cited above, I would advise strict Parental Guidance for young kids who will be watching this play. Do take your kids to watch this light-hearted fun show, but do discuss and clarify its lessons with them afterwards. 


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"Nang Dalawin ng Pag-ibig si Juan Tamad" runs from February 16 to March 11, 2018 at the Tanghalang Aurelio Tolentino, CCP Little Theater. Showtimes are: 8 pm Fridays, 3 pm and 8 pm on Saturdays and 3 pm on Sundays. Ticket prices are at P 1,030 and P 824 each, depending on the price zone, free seating basis. 

Review of Sandbox/9 Works HIMALA, ISANG MUSIKAL: Phenomenal Production and Performances!

February 10. 2018

I first heard about "Himala" the musical play in 2013, when a 10th anniversary concert (MY REVIEW) of the 2003 Tanghalang Pilipino production was staged at the PETA Theater. Before then, I only knew "Himala" to be the iconic 1982 film, directed by Ishmael Bernal, written by Ricky Lee and starring Ms. Nora Aunor, which told the story of a simple girl named Elsa who developed the ability to heal diseases after having apparitions of the Blessed Virgin Mary on a nearby hill in Barrio Cupang. 

Composer Vincent de Jesus had crafted deeply dramatic songs with some pretty punishing high notes, which only the best singers can sing. The original cast included such vocal powerhouses like May Bayot (as Elsa),Cynthia Culig-Guico (as Chayong), Isay Alvarez (as NImia) and Dulce (as Nanay Saling). Ricky Lee himself adapted his screenplay for the book of the play and co-wrote the lyrics. 

The story of the musical follows the story of the film faithfully. Elsa has visions of the Virgin Mary on the hill, after which she can cure the sick of body and of spirit. This ability made Elsa a local celebrity. She seemed to enjoy the attention given by her coterie of pious friends and devotees. One day, an unspeakable crime happened on the miraculous hill that drove that led to escalating torment and tragedy. 

Aicelle Santos as Elsa 

This year, on the occasion of its 15th anniversary, the Sandbox Collective and 9 Works Theatricals, decide to restage this play in full as part of its thrust to include Filipino works in its repertoire. An all-new generation of powerful singer-actors had been assembled to sing those same emotional songs for us once again. 

Aicelle Santos was really pushed to go beyond all limits in the lead role of Elsa, and she positively nailed that challenging role down, both acting-wise and singing-wise.  Her two big highlight numbers came one after the other: one questioning the heavens for her misfortune and the final one addressing the crowd with a shocking confession. I've seen Santos before in "Rak of Aegis" and "Maynila sa mga Kuko ng Liwanag" and she had been excellent in both, but this Elsa of hers was in a class all its own.

Bituin Escalante as Nanay Saling 

Portraying Elsa's childhood friends were Neomi Gonzales as the fragile and religious Chayong, and Kakki Teodoro as the bold and worldly Nimia. Both of them shone in their featured songs -- Gonzales in Chayong's duets with Elsa and suitor Pilo, and Teodoro in her raunchy cabaret scene and her duet with Elsa. Bituin Escalante was a notable vocal standout in her searing renditions of Nanay Saling's painful lamentations. There was a scene where was singing in one far corner, but the strength of her voice effortlessly filled up the entire room. Jenny Villegas dela Cruz played Mrs. Alba, who organized Elsa's "Seven Apostles." Her clear soprano voice floated sweetly out of the chorus as she sang harmony in that final group song. 

David Ezra, looking very different from how I remembered him as "Aurelio Sedisyoso," played Orly, a dogged documentary film maker from Manila, whose humanity was also put to the test in Cupang. Sandino Martin, fresh from his two acclaimed musical films "Changing Partners" and "Ang Larawan" played Chayong's suitor, Pilo, whose pent-up frustrations were just waiting to explode. Floyd Tena, whom I only first knew from "Maynila" last year, played the cynical (and smoking!) parish priest. 

Neomi Gonzales and Sandino Martin as Chayong and Pilo

Under the visionary direction of Ed Lacson Jr., this present staging made those emotions as raw as possible. There was no orchestra, just a piano. There were no microphones used, just pure voice. There was not a single dance number, as may be expected from musicals. The whole room at PowerMac Center Spotlight was used as the performing area, with sections of the audience area also covered with thatch roofs to make us feel like we are curious onlooking residents of Cupang as well. Ads promised this show will be an immersive experience, and I completely see and felt what they mean. We felt the fanaticism. We felt the greed. We felt the tragic irony of it all. 

The standing ovation that ensued after the haunting final scene was long and thunderous. The whole cast took their slow bows, many of them were wiping tears off their faces, fully taking in the moment and the appreciation of the crowd. It is just February, but as early as now, I think I had just watched a prime contender for Best Musical Production of 2018!

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"HIMALA" runs from February 10- March 4, 2018 at the PowerMac Spotlight, Level 2, Circuit Lane, Circuit Makati.  Show dates are: Sat Feb 10 2018 - 8:00 PM, Sun Feb 11 2018 - 2:00 PM, Sat Feb 17 2018 - 3:00 PM and 8:00 PM, Sun Feb 18 2018 - 2:00 PM, Sat Feb 24 2018 - 3:00 PM and 8:00 PM, Sun Feb 25 2018 - 2:00 PM and 7:00 PM, Fri Mar 2 2018 - 8:30 PM, Sat Mar 3 2018 - 3:00 PM and 8:00 PM and Sun Mar 4 2018 - 2:00 PM. Tickets at P2,500 (Blue Patron), P1, 700 (Gold),  P1,300 (Red) and P1,000 (Black, with restricted views). Rated R-13.

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PS: Watching the press preview last night had the incomparable bonus treat of seeing the original Elsa herself, Ms. Nora Aunor. At the end of the show, after director Lacson gave his thank you speech, Ms. Aunor was called down to join the cast for photos. I felt the star-struck exhilaration of the cast as they were individually acknowledged by the Superstar. Later the original cast of the musical (Bayot, Alvarez and Dulce) all joined in to take photos with the new cast. These were really gratifying scenes to witness and remember. 

Review of Rep Phils' A COMEDY OF TENORS: Doppelganger Distress

January 28, 2018

In recent years, Rep had staged a number of Ken wacky comedies written by playwright Ken Ludwig. They did "Shakespeare in Hollywood" in 2011, "Leading Ladies" in 2012, and "The Game's Afoot" (MY REVIEW) in 2016.  This year, as the opening salvo for their 81st season, Rep decides to stage yet another Ken Ludwig play. This time, it is the sequel of the first play by Ludwig that Rep did a little ways back 15 years ago. 

In 2003, Repertory Philippines opened their 66th season with Ludwig's "Lend Me a Tenor". Directed by Zenaida Amador, that production starred Miguel Faustmann as famed Italian tenor Tito Merelli and Joy Virata as his wife Maria. Arnel Carrion played the harassed show producer Henry Saunders and Michael Williams played his mousy assistant Max, who turned out  to have a hidden talent. Liesl Batucan played Saunder's daughter Maggie, on whom Max had a crush. Rem Zamora played a funny fanboying hotel bellhop.

In its sequel, "A Comedy of Tenors," all those crazy characters are back in a madcap mistaken-identity comedy, as its Shakespeare-inspired title suggests. Henry Saunders had now leveled up to be producing a major opera concert in Paris, France.  Max had also leveled up, from being Saunder's assistant, then son-in-law (as Max married Maggie), and now, also a bonafide opera performer in this concert, sharing the spotlight with no less than "Il Stupendo" Tito Merelli himself.

Tito Merelli is going through some midlife crisis drama -- marital insecurity regarding his wife Maria's fidelity, parental insecurity regarding his daughter Mimi's purity, and career insecurity regarding up and coming young tenor Carlo Nucci. All these problems troubling Tito blow up in a major hullabaloo just two hours before the show was about to begin and all the well-laid plans about the concert began to unravel in a wild pace. As Henry and Max scrambled to find a replacement for Tito, they suddenly heard Beppo the bellhop belt out an aria!

I knew that Lorenz Martinez can hit those high notes from the first time I saw him as lead performer in "Lorenzo" (2013) (MY REVIEW).  However, this is the first time I heard him actually sing operatic arias, and with conviction at that. Since he played both Tito (the temperamental star) and Beppo (the loquacious bellhop) who were both opera-singing Italians with heavy accents, Martinez had to comically convince us that they were two different people, giving each character his own subtle quirks. I was amazed at how he can emerge from doors on opposite sides of the stage as different guys one scene right after the other. I can just imagine all the running he had to do backstage.

Arman Ferrer makes his debut in a comedy, and in Repertory Philippines, with this play. He is clearly the most comfortable when it comes to opera singing among the actors. You can clearly hear his classical training when he sings his arias. His comedy timing may still need a little honing compared to his co-stars, but this guy can act as well as he can sing.

Noel Rayos is really very versatile and dependable when it comes to singing, as well as outrageous comedy, as we remember him in his most memorable roles in "Walang Sugat" (MY REVIEW) and "The Producers" (MY REVIEW). Roles like Harry Saunders come so naturally for Jeremy Domingo. He could do roles like this blindfolded already. The more problems his concert had, the more stressed out Henry got, the funnier Domingo became. 

Issa Litton impressed me with her performance in "Mga Ama, Mga Anak" (MY REVIEW) last year, and she was again a sexy comic standout in this one as Tito's elegant fiery wife Maria. Mica Pineda had a very daring opening scene with a mere throw pillow covering her torso. She did her loud and lively best to beef up her role as Tito's daughter, Mimi.  Shiela Valderama-Martinez played Racon, a Russian soprano diva and Tito's former one-night stand who wanted to rekindle their romance. I do hope they change the gown she was wearing because those extra folds of fabric in the front do not look flattering on her at all. 

Domingo, Valderrama, Martinez, Litton and Ferrer at their curtain call

The pace of the play was snappy especially in the Act 1 which was fun and delightful. Act 2 was initially bogged down with those stretched-out Beppo soliloquies with the tongue dish. But it picks up its pace after those were over and done with, leading to a hilariously energetic climax with the two Titos and their ladies. On a side note, I hope they reconsider deleting that scene where Beppo groped Mimi's tush. The audience who was laughing out loud just earlier suddenly fell silent at that awkward scene.

Anyhow, the best thing about this play was that we treated to lead actors who were able to actually sing their operatic arias live! That rehearsal scene of the three tenors singing an aria from La Traviata (I think) was really so good. 

With Miguel Faustmann in the director's chair, we get another slickly-staged over-the-top farcical comic treat that Rep does so well. The comic situations came at us fast and furiously, as well as those silly one-liners with various opera references true fans will lap up with glee. Frankly, I thought having an uncanny doppelganger was a corny plot device, but it was able to effectively bring about a merry-mix up of events as could be for the audience to be thoroughly entertained.


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A COMEDY OF TENORS runs from January 26 to February 18, 2018 at the Onstage Theater in Greenbelt 1, Makati City. Show schedule is at 8 pm on Fridays and Saturdays, with 3:30 pm matinee shows on Saturdays and Sundays. Tickets cost ₱1,500 for Orchestra Center (Reserved Seating) and ₱1,200  for Orchestra Sides (Free Seating).