Review of VIRGIN LABFEST XIV - SET D: Of Disputes, Decisions and Debauchery

July 1, 2017

1. MARAWI MUSICALE

Written by: Tyron Casumpang
Directed by: Ariel Yonzon

The play was set in a feeding center where a group of Christian and Muslim volunteers prepare food for the evacuees, especially the children. It had been four months since Maute-ISIS had laid siege on Marawi City, and the bombs are still falling around them. They sing to release their pent-up fear and pain.

Writer Tyron Casumpang had actually gone to Marawi with fellow Ateneo teachers and got inspired to write this play about the food volunteers he met there. While the intentions are sincere, one cannot help but feel that the story felt incomplete, that this play was just scratching the surface with familiar conflicts. It could still be expanded into a full-length play to better cover all relevant issues. The side issue between the music therapy volunteers from Manila (played by Lhorlie Ann Nuevo and Nazer Salcedo) felt forced and unclear.

Jonathan Tadioan was right at home playing Kuya Jhong, the gentle and optimistic team leader who was also worried about his sick son back home. The most memorable song in the musical was a plaintive prayer to Allah sung by Muslim characters Salanka (Junelie Barrios Villegas -- more popularly known as Bayang Barrios) and Khalid (Poppert Bernadas) as they plead for the safety of Abdul, Salanka's husband and Khalid's brother. That one song lifted the whole play up to an ethereal level with their beautifully emotional singing. The three kids Marlowe Concepcion (Yusof), James Ramil Garlando (Asis) and Tyrone de la Cruz (Moner) all sing very well.

2. AMOY PULBOS ANG MGA ALABOK SA ILALIM NG RILES NG TREN

Written by: Lino Balmes
Direted by: Tess Jamias

Chona and Ramil were informal settlers who lived under a railroad bridge with their young son Igit. Day in and day out, the couple argued loudly about their wretched living conditions where every train that passes would shower a coat of dust over everything they owned. A recurrent point of contention were the decisions Ramil made a few months ago when he had the chance to win a million pesos as a contestant on TV's "Pera o Bayong."

Writer Lino Balmes caught an episode of real "Pera o Bayong" on TV and got curious to explore about the aftermath of those situations when the contestant did not win. The way director Tess Jamias staged those flashback scenes with every train that passed was so effective, with the shower of dust from above, the loud engine noise and the mesmerizing strobe lights. Kudos go to production designer John Carlo Pagunaling and Lights desinger Barbie Tan-Tiongco for coming up with these realistic technical details.

I had seen Bong Cabrera before as a loud-mouth brother in "Ang Naghihingalo" (VLF X). He plays another loud-mouth character here, and again he was so effective. He may have had a fumble with the lines (or the timing) at the end which affected the dramatic twist at the end a bit. Marjorie Lorico had once won Female Lead Performance in a Play for “Nobyembre, Noong Akala Ko Mahal Kita” back in 2012, and you can see why with her loud, passionate and committed performance here. The stage time of John Paulo Rodriguez (as Igit) was very short, but it was a painful scene which will haunt you for a long time.

3. RIVER LETHE

Written by: Allan Lopez
Direted by: Chris Martinez

Abe and Mara  met while undergoing chemotherapy of their respective cancers. Despite their health conditons, the two got along well and had an affair. Abe was still married to a very busy wife, but he did not want to bother her with his needs, medical and otherwise. Mara was a spinster who was just liberated from her responsibilities and was now free to explore life on her own. 

Writer Allan Lopez had a solid idea -- ruminations about the temporariness of human pleasures vis a vis the permanence of death, while checked into a sleazy motel for some short-time sex. The title alone, alluding to the river in Greek myth where people bathe to forget, tesitified to the depth of the writer's intention. Director Chris Martinez decided to insert interludes of  "cleaners" dancing salaciously around the room before and between the more serious scenes between Abe and Mara. While definitely attention-grabbing, liking them or not is a matter of personal taste. I do not really see why these cleaners were there (aside for shock factor) or what they symbolize (if any).

Veteran VLF actors Paolo O'Hara and Dolly de Leon play Abe and Mara so naturally and so fearlessly, such that it gave the feeling that everybody in the audience were voyeurs invading their intimate time. I'd seen O'Hara go sleazy before when he did "Macho Dancer the Musical" back in VLF XI. I had been a fan of Dolly de Leon since "Ang Naghihingalo" (VLF X). As Mara, she gave a stirring performance of such deep sensitivity that went well beyond the dirty talk and sexual acrobatics her role required.

Review of VIRGIN LABFEST XIV - SET B: Of Flowers, Fantasy and Fiction

June 28, 2018

I have been watching the Virgin Labfest at the CCP for five years in a row now. The fresh one-act plays chosen for this festival had been exceptional theater pieces, and this year is already its 14th year, with the provocative theme of "Silip". This year, 150 scripts had been submitted and the top 12 were chosen to be staged. 

Last year I had been able to catch all 12 plays, the first time I has been able to do so. This year, with all the road works causing more traffic in the Metro, I am not sure yet if I can do it again.  The venue this year was still the CCP Little Theater Aurelio Tolentino, same as last year. VLF XIV opened yesterday with Set A. Today, I attended the premiere staging of the Set B plays, which were the following:

1. ROSAS

Written by: J. Dennis Teodisio
Directed by: Charles Yee

Ex pro photographer Anding is now old and blinded by his diabetes. One day, he came back to the reunite with his best friend Merto in his former nursing home. Anding thought Merto would never forgive his sudden leaving the home a few years back. As they sat on the swing set in the rose garden, they talk about the old times, and their future together.

Playwright J. Dennis Teodisio wrote this play after visiting a nursing home for aging gay people. It was not glaringly obvious from the script, but upon listening to the conversations  between Anding and Merto, you do get that subtext about them. 

This was a very very slow and quiet play about two old men talking about memories and other mundane things. It was not exactly the best play to watch at siesta time in the afternoon, if you get my drift. Not even the sincere performances of veteran actors Crispin Pineda (as Anding) and Bembol Roco (as Merto) could give it more life. As this was only the first show, tweaks can still be made to liven this up some more.

2. ANG MGA PROPESYUNAL

Written by: Sari Saysay
Directed by: Carlos Siguion Reyna

Three scavenger kids were taking their trolley of trash to the junk shop. They were playing a game of pretend based on the junk they picked up. Pia used a discarded video camera and a damaged keyboard to be a reporter. Roel found an old scrub suit and stethoscope to be a doctor. Lauro used a stick as a gun to be a policeman, like he always did.

Mr. Sari Saysay was able to incorporate so many witty bits of social commentary from several current topics. Through Pia (probably inspired by a controversial Rappler reporter), Saysay discussed freedom of the press, persecution of journalists and the PCOO. Through Lauro, he tackled the issue of EJK and police brutality. Roel's doctor character served as the balancing factor between the two. There were times though when the words used by the kids did not seem consistent with their life condition.

This play joins "Ang Bata sa Drum" and "Ang Mga Puyong" as outstanding VLF plays with kids as main characters. But here, Krystle Campos (Pia), Arthur Castro (Roel) and Jian Markus Tayco (Lauro) are real kids, all not older than 15 years of age, which was impressive. Director Carlos Siguion-Reyna managed to strike the balance between innocent childhood fantasy and harsh violent reality as the script blurred the line between the two.

3. EDGAR ALLAN HEMINGWAY

Written by: Carlo Vergara
Directed by: George de Jesus III

Computer programmer Levi Llorca topped the New York Times Bestseller's List with his debut novel "Revisita," which critics hailed as a perfect mix of the diverse writing styles of Jane Austen and Alex Garland. His loyal partner Barns Noble doubles as his efficient manager to handle his busy schedules and finances. Back in Manila for a series of media activities, Levi made time to meet with old college friend George, now a copywriter and a frustrated novelist.

The name of writer Carlo Vergara is a brand of theatrical excellence. His previous VLF plays, "Kung Paano Ako Naging Leading Lady," "The Missing Peace" and "Mula sa Kulimliman" all had innovative plots with very entertaining elements. This play was no different, the writing is so logical, witty and smart. This show needs a spoiler warning. One should see it without knowing what it is all about for it to work best.

Ricci Chan was a riot as usual as Barns. In past plays I've seen Ricci in, including VLF plays, he is consistently the life of the show, really so funny. Guelan Luarca, I know as an excellent playwright and translator, but this is the first time I am seeing him as an actor on stage. His portrayal of George is quite delightful in his frustration and desperation. Rafa Siguion Reyna mainly played the straight man of the play, and he held his own ground firmly.

Review of KLSP's SHAKESPEARE DEMYSTIFIED: MACBETH: Engaging and Explanatory

May 29, 2018

From May 28-30, 2018, the Asian Shakespeare Association, an organization dedicated to researching, producing, teaching, translating, and promoting Shakespeare from an Asian perspective, is holding their 3rd Biennial Conference in Manila. Aside from panel sessions, seminars, workshops and screenings, there are also theater performances (with Q&A sessions with the director) scheduled. 

One of them is "Shakespeare Demystified: Macbeth" by the KL Shakespeare Players from Malaysia, performed today at 4 pm in UP Diliman. Since 2011, the KLSP is a theater company in Malaysia that focuses only on Shakespeare’s works. Their signature Shakespeare Demystified series target young audiences. In order to keep them interested in the play, the Players judiciously cut the play short enough (this "Macbeth" was only 110 minutes with a 10 minute intermission) and incorporate explanatory narration in modern English, while still maintaining key scenes in their original text. 

Director Lim Kien Lee demonstrates his Tibetan singing bowl,

as actor Zul Zamir looks on.

The director Lim Kien Lee was also the musician, seated on one side of stage, with his various instruments (like a djembe drum, a Tibetan singing bowl, a thunder-maker drum) on hand to create the mood and tension in the various scenes. 

Once the play started, the five actors never left the stage almost the entire time. They sat on monobloc chairs upstage, waiting for their next cue to enter. Their props and costumes (mostly scarves of different colors) are right there onstage beside their seats. The ensemble acting effort of this multiracial cast was amazing to behold as the actors seamlessly shifted in and out of different characters, plus being narrators to boot.

Macbeth was played by Lim Soon Heng. He may have been the most senior member of the cast, but his energy was electric and his stage presence was very strong as he essayed Macbeth's descent into mad ambition and tyranny. The delivery of his lines was flawless and clear at all times. Lady Macbeth (also Lady McDuff, First Witch and Fleance) was played by Safia Hanifah. She nailed Lady Macbeth's sleepwalking scene with that chilling soliloquy about the spot on her hands. Her beautiful singing voice was highlighted when Lady McDuff sang a sorrowful lullaby. 

Nave VJ, Safia Hanifah and Ivan Chan in one of their clarificatory scenes.

McDuff and Banquo were played by Zul Zamir. This actor with long hair (which he tied up in a bun as McDuff) delivered on the anguish and anger of his characters. King Duncan (also Ross, Third Witch, Murderer and Messenger) was played by Ivan Chan. This tall bearded fellow was a very lively physical actor. Malcolm (as well as Second Witch, Murderer, and Young McDuff) were played by Nave VJ. This darker-skinned actor had a clear resonating voice which he can delineate the characters he played.

Since I knew the story of Macbeth very well, I knew what was going on even if there were times I did not catch clearly what was being said. Mostly, the shrill cackling voice quality assumed by the witches was not too easy to understand. It was in those scenes that I really appreciated the explanatory narratives woven into the main text. I noted that these were the same explanations I was giving my daughter the first time she watched Macbeth. These clarifying interludes definitely could hook those unfamiliar with Shakespeare into the story.

Q&A session with director and cast after the show

(L-R Ivan Chan, Safia Hanifah, Nave VJ, Lim Soon Heng, Lim Kien Lee, Zul Zamir)

I wish one day I could catch their Demystified performances of "Othello," "Julius Caesar" or "Merchant of Venice," which I had never seen performed live before. Like the "Macbeth" I just saw, I am sure these other plays will also be as engaging and interesting because of their clear abridged text and enlightening side commentary. Be that as it may though, I know the essential spirit of Shakespeare's story does not get distilled, thanks to the focused direction and impressive acting.

Recap of PSF THEATER FESTIVAL 2018 (Week 3): I DIDITH SHOW, TULA NI VITO AT LIRA, LUKREZIA, BABAE NGA NAKA-ITUM

May 5, 2018

The PSF Theater Festival is not only a forum for some very daring pieces of original Filipino one act plays. For me, I also get a valuable education about the theater process from the commentary given by the illustrious and learned panel of judges and theater professionals in attendance. Like for the third week shows today, I learned a lot about appreciating various aspects of theater from judges Frank Rivera and Rodel Mercado and guests Ronald Carballo, Jeffrey Ambrosio, Robert Encila, and Neil Tolentino. Their spontaneous, frank, passionate and precise comments, borne out of their years of theater experience, were very instructive and enlightening for a theater enthusiast like me, and moreso for the young theater artists in the house.

The workshop showcase this week was "I DIDITH SHOW", the first prize winning play in the 2014 PSF Theater Festival. It is written and directed by JP Lopez. Didith Lorenzo is a superstar singer who has had been hosting a long-running TV variety show, on air for the past 20 years. In this latest episode of her show, her special guest was a pretty and popular new singer named Love Moreno. The two singers vie to get the upper hand over the other during the whole show. While Love had her boyfriend Stephen (Michael Cabangon) and her manager Ferdie (Roznel Destajo), it seemed that all Didith had on her corner was her loyal gay PA Lilibeth. Or does she?

Love (Rachel) steals the camera from Didith (OJ)

Didith literally steals the camera!

Lilibeth (Ado) makes a move on Stephen

The play is very entertaining, frenetic and hilarious, roasting showbiz stereotypes. At the same time it also had some unexpectedly touching bittersweet moments. OJ Bacor delivered such a rousing bravura performance as Didith, you won't believe he only pitched in today. JP Lopez gave a wry portrayal of the show's cynical floor director Rick. Standing out among the workshoppers was Rachelle Mae Penaflor, a pretty petite girl who exuded Ariana Grande-like confidence and verve as Love; and Ado Tolentino, who gave a poignant performance as Lilibeth, Didith's big fan now her personal slave.

The revisited play of the week was "TULA NI VITO AT LIRA", which won the first prize during the 2016 PSF Theater Festival. The playwright is Rachael Gianan and directed by Vince Tanada. It was Valentine's Day at a Spoken Word Night in a bar, where two contestants tackle three given topics using extemporaneous poetry. The contestants that night were a shy newbie Lira and a confident veteran Vito. As the contest between the two ensue, their poetry revealed a painful past relationship that never had proper closure. 

Gianan, Sadsad, Olmedo

The poetic writing of Gianan in the Filipino language was gloriously eloquent. The delivery of those dueling lines by Vean Olmedo (as Lira) and Kenneth Sadsad (as Vito) was flawless, brimming with sharp emotions that just poured out so naturally from them. Those tears were flowing even when the tension was still on the rise, testifying how deeply in character these two actors were. Their chemistry together was undeniable and vital. Humor was provided by the flamboyant emcee Dindi (Jayjay Andres) to keep the play from going into full-on romantic melodrama mode.

The first play in the main competition tonight was "LUKREZIA" written by first-time playwright Johnrey Rivas and directed by Vince Tanada. An exhausted set designer (JP Lopez) brought in the main prop for their play, a life-size porcelain doll. Going into the doll's history, this doll was created by a man named Vladimir with an obsession for his departed childhood friend Lukrezia. A widow named Olga, who rented a room in Vladimir's house, would soon realize why Lukrezia's face looked very familiar to her.

Adult Vladimir (Magallanes), Lukrezia (Belen) and Young Vladimir (Dean Rafols)

Rivas shared that his play was inspired by a minor news article with a story so bizarre that he felt it would make a perfect macabre play. Gerald Magallanes gave another one of his intense creepy performances as the disturbed doll maker Vladimir. Adelle Ibarrientos with her intentionally melodramatic acting as Olga provided some lightening balance to the dark story. The center of attention though was the riveting performance of Pearl Belen as the doll Lukrezia. With her bright open eyes and limp arms, she had no lines, but she dominated the stage the whole time with her mere chilling presence.

The second play in the main competition and final play of the night was "BABAE NGA NAKA-ITUM" written by Chin Ortega and JP Lopez. This was again directed by Vince Tanada. The story told about beautiful Jacinta (a boldly incandescent Cindy Liper) who was the town's celebrated prostitute, and her profound effect on the devoutly Catholic townspeople, in particular, the grotesquely deformed sculptor Ramon (Chin Ortega) and the spunky lesbian, Judit (Arian Golondrina). 

Cindy Liper

In his introduction, Lopez shared how the script, written in the Ilonggo language (with Filipino surtitles on a TV screen on the side), had been so difficult to write, barely completed four days prior to showtime. While watching the play in progress, you know you are watching something special. Even if you do not really comprehend at once every thing that was going on, this provocative material will make you ruminate about it and discuss it well after its final scene and lights out.

Ramon (Ortega) and Judit (Golondrina)

As the show was in progress, one can only stare in awe in how the director Tanada was able to achieve such a complexly artistic staging of such a philosophically-loaded, religiously-charged controversial material in so little time, with a bare stage, classically inspired choreography, with practically no props. This could only be a collaborative product of sheer genius.

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The first play of the afternoon was already ongoing. This was an competing entry in the Inter--Collegiate category, "FELIPA" by senior high school students from the University of Batangas. The depressing play told the tale of the town prostitute Felipa (representing the Philippines) who was consecutively abused by a series of "customers" (representing the presidents, from Marcos to Duterte). 

"Felipa", writer-director Errol, and "Rudy"

I cannot comment much because I came in towards the tail end already. A snooty "GMA" was doing a Cha-cha dance, a childish dolt "Noy" was stealing potted cactuses, then brusque "Rudy" came in for the final rape. The concept was daring, but the final execution was limited, maybe because of the very young actors. The episodes of presidential "abuses" could have been staged with better symbols. I was disturbed that Felipa was depicted as a resigned prostitute, especially when who she symbolized became apparent. 

Recap of PSF THEATER FESTIVAL 2018 (Week 2): PULA, STARS, CONTROL S, THE GALLERY

April 29, 2018

This year is the 12th year of Theater Festival by the Philippine Stagers Foundation. This is held for four consecutive Saturdays each summer, and yesterday was the second week Critics Night. Despite starting past 8 pm already because of technical problems, there were still seven original one-act plays presented -- three amateur (by participants of their FREE summer acting workshop), one competition piece by a guest collegiate theater organization, one revisted former winning play, and two new competition plays written by Stagers themselves. As before, this was held in PSF Studio in Sampaloc, Manila.

The judges for the competition this year include theater writer, director and actor Frank Rivera, artistic director of Frontline Theater Company Rodel Mercado, and award-winning young actor Christian Bables (of "Die Beautiful" fame). I look forward to listening and learning from their instructive comments about the plays being presented. Last night though, only judge Bables was present. However, actress Chai Fonacier (so awesome in "Respeto" "Pauwi Na" and "Patay na si Hesus") was also there with her insights. Also on hand that night with valuable comments was Prof. Gigi Velarde David, a choreographer, director and professor of humanities and theater.

The first play in competition in the Inter-collegiate category was Danielle Hill's "PULA" presented by the Tanghalang Batingaw from Lyceum College, directed by Kyxz Feliciano and Justin Santiago. This was the same college company that won the big prize in this same category last year, and with their performance last night, they are certainly in the running for Best Collegiate Play again this year. 

The Chorus of "Pula"

The intense Sweet Hearty Puyong

"Pula" is a play about Martial Law abuses, but this one goes for the jugular in portraying the horrible torture experienced by Lilli Hilao and Boyet Mijares. To say it is gory or explicit is an understatement. This is not a play you "enjoy." Rather, it is absorbing and disturbing, gut-wrenching and painful to watch. The staging with the dramatic red lights and pulsating music was very effective. However, the centerpiece of this intense play was the raw, bold and fearless multi-character performance of Sweet Hearty Puyong. One of the most heart-wrenching and realistically harrowing acting I had ever seen on a stage. 

Norma (Nacional) and Wilma (Liper)

Next was a play which won the first prize in the PSF Theater Festival in 2012, "STARS" by JP Lopez, directed by Vincent Tanada. This was about Norma Aunor (Glory Ann Nacional) and Wilma Santos (2012 Best Actress Cindy Liper), two neighbors who used to be best friends, but are now bitter enemies. When they argue with each other, they use famous lines from the movies of their idols, Nora Aunor and Vilma Santos, a lot of fun for fans of local pop culture. Their maids, Jolens (Quincy Ramos) and Juday (Pearl Belen) also reflect the rivalry of their masters, but their sons Boyet (Kiel Najera) and Edward (Cedie Duller) seem to be getting along just fine.

Girl (Bagtas), May-akda (Martinez) and and Boy (Garcia)

The first of the plays in the main competition this year followed, "CONTROL S" written by Cedie Duller, directed by Vincent Tanada. This was about a successful movie scriptwriter May-Akda (Brent Martinez) now devastated by the recent death of his partner Josh. The characters of the script he is working on Boy (Poul Garcia) and Girl (Cherry Bagtas) try to get him to start writing again. The concept of the play was very interesting, although I cannot say I completely understood what Boy and Girl were trying to do and why they were doing it.

Roy (Rivas) and Dion (Bocor)

The final play of the night, which started almost 1 am already, is another play in the main competition, "THE GALLERY" written by three-time Best Play winner in the festivals past, JP Lopez, again directed by Vincent Tanada. His new play is an absurd, over-the-top play about a young drug addict gigolo Roy (Johnrey Rivas) who answered an ad by intersex artist Dion (OJ Bacor) for a model. This wild play went in all directions, with diverse elements of various genre -- comedy, sexy, horror and even politics -- all rolled into one campy, flamboyant and schizophrenic show. Its sense of the macabre simply went off the charts! I won't be surprised if this one will also win something come awards night. 


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Before these competition plays, three short one act plays by workshoppers by presented and critiqued by the judges and members of the audience. These were directed by Stagers who were participating in the ongoing Director's Workshop. 

The cast of "Sa Parlor"

The first short one-act play was called "SA PARLOR" written by Atty. Vince Tanada in 2005, and performed many times over the years. This time, it was directed by Pearl Belen. This was about a pair of gay beauticians, the veteran Chit and the newcomer Chanda, who were arguing if their boss Carding was gay or not. The two actors playing the beauticians were very shrill, while the guy playing Carding was on the other end of the energy scale. There seemed to be a lot of lines missed by the nervous actors, which ended up with a puzzling plot that I did not really understand.

Geraldine of "Sa Carinderia"

The second short one-act play was called "SA CARINDERIA" which Atty. Tanada says he wrote 30 years ago. This was directed by Chin Ortega. This was a one-woman show about a bored owner of a roadside eatery with no customers so she ends up talking to the flies and the food she cooked (and recooked). This was certainly very challenging, but this young aspiring actress named Geraldine took it on with a lot of cheeky nerve. She was not shy to make fun of her prominent chin to gain more laughs. There may have been some issues of comic timing last night (like reacting ahead of seeing what was in the pots), but this girl is a very promising comedienne.

Biboy and Yvonne of "Babae Po Ako"

The third short one-act play was "BABAE PO AKO" written by Jordan Ladra. This was directed by Cherry Bagtas. It is about a young lady Yvonne, who had once been deceived by her first boyfriend Biboy, who turned out to be gay. Now, her new boyfriend Noel is planning to propose to her. How will she react? The pretty actress playing Yvonne was so over-the-top and loud, as was the style of actor playing Biboy. They had some funny slapstick moments together, but it was not always clear what they were talking about in all their hyper excitement. 

Review of UPPT"s THE KUNDIMAN PARTY: Championing Culture and Country

April 21, 2018

The name of playwright Floy Quintos is a trusted brand of excellence in local theater. For the past three decades or so, he has written some of the most memorably intelligent plays both in English and Filipino, all with strong socio-political commentary spiked with prickling wit. So remarkably distinct is his brand, there had evolved a new adjective to describe them -- "Quintosian."

Since 2013, five of his plays had been staged in UP under the direction of Dexter M. Santos, and I am happy to have watched all five of them. These were: "Collection" (MY REVIEW), "Ang Nawalang Kapatid" (MY REVIEW), "Ang Huling Lagda ni Apolinario Mabini" (MY REVIEW), "Angry Christ" (MY REVIEW) and now this new one, "The Kundiman Party." 

This play is set in our present time. Maestra Adela Dolores, a famous operatic diva from more than 30 years ago, has long retired from performing, and was now spending her time teaching her craft to students in her home. She kept a close circle of friends around her, namely the nurturing Helen, the liberated Mitch and the over-protective Mayen. The four ladies regularly met in Maestra's house where they listened to music and discussed politics.

One day, the ladies got together just when the Maestra was mentoring a budding young soprano named Antoinette. Things got more interesting when they met Antoinette's boyfriend Bobby, who was into anti-government political activism (causing him to be estranged from his father, the unpopular Senator Juancho Valderrama). Bobby had the idea of using Maestra's kundiman to revitalize nationalism in the youth via social media, giving rise to a viral online "Kundiman Party."

The script of Floy Quintos, again, does not disappoint in both its essence and its language. It had such current significance as it frankly discussed the present political turbulence and issues. It conveyed very powerful messages about music, culture pride, and nationalism. The sense of humor, mostly coming from the vibrant repartee of the "titas," was very entertaining in its cattiness and occasional vulgarity.

Quintos' choice of kundiman songs to be included in the show was so inspired. All were beautiful in both melody and lyrics, such as Nicanor Abelardo's "Bituing Marikit" or "Nasaan Ka Irog" or "Mutya ng Pasig". When Francisco Santiago's "Pilipinas Kong Mahal" was sung, tears welled in my eyes in its piercing poetic patriotic fervor. Two other kundiman songs by Santiago open and close the show, "Pakiusap" and "Madaling Araw."  Maestro Ryan Cayabyab provided additional kundiman arrangement for piano.

The classy set designed by Mitoy Sta. Ana

Shamaine Centenera-Buencamino exuded such a genuinely elegant aura of a diva as Maestra Adela Dolores, so completely believable in her regal sense of the dramatic. Her cluelessness with regards to gadgets and social media was delightfully depicted. Her delivery of lines was so rich in bombast and nuance at the same time. This was a magnetic performance that stood out in its own class of excellence.

Kalil Almonte had a conflicted role to play as Bobby. His was a critical character who presence turned the perfectly sheltered life of Maestra upside-down. He was unwaveringly headstrong and single-minded, which can be difficult to watch in scenes where his passionate stubbornness bordered on insensitivity and rudeness. His open-ended final fate makes him an enigma. This is a character the audience will likely discuss after the show. 

The three titas of the play all had distinct personalities we all recognize in our own titas. The veteran actresses in these roles all played off each other in a very natural and relaxed manner. Stella Canete-Mendoza played Helen, the motherly one, the gentle one, the caring one. Her breakdown scene was a highlight moment for her. Missy Maramara played Mitch, the carefree one, the sexy one, the brutally frank one. Her story about her viral Instagram post was hilarious. (Jenny Jamora alternates as Mitch.) Frances Makil-Ignacio played Mayen, the wary one, the suspicious one, the negative one. She had a character just like Mayen in the Virgin Labfest one-act play Adrian Ho's "Sincerity Bikers Club" last year. 

One very key role in this play is that of Antoinette because she is the one singing all the kundiman songs we hear. It is up to her to mesmerize us with her clarity of rendition and emotional connection of these vocally-challenging songs. Arya Herrera and Teetin Villenueva (whose angelic voice I already heard sing in "Collection" before) alternate in this role. On the matinee show I watched earlier today though, it was understudy Miah Canton playing Antoinette. To her credit, she nailed all her singing parts. She had us all listening to her every word she was singing. Acting-wise, she looked rather stiff and nervous at first, but she ultimately pulled through thanks to her supportive co-stars. 

Teroy Guzman only had one scene in the final act, but his stage presence as Senator Juancho Valderrama was so strong. His line delivery was crisp, authoritative, and quite persuasive -- so amazing to watch. Farley Asuncion played the piano beautifully on stage throughout the show as Maestra's faithful Ludwig. However, he also gets to sneak in some funny one-liners once in while. Rica Nepomuceno played it all-out comedy as the over-the-top professional singer Melissa, but she also gets to sing a grand kundiman with aplomb. (Melisa Camba alternates as Melissa.)

With this show, Dexter M. Santos directs his final play as Artistic Director of Dulaang UP, a post he held since 2015. Under his directorial vision, the play was staged in a very engaging manner that held the full-house audience in rapt attention throughout its nearly 3-hour running time (with 10 minute intermission), as we imbibed the music and the issues the show presented to us. 

Mitoy Sta. Ana deserved kudos for his set design of Maestra's elegant yet homey living room and staircase, as well as his costume choices of the cast (particularly those worn by the Maestra). Monino Duque was the main lighting designer, following up his comeback last year for "Angry Christ."  Steven Tansiongco is responsible for the video and graphics design which was essential to depict the social media aspect of the script. Krina Cayabyab served well as musical director to seamlessly integrate the kundiman into the narrative.

The cast and crew take their bows 

Front Row L-R: Guzman, Maramara, Canete-Mendoza, Centenera-Buencamino, 

Makil-Ignacio, Almonte, Canton and Jacob

The combination of classical Filipino music and current news events and politics in this play made for a thought-provoking piece of theater, as all other Floy Quintos works are known to be. There are scenes with lofty idealistic ideas about cultural nationalism being floated around, but there are also scenes of sobering realism to bring us back down to earth and keep our feet on it. 

Maestra Adela made several choices in her life where she put love of country above her personal career and comfort. All the other characters here all had to make their own big choices in their own lives as well as events in the play unfolded. Faced with the current divisive political landscape we live in today, the audience is also prodded by this show to also make our own big choices. It hopes we stand up and choose to do what is best -- for our culture and for our country. 


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"The Kundiman Party" opened last April 11, 2018 and will play up to April 29. For its final week next week, showtimes are at 7 pm Tuesdays to Saturdays, 3 pm on Saturdays and Sundays, and 10 am on Sundays. Tickets are only at P500 each. Contact person is Camile Guevara 0917-8239531.


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UPDATE: MAY 23, 2019

Floy Quintos' "The Kundiman Party," my choice for the Best Full-Length Filipino Play last year is being re-staged for the next two weekends from May 24 to June 2, 2019. Showtimes are at 8 pm on Friday, Saturdays and Sundays, with 3 pm matinees on Saturdays and Sunday. This time it will staged in the PETA Theater in Quezon City. 

Original Cast Members: Mendoza, Maramara, Buencamino, Ignacio and Canton

The press preview that I watched tonight is already the third time I had seen the play, and it never lost its powerful impact on me as a viewer. The female cast is basically the same as the female cast I described in the main review above for the first time I watched this show in UP Diliman -- Shamaine Buencamino as Maestra Adela, Stella Canete-Mendoza (Tita Helen), Missy Maramara (Jenny Jamora alternates as Tita Mitch) and Frances Makil-Ignacio (Tita Mayen) as her three "kerengkeng" tita friends and Rica Nepomuceno as Melissa. Miah Canton played her student Antoinette with visibly a lot more confidence in her portrayal this time around.

New Cast Members: Nonie Buencamino and Boo Gabunada

The male cast though was all new. The pianist Ludwig, formerly played by Farley Asuncion, is now played by Gabriel Paguirigan. Antoinette's passionate political activist boyfriend Bobby is now played by Boo Gabunada. He got the youthful impulsiveness and hyperactive verve for the role, like Kalil Almonte had originally (with attacked differently). It  must have been difficult for Gabunada to pretend to sing badly. 

In the role of Sen. Juancho Valderrama, Nonie Buencamino created magic on that stage -- especially in the scene where he acted side by side his real-life wife Shamaine. His performance was remarkably impressive, especially given the fact that Teroy Guzman already hit the role out of the park the last time.  

Magical Moment: Nonie and Shamaine Buencamino in a scene together

The artistic and technical staff of director Dexter Martinez Santos include Nour Houshmand (Assistant Director), Mitoy Sta. Ana (Production Designer, recreating Maestra's chic living room as it was on the stage of the Guerrero Theater in Palma Hall), Krina Cayabyab (Musical Designer), and Meliton Roxas (Lighting Designer).

Review of Rep's ARSENIC AND OLD LACE (2018): A Charming and Chilling Comedy

April 15, 2018

I had vague memories of watching the film version of "Arsenic and Old Lace" during one long haul plane ride a few years back. That 1944 film was directed by Frank Capra and starred Cary Grant in an oddball mix of murder and madness in an old house where two little old ladies lived. The film felt more theatrical than cinematic, never hiding its theater roots. Now I would get to watch the actual play as staged by Repertory Philippines as only they can deliver material such as this.

The elderly spinster sisters Abby and Martha Brewster lived in their ancestral home in Brooklyn with their nutty middle-aged nephew Teddy, who believed he was President Teddy Roosevelt. One night, their younger nephew Mortimer, who wrote theater reviews for the newspaper, came for a visit. He discovered a startling "charitable" activity of his aunts, which he frantically tried to cover up for. To complicate matters, another long-estranged nephew Jonathan, now a ruthless criminal, also decided to crash in that same night.

This play was written way back in 1939 by Joseph Kesserling. It was first staged on Broadway in 1941, playing more than a thousand shows until it closed in 1944. These old American plays are an automatic fit for Repertory Philippines. They simply do them so well like no other local theater company does. In fact, Rep had staged "Arsenic and Old Lace" two times before, in 1981 and 1988. 

This year, Jamie Wilson takes a stab at directing this latest incarnation. Dennis Lagdameo designed the house set, which was very much part of the action. Bonsai Cielo, who just won the Gawad Buhay for her elegant Victorian-age costumes for Rep's "In the Next Room", designed the 1940s garb required in this one. John Batalla and Jethro Joaquin, both Gawad Buhay awardees for Rep's "Agnes of God", team up again for lights and sound design respectively.

Joy Virata was an automatic choice for Abby Brewster. She again proves her subtle brand of comedy for which I had long admired her for in several Rep plays in the past. Jay Valencia-Glorioso matched Ms. Virata's sense of wit every step of the way. As a pair, they were quaintly cute and delightful, even if they do what they do to those poor lonely gentlemen guests. 

Nelsito Gomez was back in Rep playing someone much lighter than those two intense characters he played last year to critical acclaim. His disparaging lines as critical Mortimer Brewster about the theater were hilarious. Jeremy Domingo can really play these dimwitted characters like Teddy Brewster like it was second-nature for him to do so. He is so convincing in his delusions. Apollo "Sheikh" Abraham struck an sinister vibe the moment he set foot on stage as Jonathan Brewster. He did not really look like Karloff's iconic Frankenstein monster, but he sure was one scary-looking dude. 

Barbara Jance was perky and liberated as the pastor's daughter Elaine who was not going to let Mortimer get away from her that easily. Robbie Guevara had that diabolical plastic surgeon character of Dr. Einstein down pat and crazy. Steven Conde came in only in the last act as pesky police Officer O'Hara who annoyed people by telling the long-winded plot of the play he was writing. Gabe Mercado played two roles, that of Elaine's father the Rev. Dr. Harper, and later the police Lt. Rooney, both stern and very opinionated characters. 

The first act where the macabre premise of the play was being set up was rather slow, uneven, and may feel as stodgy and stuffy as those elderly characters on the stage. There were a lot of dated references to events current to the time the play was written, like the political and war climate or the quality of theater shows. The references to American personalities like Teddy Roosevelt (and his charge up San Juan Hill) or Boris Karloff may also prove head-scratching for many younger audiences. 

However after the intermission, the whole madcap mixed-up mayhem simmered steadily into an entertaining boil by the third act. By then, the audiences were already so at home with the eccentric Brewsters, their silly neighbors (especially the policemen!) and the whole absurd black yet comic situations they got themselves into such that the laughs came more freely and easily, up to the end. Being a old-fashioned black comedy may be hard to sell, but those who enjoy a little twisted humor in their theater plays will definitely enjoy this one. 

The cast take their bows at curtain call (L-R): 

Conde, Jayme, Abraham, Glorioso, Virata, Gomez, Domingo, Guevara, Mercado, Rosales

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"Arsenic and Old Lace" runs from April 6 - 29, 2018 at the Onstage Theater in Greenbelt 1, Makati. Show times are at 8 pm on Fridays and Saturdays, with 3:30 pm matinees on Saturdays and Sundays. Ticket prices at P 1,500 for Orchestra Center (reserved) and P 1,200 for Orchestra Sides (free seating).