Review of VIRGIN LABFEST 2020 - SET B: GIN BILOG, MAYANG BUBOT, BOYBOY: Troubling Toxicity

June 13, 2020

GIN BILOG

Written by Luisito Nario
Directed by James Harvey Estrada

Brothers-in-law Entong (Rhon Kenneth Mercado) and Dune (Buboy Villar) were having one of their regular drinking session beside the railroad. Between bottles of gin, they would sing songs on a videoke machine ("My Way" was a particular favorite) while they exchanged senseless stories peppered with profanity. Entong was married to Dune's elder sister Lorna (Lovely Abella), whom he treated very badly. This particular day, it got to a point that Lorna just wanted out of it. 

In this play, writer Nario pushed boundaries on how to portray abject poverty in our country, the absurdist style of which may or may not sit well with certain audience members. I, for one, do not like hearing bad words, and here, there was a crisp "P-I mo!" in practically every line from all three characters. This was also a very noisy play, all of them were shouting their Batangueno lines or croaking their off-key songs at full-volume the whole time. It may have been funny for a while, but as the play kept this volume at maximum at length, it eventually became exhausting. Later, the play took a inevitable turn to violence that brought the unpleasantness factor up further. That said however, the action sequence that went down during that climax was presented very well by director Estrada, given that the characters were on separate screens on the Zoom format. Watching the talkback session after the show revealed how different Rhon Kenneth Mercado spoke and acted in real life in contrast with his toxic character Entong, quite a feat of acting.

MAYANG BUBOT SA TAG-ARAW

Written by Norman Boquiren
Directed by Mark Mirando

In a nipa hut built beside a mango tree on the top of a hill, a young Aeta lady named Maya (Opaline Santos) established an organization that aimed to defend their land and heritage as Aetas. One day, Maya was visited by her old childhood friend Bubot (Ji-Anne Lachica). They last saw each other six years ago when Bubot left with her mother to go to Manila. After the usual nostalgic pleasantries, Bubot (now calling herself with the urban name Ariana) suddenly dropped an invitation for Maya to leave her mountain home, and go with her to the US.

Like "Titser Kim" yesterday, playwright Boquiren wrote "Mayang Bubot" as a passionate statement against the systematic abuse of the indigenous Aeta people. It showed that despite having the short end of the stick in terms of life opportunities, the Aeta are proud people who value their land and culture. Unfortunately, these precious possessions of theirs are steadily being eroded by various selfish interests, foreign and local, in the guise of "progress." Director Mirando employed various types of images, like photographs, film footage and especially shadow projection with paper cutouts to enhance dramatic elements of the plot. Despite their remote locations, the tension between Opaline Santos and Ji-ann Lachica was very thick, as the conflict between them was slowly built up as they talked. In pre-recorded scenes, Janna Cortez and Irish Legaspi played the two girls during flashbacks of their wistful childhood. 

THE BOYBOY & FRIENDS CHANNEL

Written by Anthony Kim Vergara
Directed by Joshua Tayco

"The Boyboy & Friends Channel" was a viral YouTube channel featuring the cute and chubby Boyboy (Norbs Portales) and his three outspoken friends, namely: the alpha male Dennis (Anthony Falcon), the low-IQ Greg (Jerald Napoles) and their content creator Randy (Nicco Manalo). In the latest episode, the four friends allowed tattoo artist Juma (Gabo Tolentino) to tattoo an unknown design on their forearms, based on a secret suggestion by one of the friends, only to be revealed later as a big surprise.

This is another VLF play with all the ingredients of an audience favorite. It was a broad comedy about a YouTube channel whose content centered on nothing but raunchy jokes and stupid pranks, everything played for laughs. The cast members were all veterans and played their characters with wicked glee, sometimes in excess. With such a "fun" premise, writer Vergara actually criticized toxic masculinity and the culture of foolish online influencers. That before YouTube these four friends were all laid-off from a TV station which closed down, there was also an indirect dig at the current issues about this. Director Tayco rose to the challenge of online staging by creating the illusion where all five cast members seemed to be interacting in one room using green screen technology (the images needed cleaner cropping though, especially Nicco's which was always deformed), while the scenes were being shown on a faux YouTube page complete with running comments (which were actually from the CCP FB during the live broadcast). 

Review of VIRGIN LABFEST 2020 - SET A: DOGGY, TITSER KIT, BLACKPINK: Arguing for Acceptance

June 12, 2020

Virgin Labfest XVI, with its timely theme "KAPIT" under new festival director JK Anicoche, will go down VLF history as the year this festival of one-act plays had to resort to being presented as online videos as a result of the worldwide Covid-19 pandemic. The fiesta atmosphere of the CCP during the VLF run is definitely missed. There are also internet and technical problems that can arise during the live presentation, as it already happened in these first three offerings.

After this first week of live (probably problematic) performances via Facebook, there would be presumably smoothed-out versions on its Vimeo channel later this month.

DOGGY

Written by: Dustin Celestino
Directed by: Roobak Valle

A week before their wedding day, millennial couple Mark (Chrome Cosio) and Jane (Che Ramos-Cosio) came home from a gathering with friends where they played a game of "Never Have I Ever." Jane revealed that she had done certain sexual activities with former boyfriends, which she now avoided to do with Mark. This belated discovery about Jane's past annoyed the insecure Mark so much that it led to a furious debate between the two of them that actually threatened their upcoming date at the altar. 

The script of Dustin Celestino went through all the permutations of how an argument about sex and intimacy between a couple could go, and how insulting or messy these could be. The way old arguments are brought up and how the same toxic topics go around in circles will feel obsessive and painful. With real-life husband and wife Mr. and Mrs. Cosio playing Mark and Jane, the conflict within "Doggy" took on a deeper dimension. They were likely shooting their scene right in their own bedroom so there was an uncomfortable voyeuristic feel. You can feel the seething frustrations on both sides, and yet could only wait and see how they would get through this tempestuous night. How those sparks would have flown if this was being performed on a stage, I could only imagine. Couples who watch this together may get provoked by the various points raised by Mark and Jane against each other. 

TITSER KIT

Written by: Jobert Grey Landeza
Directed by: Adrienne Vergara

Lumad teenager Patrick (JM Salvado) was being called for questioning by the principal of his new school. Scared, he hid under an old table in the school storage room. His favorite teacher Titser Kit (Io Balanon) found Patrick crouched in there and engaged him to talk about his difficulties in his school now, and to reminisce about their times together in a Lumad school. 

The way Adrienne Vergara directed this one-act play as a short film, which enhanced the delivery of Landreza's dramatic elements of the story even more. This quiet play only had two characters in a single setting with not much action -- all talk straight for more than 30 minutes, some lines were delivered in a Lumad language. To be frank, if this was actually staged as a play in Huseng Batute, there is a risk that certain audience members may get distracted or bored. However, in short film form with the colorful animation employed, the material took on a magical character which held the viewer in and made him listen intently to Patrick's unfortunate plight. For most of the other plays, presenting on an online platform may not be ideal. However, for this intimate play, having this online video format turned out to actually be a big advantage.  

BLACKPINK

Written by: Tyron Casumpang
Directed by: Jethro Tenorio

Tatay (Jonathan Tadioan) was a liberal widower military man had three sons. The youngest son Bunso (Noel Comia Jr.) was an effeminate teenager who loved dancing to the songs of Kpop girl group Blackpink. The second son Diko (CJ Barinaga) was a manly jock type who was into the military culture. The eldest Kuya (Gio Gahol) was a free spirit who just shifted into his nth course in college, gender studies. One day, Bunso was angry that his teacher did not allow him to join the girl dance group in the school program, so he volunteered to dance with his dad and two brothers instead.

This had all the ingredients to be the audience favorite at this year's VLF because of its comedic treatment of its prickly theme of gender issues. Noel Comia Jr., already recognized for his acting prowess both on stage and film as a child actor, absolutely threw all inhibitions into the wind to play Bunso in the most over-the-top performance I had seen him give. This was a hilarious play for sure, but it was definitely out to deliver a big message exhorting everyone to allow each man freedom of sexual orientation, identity and expression without any boxed-in labels. Most of the conservative Boomer parents in the audience probably had no prior idea what SOGIE is, and this play will open their eyes to these concepts. But whether they can easily accept these fluid ideas as Tatay did in the play, I think that may take more time. 

Review of Rep's ANNA IN THE TROPICS: Smoky and Steamy

April 28, 2020

Cuban-American playwright Nilo Cruz's Pulitzer Prize-winning play "Anna in the Tropics" is the second offering of Repertory Philippines for their current season. It was supposed to run from March 13 to April 5, 2020. Unfortunately, the run-up to opening night was already rife with increasing serious concerns about the COVID-19 pandemic. There were still several theater shows which still managed to push through on that weekend of March 8, when a public health emergency was declared nationwide.

Even then, Rep was still planning to push through with its opening night on March 13 with social distancing precautions. But as the threat of a Metro Manila lockdown loomed, Rep sadly decided to cancel the run on March 12. That same night, they still pushed through with their preview show with limited audience of a few special guests only. That one show was already the first and final performance of Rep's "Anna in the Tropics." More than a month later, I was able to watch a video of that single staging, and I am thankful for the privilege. 


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It was 1929 in Tampa, Florida. There was an immigrant family from Cuba who were in the business of making traditional Cuban cigars. The family was headed by a middle-aged couple, Santiago and Ofelia. Their eldest daughter Conchita was married to a fellow factory worker Palomo. Their much younger daughter Marela was still single in her early 20s. Working with them was Chester, Santiago's younger half-American half-brother.

It was the tradition in cigar factories back then to hire a lector, or someone who read stories to entertain the workers while they were they were busy rolling the tobacco in paper. The new lector who just arrived was a handsome man named Juan Julian. As he read the steamy story of Leo Tolstoy's classic novel "Anna Karenina,"  long hidden frustrations and passions were roused among his rapt audience.

The setting of the play was uncommon and very interesting. The atmosphere of the stage was very exotic with all the raw wooden elements used in the set. Together with the muted lighting, the homey set evoked a heady sense of that bygone era. A most stunning technical element were those very stylish costumes designed by American costume designer Becky Bodurtha. Those clothes (mostly whites, creams and khakis), and the hairstyles, hats and accessories, completed the whole nostalgic picture and brought us back to the late 1920s America. The accent the actors used to deliver their English lines sounded like they could be transposed to pre-war Philippines as well. 

There were no lead roles, as each character all had their turn to be at center. Gie Onida and Madeleine Nicolas played Santiago and Ofelia. They both reflected the pride of being the owners of a cigar factory which valued the traditional way, as well as the grounded relationship between a long-married couple. As they are both known for, Skyzx Labastilla and Brian Sy gave intense performances individually as Conchita and Palomo. But together as a couple, their chemistry was lacking, and their relationship unconvincing, but this may be what the story required. Gab Pangilinan had the verve and naivete of young Marela, making everyone want to take care of her.

Ricardo Magno was magnetic as the debonair Juan Julian, as the role required him to captivate all the females and gain the ire of the men. His natty white suit and fair refined features made him stand out in every scene he was in. Paolo O'Hara seemed to be miscast as Chester (nicknamed Cheche) in the physical sense, but this did not mean he did not give a potent performance. He had the most memorable scenes that were raising hell (modernization and change) and chilling to the core (desire and despair).

This casting was unique because all seven actors in the ensemble were portrayed by actors who were acting in their very first Rep play. Aside from Pangilinan, who had starred in imported musicals like "Side Show" and "Beautiful," the other six veteran actors were more known for their work in productions in the Filipino language. I first knew of Onida from PETA; O'Hara and Labastilla from Virgin Labfest; Magno and Sy from Tanghalang Pilipino and Nicolas from her indie films and telenovelas. 

Cast Photo 

(from Rep FB page)

There was something odd about the play because major events that happened, be they scandalous or traumatic, were never mentioned again until the show ended. I wanted to see some sort of repercussion or justice, but these were not immediately forthcoming. The way New York-based set-designer and director Joey Gonzalez-Mendoza told his story flowed very well, with clear peaks of emotion along the way. However, as the play was written by Cruz, that climax came so abruptly (the lighting of Barbie Tan-Tiongco and sound of Fabian Obispo was remarkable in this scene), just when you wanted the story to flow some more. 

Perhaps watching this play performed live will make a difference in final impact. Watching  play on video may be the next best thing, but the experience is simply not the same. Hoping that the opportunity to see this play live may still come to pass some day, when the local theater scene comes back to life again after this health crisis blows over. May the Lord grant that day to come soon.

Review of Kapamilya Theater's TABING-ILOG the Musical: Troubled Teenagers

March 8, 2020

The original "Tabing Ilog" was a popular teen-oriented tv series on ABS-CBN that ran from four years, from 1999 to 2003. This show, most probably inspired by its American contemporary "Dawson Creek," was the springboard for several currently well-known actors, such John Lloyd Cruz, Patrick Garcia, Baron Geisler, Paolo Contis, Kaye Abad, Desiree del Valle, and Jodi Sta. Maria. I disclose that I never saw a single episode of this show.

This year, for its maiden foray into the theater scene, ABS-CBN's Kapamilya Theater decided to translate this series (and its typical array of teen-related problems) into a full-length stage musical. They definitely wanted to get things right their first time out by getting the services of multi-awarded artists to create this piece, namely Vincent de Jesus (for music and lyrics), Jade Castro (for book) and Topper Fabregas (as director).

The story opened with a gathering of friends at their favorite hangout spot under a tree beside a river. As usual, it was James (PBB's Jem Macatuno) who led in texting everyone to come. Rovic (Ian Pangilinan) came with his girlfriend Eds (PBB's Kiara Takahashi). Fonzy (PBB's Argel Saycon) came with his sister Corrine (PBB's Lou Yanong). Badong (PBB's Batit Espiritu) came with his trusty sidecar. Their special guest that day was George (Miah Canton), their gangmate who went to the States, now here on vacation. 

These character names were the original character names from the TV series. James was Patrick Garcia. Rovic was John Lloyd Cruz. Eds was Kaye Abad. Fonzy was Baron Geisler. Corrine was Desiree del Valle. Badong was Paolo Contis. George was Jodie Sta. Maria. Of course, these names alone would give the currently millennial fans of the original series a serious case of throwback nostalgia back to their teenage years. Along with that, there were also memory-triggering props, like the bicycles and the tree with a swing made from an old tire.

The stage with the bikes and the tree with the tire swing

The play lasted for two hours, with a 15 minute intermission. The main story dwelt on how the gang dynamics were severely altered after Rovic and Eds broke up on account of a Fil-Am interloper named Jerry (Justine Narciso), George's best friend from New York who came home with her. The second act would deal with some social activism, when their beloved riverside spot was threatened by the planned building of a dam in their area. 

In between were little anecdotal side-stories about moving out, speaking up, alcoholism, mental health, platonic friendships, LGBT issues, and the graduation ball. This caused the story telling to be episodic, thus making the flow of the story erratic. The scene about Fonzy getting injured was puzzling because it was not clear what he was doing and why. There was a gay character Ely (Franco Ramos) to make a point that calling them "bakla" was okay as long as it was not said in an insulting way. James' kid sister Sammy (MNL 48’s Brei Binuya) was given her own song to sing to represent the "future generation".

Among the young actors in the cast I watched, the best singer of them all was Miah Canton. You can clearly hear the difference between a classically-trained voice (like Canton's) and someone who can just sing (the rest). Tough as it may sound, everyone's singing (except for Canton) were of inconsistent quality, to put it mildly. Some teetered precariously on the edge of the correct tune and a few actually veered off-key, to the misfortune of De Jesus' songs. The group dancing could have had better coordination and timing. Their acting performances frequently came off as quite self-conscious. These issues are nothing that more intensive training in voice, dance and acting cannot fix, if they seriously want to pursue stagecraft. 

I saw the list of alternates per role and saw a number of proven stage singers among them, like Gab Pangilinan (for Eds), Teetin Villanueva (for Corrine), Krystal Kane (for Jerry) and Noel Comia Jr. (for Sammy). The other alternates were mostly graduates of PBB, like Abi Kassem (for Eds), Sky Quizon and Hanie Jarrar (for Rovic), Emjay Savilla (for Badong), Gian Wang and Gabby Sarmiento (for James), Shawntel Cruz (for Jerry), Art Guma (for Ely) and Lie Reposposa (for Sammy). There were MNL 48 members, like Abby Trinidad and Belle de los Santos (both for George). The alternates for Fonzy are theater actor Vino Mabalot and Star Hunt alumnus Elyson de Dios. 

The various adult characters involved in the teens' stories were played by two seasoned senior actors. On the show I watched, the characters of Rovic's grandmother, Eds' mother, and the school teacher in charge of the grad ball were all played by Joann Co. (Her alternate in these roles is Agot Isidro.) The characters of Eds' father, the school principal, and Eds' gay fashion designer boss in Rizal was played by Jojit Lorenzo. (His alternate in these roles is Paolo O'Hara.) Their extensive stage experience in singing and acting was definitely apparent vis a vis the younger actors. 

The cast at the curtain call

(Espiritu, Yanong, Takahashi, Pangilinan, Macatuno, Saycon, Canton, and Binuya)

Overall, the script could use some streamlining or the direction more tightening, to get the story flowing more smoothly. Better yet, some more interesting plot points could maybe be developed to generate more excitement in the story. Another teenage love triangle was not exactly novel nor compelling. They sneaked in the name of Anne (that was Paula Peralejo's character in the TV series) at one point, but they never mentioned her again before the show ended. While this show can still be entertaining especially for the fans, I'd say there is still much room for improvement for it in future stagings. 


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TABING ILOG runs from March 7- April 26, 2020, at the Dolphy Theater, Sgt. Esguerra Ave, Diliman, Quezon City, Metro Manila. Access to the theater is via the Audience Entrance. Show times are at 8 pm from Thursdays to Sundays, and 3 pm matinees on Saturday and Sundays. Ticket prices range from P2,500 (VIP), P1,500 (Orchestra Side), P1,200 (Balcony Center) and P1,000 (Balcony Side). 

Review of Blue Rep's NEXT TO NORMAL: Breakable Bipolarism

March 7, 2020

This is the third time I had seen "Next to Normal" (music by Tom Kitt, book and lyrics by Brian Yorkey).  In 2010, my wife and I were able to catch it at Booth Theater on Broadway, starring Marin Mazzie (as Diana), Jeff Danieley (as Dan) and Kyle Dean Massey (as Gabe). My review of that show was posted HERE. In 2011, we watched a local staging by Atlantis, starring Menchu Lauchengco-Yulo (as Diana), Jett Pangan (as Dan) and Felix Rivera (as Gabe).  My review of that show was posted HERE. Today, I was able to see a third version of this intense psychologically dramatic musical.

Diana Goodman was a very stressed out housewife. Her husband Dan was very concerned for Diana's fragile psyche, as she juggled several psychotherapeutic drugs. Diana seemed very closely attached to her clingy eldest son Gabe, who was determined to be her center of attention. However, she was emotionally distant from her rebellious daughter Natalie, who was turning to drugs herself. When Diana's delicate psychiatric condition took a turn for the worse, her new doctor Dr. Madden recommended electro-convulsive therapy with all its attendant risks to her memory.

Dan and Diana argue as Gabe looked on

The Fine Arts Theater on the third floor of the Gonzaga Building in the Ateneo de Manila University campus was a very intimate space. This is very surprising because the stage of the Booth Theater was huge as well as the multi-tiered metallic set for the Goodman house. I already considered the set for the Atlantis production staged at the Carlos P. Romulo Auditorium to be a significant downscaling of the set. Now seeing this very small stage right in front of me, I felt this was going to be a very different viewing experience, and it was.

The story being told gained a different point of view the very intimate way this musical was staged this time around. The simplicity of the set directed all the attention to the actors. The actors were so up close to the audience, we can see the sweat on the brow and the tears on their faces. The songs, especially "I'm the One" and "Song of Forgetting," seemed to have gained so much more angst and power when I can clearly see the actors' every facial expression while singing them in a setting like this. Yorkey's deep and witty words were heard loud and clear. 

Dan and Diana in an intense scene

Cris Villonco and Jef Flores may initially seem too young to pull off the roles of Diana and Dan. However, it soon became evident that being younger made their Diana and Dan all the more vulnerable to the extreme stress of parenthood that they crumbled under. Villonco had a delicate physicality which made her Diana so precarious. Her vocals were given quite a strenuous workout in driving rock songs like "The Break," but they remained crystal clear and pitch perfect the whole time. Flores gave his Dan a fragile edge himself which I did not see in previous incarnations of the role, so evident in that final duet of him with Gabe.

Tim Pavino was very earnest as Gabe, a son who had an unhealthy connection with his mother. The revelation scene about Diana's problem with Gabe still packed a punch even if I am watching this for the third time. Pavino's soaring vocals were pushed to extremes with the range of his song "I'm Alive." (Adrian Lindayag alternates as Gabe.) 

Dan and Diana revisit memories with Natalie

Ateneo freshman Nikki Bengzon was remarkable as the jaded teenager Natalie, both singing- and acting-wise, unfazed by her professional multi-awarded co-stars. Sophomore Carlos de Guzman was delightful as Natalie's supportive boyfriend Henry. (Jam Binay and Davy Narciso alternate as Natalie and Henry.)

Jobim Javier made a big splash in the theater world in 2018 with his star-making performance as Butch in "Eto Na! Musikal nAPO," which eventually won him the Gawad Buhay award as Best Actor in a Musical for that year. Here however, his weaker singing vocals as Dr. Madden and Dr. Fine tended to be drowned out in group numbers under the superior and better projected vocals of his co-stars. (Jason Tan Liwag alternates in these two doctor roles.)

The cast at the curtain call

(Javier, Pavino, Villonco, Flores, Bengzon and de Guzman)

Director Missy Maramara overcame the severe venue and budget constraints and successfully used these limitations to bring out to the fore the play's innermost powerful emotions. Despite the fact that this was already my third time to watch the show, this one was so stripped down that hit me in a whole different impact, with the intensity of its raw display of heart and soul by the lead actors. Thanks to the musical direction of Ejay Yatco, the original Broadway soundtrack (on Spotify) sounded so sterile in comparison. Emotions here are so frayed, a debriefing is in order after the show. 

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Blue Rep's NEXT TO NORMAL runs from March 6 to 22, 2020 at the Fine Arts Theater, 3rd floor of Gonzaga Building, ADMU, QC. Show times are at 3 pm on Saturdays and Sundays, and 8 pm from Thursdays to Sundays. Ticket prices at P530 (Gold), P430 (Silver) and P380 (Bronze-SRO). So far, a check of the KTX website (LINK) showed that all show dates are already sold out! Stand by for any announcement of additional dates. 

Review of TP's BATANG MUJAHIDEEN: Manipulating Minors

February 29, 2020

In March of the year 2000, Abu Sayyaf rebels led by Ustadz Janjalani and Abu Sabaya held hostage all the Christian staff and students of Claret School in Tumahubong village in Basilan province. It was a grueling 45-day ordeal for all the hostages, particularly for the school priest Fr. Rhoel Gallardo (as the very symbol of the invaders' rival religion) and one of the teachers Ms. Marissa (with whom Ustadz took fancy on).

Meanwhile, 7-year old Yakan girl Fatima had just witnessed her father ruthlessly murdered and cannibalized by the bloodthirsty Christian extremist called Kumander. Soon after this heinous crime, Fatima was recruited by Abu Sabaya to be a "mujahideen" or a guerrilla fighter in the name of Islam. Ustadz hid Fatima under the boy's name Al Mustafa (meaning "chosen one") to undergo training, where she even bested the other boys in combat skills.

The Little Theater had been rearranged so that the audience members are seated on four sides of a slightly-elevated square stage in the center. The show began with all nine members of the cast forming one diagonal line across the square and perform a washing ritual. Doray Dayao stood up from the center of the line, broke the fourth wall to address the audience about what the play was going to be about, explaining how the character of Fatima was going to be represented by a puppet which she carried on her left arm and moved with sticks held by her right hand. . 

Lhorie Nuevo was Ustadz and Eunice Pacia was Abu Sabaya, both compelling performances. Jonathan Tadioan played Fatima's proud father. Ybes Bagadiong was the ill-fated Fr. Gallardo. JV Ibesate played a chilling Kumander. Iman Ampatuan was Pyong, a Grade 4 student hostage at Claret. Monique Nellas had two memorably standout roles, as Fatima's grieving mother and as the unfortunate Ms. Marissa. Usual TP leading man Marco Viana oddly did not have a particular character to play.

A tense scene of retribution in "Batang Mujahideen"

(photo credit: Gian Carlo Vizcarra)

It may not be easy to get into the drift of the story right away because the casting of the multiple characters of either religion fluidly changed among the actors, regardless of gender. Notably, the two Abu Sayyaf leaders were both played by women. There were also two stories being told in parallel, that of Fatima (fiction) and that of the Claret School hostage taking (factual), which can get confusing at first. However, eventually you will soon get the drift of the various experimental techniques (puppetry, documentary theater, devised theater) employed by adventurous young director Guelan Luarca in this staging, and be engrossed with the drama up to the very end.

The liveliest scenes in the play was the circuit training montage of the titular mujahideen children, all of them portrayed by puppets doing obstacle courses, firing rifles and swimming in the river. Because of this, the scene ironically came across as whimsical and even cute, despite the perverseness of what was actually being presented. However the symbolism of the children being actual puppets of the adult extremists was not lost. 

The other remarkable scene was the literal shower of bullets that occurred during the fiery encounter between the military and the Abu Sayyaf. The bullet shells that littered the entire stage after that scene were a noisy reminder of the violence that had transpired. The spine-tingling depiction of Fatima's father's gory death and Fr. Gallardo's bloody torture was likewise imaginatively staged without resorting to graphic violence. 

The cast of nine at the curtain call

(Ampatuan, Nuevo, Ibesate, Nellas, Dayao, Viana, Bagadiong, Pacia, Tadioan)

(photo credit: Gian Carlo Vizcarra)

The play was written by Malou Jacob, whose main output had been political plays since the 1980s. Antonette Go assisted director Luarca in the directing chores. Cagayan de Oro-based playwright Dominique La Victoria took on the dramaturgy of this sensitive piece. The creative team was composed of Marco Viana and Paw Castillo for the set, D Cortezano for lights, Arvy Dimaculangan for sound, music and puppetry, and Joemel Era for choreography. The overall result was one haunting, thought-provoking presentation about Christian-Muslim relations which every Filipino should watch to gain at least some valuable understanding and empathy about these pressing issues of national concern.

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BATANG MUJAHIDEEN runs from February 21 to March 9, 2020 at the Tanghalang Aurelio Tolentino (Little Theater) of the Cultural Center of the Philippines. There are four shows left: March 6 at 3 pm, March 7 at 3 pm and 8 pm, and March 8 at 3 pm. The tickets are at P1500 (VIP) and P1000 (Regular). The running time is a compact 1 hour and 20 minutes with no intermission. 

Review of Trumpets' JOSEPH THE DREAMER: A Favorite's Fortune

February 23, 2020

I had heard of a show called "Joseph the Dreamer" as the local version of the biblical story of Joseph, son of Jacob. This was an original musical born out of Filipino talent written by Freddie Santos in 1989, adapted from a cantata composed by Cam Floria. This was definitely not a retread of Andrew Lloyd Webber's "Joseph and the Amazing Technicolor Dreamcoat" (1968), though they may be telling the same story. 

"Joseph the Dreamer" may hold the record as the longest running Philippine musical, but sadly I never had the chance to watch any of its runs. Audie Gemora played Joseph in the original run in 1989. 10 years later, pop star Gary Valenciano took on the role as the show reached its peak in 1999, with shows both in Manila and in the provinces.  

This year, "Joseph the Dreamer" goes onstage again for the benefit of next generation, as well as for those of past generations who missed it, like me. Seemingly as a nod to its long history, Audie Gemora is back iin the cast, this time as Jacob. Gary's son Paolo Valenciano takes on the role of stage director for his debut production in theater.

We all know the story from the book of Genesis. Jacob had 12 sons from four wives. Among his boys, his favorite was his 11th son Joseph, the firstborn of his favorite wife Rachel. One day, Jacob gave Joseph a coat of many colors, which caused his brothers to rise up against him in jealousy. Treacherously sold into slavery, Joseph found himself in Egypt where was able to hone his talent for interpreting dreams. When he foretold the future based on the Pharoah's strange dreams, Joseph was named governor of Egypt.

Sam Concepcion is a very charismatic Joseph, brimming with confidence and goodness of spirit. His smile had a wattage can brighten up the whole stage. On top of his star power, this exhausting role required the actor to be a triple threat of considerable stamina, as he had to sing, dance and act in practically all the scenes.  Admirably, Concepcion proved to be more than adequate for the demands of his challenging role. He even nailed a high-flying spin jump kick at one point. 

For the dancing this show, I can actually feel the spirit of Michael Jackson / Gary Valenciano in the hip hop moves by choreographer MJ Arda. There is so much joy onstage when the cast members were dancing, especially when rocking those characteristic "Walk Like an Egyptian" style steps. The absolute best dance number for me came at the very end when adorable little cutie Eli Luis led the entire cast of Hebrews and Egyptians to dance the finale "Praise His Name" -- a truly effusive Hallelujah moment indeed.

I did not automatically recognize Audie Gemora as Jacob, as his usual look was totally transformed with the long dreadlocks, beard and body heft. Gemora's Jacob was played mostly as a comic figure, but he still had that air of authority around him. Bituin Escalante only had one song number as Joseph's mother Rachel, but wow, did she stop the show dead in its tracks right there with her sheer vocal virtuosity (and her featured song "He Opens a Window" happened early in Act 2!). The narrator of the story (and Egyptian princess Asenath) was Kayla Rivera, who exuded an energetic stage presence in this role, sometimes lacking from her previous roles. 

Of course there are a lot of dramatic moments throughout the show. The climactic reunion scene among the brothers was downright tear-jerking in its pure sincerity. However, despite these sad scenes, there were several comical moments which had the audience in stitches. The best comedy was at the expense of the flamboyant Pharoah. His elaborate costumes alone with the glassy cape in one scene, and glittering gold lame cape in the next can make you giggle the way the lavish costumes looked on actor Carlo Orosa, who seemed to be improvising his outrageous gestures the whole time.

The other attention-getting scene was the one about Potiphar's wife, which had undertones of a scandal. The decision to execute this sensitive scene as a campy comedy was a very wise one, anchored on the comedic timing of Alys Serdenia in her performance of the naughty song "Mae East". Her slinky red costume was topped by an outrageously huge, triangular flat-op afro wig, which added to the hilarious nature of the scene.

The cast at the curtain call

(Front row L-R: Orosa, Escalante, Rivera, Concepcion, Luis, Gemora)

To distinguish scenes of dreams from reality, director Valenciano employed effects such as black lights with neon color ribbons, flashing strobe lights and glittery laser lights (designed by Dong Calingacion). The centerpiece of the set designed by Mio Infante was a movable triangular stage where Joseph frequently performed. Infante was also responsible for all those fabulously atypical anachronistic costumes, especially those ornate Egyptian designs. (My minor costume disappointment was about the "coat of many colors" itself, because the colors were at the back and inside the coat, so when Joseph was facing the audience, all we see is a plain black coat.)

Since this is the very first time I had seen this show, I would not know how much different this current show to the original. I can clearly see its appeal to audiences of all ages. In true Trumpets style, Biblical lessons were imparted without sounding preachy. The way it was staged this time by the young director Valenciano (along with his similarly young co-director Nelsito Gomez) was well-paced, engaging and entertaining. The musical score is very catchy and energetic as produced this time by musical director Myke Salomon. It can therefore easily lend itself to evolving styles of dance choreography in its various incarnations over the years, and yes, the years to come.


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JOSEPH THE DREAMER runs at the Globe Auditorium of the Maybank Performance Arts Theater in Bonifacio Global City from February 21 to March 7, 2020. As of now, there are five show times left on the Ticketworld site: 8 pm on Feb. 28 and 29, and 3 pm on Feb. 29, March 1 and 7. Tickets are sold at P2,500 for VIP, P1,500 for Gold, and P1,000 for Silver. Currently, there are limited seats left for all remaining show dates.