Saturday, February 27, 2021

KTX: Review of Trumpets' FIRST NAME ANEW: Sacred Stories in Songs

February 27, 2021



The original Filipino Christian gospel musical "First Name" was the brainchild of the late theater and concert director Freddie Santos (1956-2020). While Santos wrote all the lyrics, the music for each song was written by acclaimed OPM artists like Gary Valenciano, Ogie Alcasid, Ray-An Fuentes, Butch Alvarez and Bob Serrano. 

Under the stage direction of Santos himself, it was first staged at the Rizal Theater back in 1988, and was a big success with young theatergoers. It would have subsequent restagings at the Music Museum in 1992, Meralco Theater in 1993. There would be an updated version staged at the SM-Mall of Asia Center Stage in 2007.

"First Name" is acknowledged as the first English-language Gospel musical in the history of Philippine theater. It was in fact the show that eventually led to the formation of Triumphant People's Evangelistic Theater Society (or Trumpets), recognized as the first professional gospel theater group in Asia, in 1990 by founder Audie Gemora.

This year while the live theater circuit still reeled from quarantine restrictions, Trumpets resurrects "First Name" again, this time adapted for an online venue. The format was a series of ten music videos, each crafted with its own unique vision and style, linked together by expository spiels by a narrator (Tippy Dos Santos), who would explain the significance and lessons of the songs and the names of the Bible characters that inspired each song. The segments were written by Luna Grino-Inocian, and directed by Carlo Magdaluyo.

The opening number was "What's in a Name" (G. Valenciano), a song about how our names could define who we are, in a new arrangement by Jungee Mercado. The concept by Mo Zee had the dapper artist Sam Concepcion singing and dancing the bouncy percolating tune in a room with colorful murals and neon lights and backup dancers. At a break, he had a rap duet interlude featuring Samantha Libao

Aicelle Santos followed with the song "Daughter Eve" (G. Valenciano), rearranged by Choi Padilla and John Apura, video with pop-up storybook animation directed by Cathy Asanza-Dy. This was about the first woman's guilt for her disobedience and desire to be reunited with the Father. Aicelle's pained rendition of the sad lyrics brought a tear to her eye, but the song ended with hope as her pregnant belly was revealed. 

"Let Da Rain Pour Down" (R. Fuentes) was re-arranged and performed by gritty indie artist Bullet Dumas in a reggae beat and style, together with Jacques Doufort and Yuna. What made this song even more remarkable was the performance artwork of Isabella L. Gonzales (Kuh Ledesma’s daughter) who was retelling Noah's story via a painting that evolved while Dumas sang, a true visual and aural highlight directed by Paolo Valenciano.

"Psalm 23" (R. Fuentes), about King David, was arranged by Mon Faustino as an R&B ballad sung with smooth dramatic runs by Lance Busa. "More Than His Name" (R. Fuentes) about Simon Peter in the eyes of his wife, was arranged as a piano torch ballad by Rony Fortich, sung with crystal clarity by Shiela Valderrama-Martinez. Both videos were directed by Johann de la Fuente

"To Be Named a Disciple" (F. Santos and B. Alvarez), inspired by acts of the apostles, was arranged by Gio Levy in an upbeat comic style featuring Nanette Inventor as two characters -- one was a nun with fuchsia leggings under her habit, and the other was a rapper in a checkered hooded jacket, in an irreverent video directed by Carlo Orosa

"Woman with No Name" (O. Alcasid), about the woman accused of adultery, was rearranged by Jeff Arcilla to be sung by Tim Pavino in a video that featured Joni Vergara and two male dancers interpreting the disturbing torment of social media bullying. "What's His Name?" (B. Serrano), about the many names by which Jesus Christ was known, was arranged by John Apura and Choi Padilla as a driving rock number interpreted by Jett Pangan. Both videos were directed by Dan Cabrera.

The next song is the one song from this musical that became its most famous hit -- "Could You Be Messiah?" (G. Valenciano). The original singer Gary Valenciano was also the one who rearranged this new version to be sung by powerhouse vocalist Morrissette. The stark black and white video, which had Morrissette plaintively singing the prayerful song on her knees in a big empty room, was directed by Dave Lamar

The final song is the title song "First Name" (B. Serrano), about how Jesus was the first name and the last, was rearranged by Mon Faustino. In the video directed by Mo Zee, Christian Bautista was singing the song alone in a verdant field at sunrise. He would later be joined virtually by a choir of Trumpets singers (Audie Gemora, Sheila Francisco, Mio Infante, Joaquin Valdes, Bituin Escalante, Carla Martinez, Jake Macapagal, etc...) building up to a triumphant anthemic conclusion. 

*****

"First Name Anew" will be available for streaming on KTX for only three days, from February 27 to March 1, 2021. Tickets at P500 each. 


Wednesday, February 17, 2021

Tanghalang Ateneo: Review of PASSWORD: 03d1pu5_R3x: Fathered by Fate

February 18, 2021



For the first offering of their 42nd season with the theme of "Pagbabanyuhay: Mga Bagong Anyo ng Buhay," Tanghalang Ateneo chose to stage a modernized version of a classic Greek tragedy -- "Oedipus Rex" by Sophocles. This digital version, with the stylized title of  "PASSWORD: 03d1pu5_R3x," was adapted and directed for an online presentation by Ron Capinding, using the Filipino translation by National Artist Rolando Tinio. 

Several years ago, an old legislator named Laio had been murdered during a pilgrimage, and his murderer is still at large. The Highest Council of the nation has determined that this murder mystery has to be resolved in order for the country to survive an ongoing plague (pandemic?) that was causing an alarming death toll all over the country. The current president Edipo (Yan Yuzon) promised the nation that he would get to the bottom of this cold case, to finally bring the perpetrator to justice, and restore prosperity to the country. 

His Vice President Kreon (Marian Rivera-Dantes) advised Edipo to consult with the correspondent Maria Tiresias (Katski Flores) for further enlightenment. However, the reluctant Tiresias publicly accused Edipo himself of being the curse that befell the country. She further added fuel to the president's anger by saying that Edipo had long unknowingly been living in depravity with his wife Yokasta (Miren Alvarez-Fabregas). His pride and reputation hurt, this led Edipo on an obsessive quest to discover his own origin.

Yan Yuzon possessed the powerful charisma of Edipo, as he underwent an intense development from benevolent leader to disturbed tyrant to tragic figure. Miren Alvarez-Fabregas as Yokasta was cool and confident, but as terrible secrets were being revealed, her assured facade soon broke down. Movie star Marian Rivera-Dantes had an auspicious debut as theater actress as the staunchly-principled Kreon, with her calm demeanor and dignified indignance. In her one riveting scene, Katski Flores as the blind journalist Maria Tiresias (sly name pun obvious) built up the tension which carried through the rest of the play.

In smaller but critical roles, Gabe Mercado (as Lysanias) and Marlon Rivera (as Egeo) held the keys to the central mysteries. Director Ron Capinding, who played Oedipus himself in a previous staging, played the Presidential Spokesman, whose got to relate the grisly events that happened off-camera. The Chorus was composed of student actors (Dani Capinding, Nicole Chua, Miguel Datu, Trixie dela Cruz, Kath Dizon, Shaun Ocrisma, Lars Salamante) who played various side characters like the citizenry, the cabinet ministers and press corps. Their scenes of choral elocution carried a lingering haunting effect. 

When Capinding updated the classic tale to the current times, he was not at all subtle. President Edipo was a mayor from the South before he became president of the country. He continued to enjoy immense popularity and support from his fellow Southerners despite the ongoing problems. His Vice President Kreon was a woman from Nabua (Camarines Sur), whom he later accused of wanting to grab his power. To add a further knowing jab, Edipo's press conferences always started late. 

In online presentations like this, theater elements like dramaturgy (Peter George Mayshle), production design (by Marlon Rivera), lighting design (by D Cortezano), sound design (by John Ago Yam) and original score (by Zak Capinding) now had to work hand in hand with film elements like editing (by Bianca Baltazar), special visual effects (Miggy Arnonobal), color (Clara Lazaro), and sound mixing (also by John Ago Yam). Pure theater actors had to learn to act in front of a camera (giving Marian Rivera a distinct advantage). Since this particular performance is rendered permanent by this digitally-recorded version, the essential aspect of constant newness in every theater performance had essentially been neutered. 

Capinding's modern adaptation made the whole play very clear, engaging and currently relevant. The rich, deep Filipino vocabulary used may sound eloquently poetic to the ears, yet the discontent, defiance and distress they conveyed remained remarkably urgent. The English subtitles by Jopie Sanchez will be very helpful for the occasional archaic words. 

The online Zoom-type platform had its limitations, for sure. But this production proved that, with innovative ideas and passionate actors, a story originally conceived in 429 BC can be made to feel as if it was primetime news today. The suspenseful execution of the final reveal still packed a heavy wallop, whether you knew the twisted story or not. 


*****

** The showdates for "PASSWORD: 03d1pu5_R3x" shall be February 22, 25 and 27, 2021. Tickets will be P150 for general viewing and P250 for general viewing plus a souvenir program (prices inclusive of transaction fee). Tickets can be purchased from Tanghalang Ateneo's ticketing partner Ticket2Me. 

Thursday, December 3, 2020

BILLBOARD HOT 100 SONGS OF 2020

December 4, 2020


Here are the Hot 100 Singles of 2020 as ranked by Billboard Magazine. This year-end recap is based on Billboard Hot 100 chart performance during between the weeks from Nov. 23, 2019 through Nov. 14, 2020.. This is a list of last year's most popular songs across all genres, ranked by radio airplay audience impressions and sales data as measured and compiled by Nielsen Music, while streaming activity data provided by online music sources.


1  Blinding Lights - The Weeknd (#1 for 4 weeks, April 2020)

"Blinding Lights" has set a new record for most weeks in the Top 10 of the Billboard Hot 100 at 40 weeks, with 4 non-consecutive weeks in the #1 spot. He also holds the record for most weeks in the Top 5 at 28 weeks.

2  Circles - Post Malone (#1 for 2 weeks, November - December 2019)

"Circles" spent 39 weeks in the Top 10, a record until "Blinding Lights" edged it out. 

3  The Box - Roddy Ricch (#1 for 11 weeks, January - March 2020)

4  Don't Start Now - Dua Lipa

5  Rockstar - DaBaby Featuring Roddy Ricch (#1 for 7 weeks, June - July 2020)

6  Adore You - Harry Styles

7  Life Is Good - Future Featuring Drake

8  Memories - Maroon 5

9  The Bones - Maren Morris

10  Someone You Loved - Lewis Capaldi



11  Say So - Doja Cat (#1 for 1 week, May 2020)

12  I Hope - Gabby Barrett Featuring Charlie Puth

13  Whats Poppin - Jack Harlow Featuring DaBaby, Tory Lanez & Lil Wayne

14  Dance Monkey - Tones And I

15  Savage - Megan Thee Stallion (#1 for 1 week, May 2020)

16  Roxanne - Arizona Zervas

17  Intentions - Justin Bieber Featuring Quavo

18  Everything I Wanted - Billie Eilish

19  Roses - SAINt JHN

20  Watermelon Sugar - Harry Styles



21  Before You Go - Lewis Capaldi

22  Falling - Trevor Daniel

23  10,000 Hours - Dan + Shay & Justin Bieber

24  WAP - Cardi B Featuring Megan Thee Stallion  (#1 for 4 weeks, August - September 2020)

25  Ballin' - Mustard & Roddy Ricch

26  Hot Girl Bummer - blackbear

27  Blueberry Faygo - Lil Mosey

28  Heartless - The Weeknd (#1 for 1 week, December 2019)

29  BOP - DaBaby

30  Lose You To Love Me - Selena Gomez



31  Good As Hell - Lizzo

32  Toosie Slide - Drake (#1 for 1 week, April 2020)

33  Break My Heart - Dua Lipa

34  Chasin' You - Morgan Wallen

35  Savage Love (Laxed - Siren Beat) - Jawsh 685 x Jason Derulo (#1 for 1 week, October 2020)

36  No Guidance - Chris Brown Featuring Drake

37  My Oh My - Camila Cabello Featuring DaBaby

38  Dynamite - BTS  (#1 for 3 weeks, September 2020)

39  Go Crazy - Chris Brown & Young Thug

40  High Fashion - Roddy Ricch Featuring Mustard



41  Laugh Now Cry Later - Drake Featuring Lil Durk

42  Woah - Lil Baby

43  Death Bed - Powfu Featuring beabadoobee

44  Senorita - Shawn Mendes & Camila Cabello

45  HIGHEST IN THE ROOM - Travis Scott

46  Bad Guy - Billie Eilish

47  Mood - 24kGoldn Featuring iann dior (#1 for 1 week, October 2020)

48  Rain On Me - Lady Gaga & Ariana Grande (#1 for 1 week, June 2020)

49  For The Night - Pop Smoke Featuring Lil Baby & DaBaby

50  RITMO (Bad Boys For Life) - Black Eyed Peas X J Balvin



51  Heart On Ice - Rod Wave

52  Nobody But You - Blake Shelton Duet With Gwen Stefani

53  Trampoline - SHAED

54  Come & Go - Juice WRLD x Marshmello

55  Truth Hurts - Lizzo

56  If The World Was Ending - JP Saxe Featuring Julia Michaels

57  We Paid - Lil Baby & 42 Dugg

58  Yummy - Justin Bieber

59  One Man Band - Old Dominion

60  Got What I Got - Jason Aldean



61  Sunday Best - Surfaces

62  Godzilla - Eminem Featuring Juice WRLD

63  Bandit - Juice WRLD & YoungBoy Never Broke Again

64  Party Girl - StaySolidRocky

65  Die From A Broken Heart - Maddie & Tae

66  Popstar - DJ Khaled Featuring Drake

67  All I Want For Christmas Is You - Mariah Carey (#1 for 3 weeks, December 2019 - Januarty 2020)

On the chart dated December 21, 2019, "All I Want For Christmas Is You" topped the Hot 100, only after 35 cumulative weeks and 25 years from its original release -- setting the record for the slowest climb to the top spot and the longest trip to the number one position. When it spent a third week atop the Hot 100 chart dated January 4, 2020, Carey became the first artist in history to rule the chart in four separate decades: 1990s, 2000s, 2010s & 2020s chart.

68  One Of Them Girls - Lee Brice

69  Hard To Forget - Sam Hunt

70  One Margarita - Luke Bryan



71  Panini - Lil Nas X

72  Hot - Young Thug Featuring Gunna

73  I Hope You're Happy Now - Carly Pearce & Lee Brice

74  Emotionally Scarred - Lil Baby

75  Suicidal - YNW Melly & Juice WRLD

76  The Bigger Picture - Lil Baby

77  Only Human - Jonas Brothers

78  The Woo - Pop Smoke Featuring 50 Cent & Roddy Ricch

79  Sum 2 Prove - Lil Baby

80  Stuck With U - Ariana Grande & Justin Bieber (#1 for 1 week, May 2020)



81  Mood Swings - Pop Smoke Featuring Lil Tjay

82 You Should Be Sad - Halsey

83  Dior - Pop Smoke

84  Supalonely - BENEE Featuring Gus Dapperton

85  Even Though I'm Leaving - Luke Combs

86  The Scotts - THE SCOTTS, Travis Scott & Kid Cudi (#1 for 1 week, May 2020)

87  Juicy - Doja Cat & Tyga

88  Be Like That - Kane Brown With Swae Lee & Khalid

89  Homesick - Kane Brown

90  Rags2Riches - Rod Wave Featuring ATR Son Son



91  Bluebird - Miranda Lambert

92  Wishing Well - Juice WRLD

93  Does To Me - Luke Combs Featuring Eric Church

94  P*$$y Fairy (OTW) - Jhene Aiko

95  ily - surf mesa Featuring Emilee

96  More Than My Hometown - Morgan Wallen

97  Lovin' On You - Luke Combs

98  Said Sum - Moneybagg Yo

99  Slide - H.E.R. Featuring YG

100  Walk Em Down - NLE Choppa Featuring Roddy Ricch



** Number 1 songs that did NOT make it into this year-end list:

Trollz - 6ix9ine and Nicki Minaj  (#1 for 1 week, June 2020)

Cardigan - Taylor Swift (#1 for 1 week, August 2020)

Franchise - Travis Scott featuring Young Thug and M.I.A. (#1 for 1 week, October 2020)

Positions - Ariana Grande (#1 for 1 week, November 2020)




Sunday, October 11, 2020

Recap of MAP OF THE SOUL ON:E: BTS ONLINE CONCERT DAY 2

October 12, 2020



BTS is currently the most popular South Korean boy band in the US, and probably the whole world. Their debut single album "2 Cool 4 Skool" was released in 2013 in Korea, and from that year onward, they had been steadily building up their loyal fan base called the ARMY with members from all over the world. 

I first heard of them only when they hit it big on the US charts in 2018 with two #1 albums on the Billboard 200: their third studio album "Love Yourself: Tear" and their compilation album "Love Yourself: Answer." That same year, their singles "Fake Love" and "Idol" reached #10 and #11 respectively on the Billboard Hot 100.

BTS is composed of 7 members, but I did not really know each one by name before. I had watched their recent Tiny Desk concert on YouTube last September 2020, and noted that each one carried a microphone of a different color which also corresponded to the colors of their earpieces, so that was how I identified them. They are RM (blue), Jin (pink), Suga (black), J-Hope (red), Jimin (gold), V (green), and Jungkook (purple). 

I had no idea that BTS was having an online concert until an FB friend who watched the first day last Saturday October 10 encouraged me to go check out the second day of the concert Sunday afternoon. She sent me instructions on how to book a ticket (good for two devices) to the concert from the Weverse app, which I tried but could not figure out. Fortunately, my daughter, who was a big Kpop fan, was able to score a ticket for us at the last minute. 

The whole concert began with a video of the boys all donning their red hoods in a desert with a crag of rock jutting out from the sand. This would transition onto a live stage where they opened the show with a performance of their 2020 song "On" (a #4 song on the Hot 100) with a platoon of masked backup dancers. Then, they performed two of their earliest hits from 2013, "N.O" and "We Are Bulletproof Pt.2." 

There was a video interlude with closeups of the boys, while the stage was set up for the first solo number called "Intro : Persona" featuring RM (or Kim Namjoon) who was the recognized leader and spokesman of BTS. He delivered his strong rap number from behind a lectern, as if delivering a political campaign speech. That hanging mic he used that burst into flame when he threw it into the air was a cool gimmick.

The other guys later joined him to sing "Boy In Luv" (2014, not to be confused with the 2019 hit "Boy WITH Luv") with a building in flames behind them. After the song, all the members individually addressed their fans in Korean language. At first, there were no English subtitles, so I could not understand what they were saying. Fortunately, the later speeches would eventually have these much-needed subtitles. After their introductory messages, they performed "Dionysus" (2019), with the building ruins behind them lit in green.

After another video of the boys posing and modeling, it was Suga's turn to show off his rap skills in his solo spot "Interlude : Shadow." Suga had a quick costume change from white to black ensemble as his hooded dancers surrounded him. Then the other guys got back together with him in a smooth transition to perform another 2020 single "Black Swan" with an underwater kelp forest-like backdrop, which concluded in a balletic solo dance by Jimin.

With a major set change, the three rappers Suga, RM and J-Hope came out donning satin boxing robes to perform the highly energetic hiphop number "UGH!" After this, the other four guys, Jin, Jimin, V and Jungkook, rendered a dramatic "00:00 (Zero O’Clock)" number, wearing white outfits, with a giant digital clock display and winter scenery behind them.  

There was another video montage of the boys, which concluded with Jungkook in a room full of clocks. This segued into his solo number "My Time" which had him dressed in fiery red dancing under a spotlight, first alone, then with four dancers in black. The next was Jimin's solo number "Filter" in a white room with TV monitors and mannequins where he danced ala Michael Jackson. Jin had his turn next with the song "Moon" where he began singing on a replica of the moon with huge red flower growing on it. The next number of this set was "Inner Child" by V, in an elaborate set with a giant suspended carousel, with a little boy riding on one of the horses with him.

There was another video montage of images of the boys, after which J-Hope performed the final solo number "Outro : EGO" with a red classic convertible and four ATVs on stage. This was followed by the first song I was actually familiar with in this whole show -- their #8 US hit "Boy With Luv" which they sang carrying transparent umbrellas. After this song, the guys were already expressing their initial thanks and goodbyes, but like it was in a regular concert, of course there would be more to come. 

The next three high energy numbers -- "DNA" (2017), "Dope" (2015) and their very first single "No More Dream" (2013) -- were performed with elaborated computer-generated sets like a floating stage, a moving elevator or bursts of fireworks to make things more visually interesting. Then, the boys stood in front of massive video walls which showed a multitude of ARMY (mostly female) cheering them on their webcams while watching the concert live. With that background, they performed "Spring Day" (2017), "Idol" (2018) and their recent Hot 100 #1 hit song "Dynamite" (2020).   

Each one of the boys addressed their fans again individually to thank them for their support and express their hopes to be able to perform live once again with them. The live audience was really the missing factor in this concert, as their fangirl energy could not really transmit very well through their Zoom screens, even if they were frantically waving their light sticks and balloons. Their loud screams and fan chants are very much part of this and any Kpop concert and they were much missed in this online concert experience. 

The boys sang their 23rd and final number "We Are Bulletproof : the Eternal" before walking back to the initial stage with desert. They bid their final farewells standing on the same massive rocky crag set piece where the whole concert began 2 hours and a half ago. 

This is the first time I had seen BTS in a full-length concert, and I have to say, these guys really give their singing and dancing their all in terms of energy and dedication. It was clear why their fans love them well beyond their androgynous looks alone.



Thursday, October 8, 2020

Recap and Winners List GAWAD BUHAY AWARDS for 2019: "LAM-ANG," "EVERY BRILLIANT THING" and "PASSION" Lead Awardees

October 8, 2020


Because of the pandemic this year, the presentation of the Gawad Buhay awards this year were pushed back six months, from its usual date in April to today. The awarding ceremony was a combination of pre-recorded segments with Phi Palmos and Meann Espinosa with smooth transitions to live speeches from the excited winners.

The emcees opened the show wearing colorful bunny suits, keeping in tune with the times, but they would later change to regular clothes for the rest of the show. Philstage President Audie Gemora delivered the opening remarks. 

The first set of awards were for the technical categories:

Outstanding Original Score

Fitz Bitana, Jen Darlene Torres and Eljay Castro Deldoc, “Lam-ang” (Tanghalang Pilipino)

Vince Lim, Jeff Hernandez and Michelle Ngu, “Charot!” (Philippine Educational Theater Association)

Eljay Castro-Deldoc

Outstanding Choreography

JM Cabling, “Lam-ang” (Tanghalang Pilipino)

PJ Rebullida, “The Quest for the Adarna” (Repertory Philippines)


Outstanding Sound Design

Arvy Dimaculangan, “Every Brilliant Thing” (The Sandbox Collective)

Jethro Joaquin, “The Dresser” (Repertory Philippines)

Glendfford Malimban, “Dani Girl” (The Sandbox Collective)

TJ Ramos, “Coriolano” (Tanghalang Pilipino)

TJ Ramos, “Lam-ang” (Tanghalang Pilipino)


Outstanding Musical Direction (tie)

Daniel Bartolome, “Passion” (Philippine Opera Company)

TJ Ramos, “Lam-ang” (Tanghalang Pilipino)

Ejay Yatco, “Dani Girl” (The Sandbox Collective)

TJ Ramos

Outstanding Lighting Design

John Batalla, “Every Brilliant Thing” (The Sandbox Collective)

Dennis Marasigan, “Coriolano” (Tanghalang Pilipino)

Meliton Roxas Jr., “Lam-ang” (Tanghalang Pilipino)

Barbie Tan-Tiongco, “The Dresser” (Repertory Philippines)

Shakira Villa-Symes, “Passion” (Philippine Opera Company)


Outstanding Costume Design

Bonsai Cielo, “Coriolano” (Tanghalang Pilipino)

Bonsai Cielo, “Lam-ang” (Tanghalang Pilipino)

Daniel Gregorio, “Katsuri” (Tanghalang Pilipino)

Tata Tuviera, “The Dresser” (Repertory Philippines)


Outstanding Set Design

Ed Lacson Jr., “The Dresser” (Repertory Philippines)

Joey Mendoza, “The Quest for the Adarna” (Repertory Philippines)

Faust Peneyra, “Dani Girl” (The Sandbox Collective)

Kayla Teodoro, “Dancing Lessons” (Twin Bill Theater)

Marco Viaña, “Lam-ang” (Tanghalang Pilipino)


Julie Borromeo


The first Natatanging Gawad award of the night was given to Ms. Julie Borromeo for the field of Dance. She received tributes from all her children and students, as well as performance of one of the contemporary ballets she choreographed to the tune of "Maging Hanggang sa Dulo ng Walang Hanggan".  


The next set of awards were for the writers:

Outstanding Translation or Adaptation

Guelan Luarca, “Coriolano” (Tanghalang Pilipino)


Luna Grino-Inocian

Outstanding Original Book of a Musical

Luna Griño-Inocian, “The Quest for the Adarna” (Repertory Philippines)


Outstanding Production for Children

“The Quest for the Adarna” (Repertory Philippines)


The second Natatanging Gawad award of the night was given to Freddie Santos for Theatre. His tribute began Gary Valenciano performing the song "Would You Be Messiah" which he wrote for Santos's musical "First Name." This was followed a lengthy narration about Santos' long career in performing and directing theater as well as concerts.

Freddie Santos


The next set of awards were for performances.

Male Featured Performance in a Play

Jaime del Mundo, “The Dresser” (Repertory Philippines)

Fernando Josef, “Katsuri” (Tanghalang Pilipino)

Brian Sy, “Coriolano” (Tanghalang Pilipino)

Jonathan Tadioan, “Coriolano” (Tanghalang Pilipino)


Female Featured Performance in a Play

Antonette Go, “Katsuri” (Tanghalang Pilipino)

Sherry Lara, “Coriolano” (Tanghalang Pilipino)

Tami Monsod, “The Dresser” (Repertory Philippines)

Lhorvie Nuevo, “Katsuri” (Tanghalang Pilipino)


Kakki Teodoro

Female Lead Performance in a Play

Teresa Herrera, “Every Brilliant Thing” (The Sandbox Collective)

Jill Peña, “Dancing Lessons” (Twin Bill Theater)

Kakki Teodoro, “Every Brilliant Thing” (The Sandbox Collective)


Male Lead Performance in a Play

Audie Gemora, “The Dresser” (Repertory Philippines)

Teroy Guzman, “The Dresser” (Repertory Philippines)

Jonathan Tadioan, “Katsuri” (Tanghalang Pilipino)

Marco Viaña, “Coriolano” (Tanghalang Pilipino)

Marco Viaña, “Katsuri” (Tanghalang Pilipino)


Marco Viana

Male Featured Performance in a Musical

Paw Castillo, “Lam-ang” (Tanghalang Pilipino)

Daniel Drilon, “Dani Girl” (The Sandbox Collective)

Lorenz Martinez, “Dani Girl” (The Sandbox Collective)

Juliene Mendoza, “Dani Girl” (The Sandbox Collective)

Raul Montesa, “Passion” (Philippine Opera Company)


Female Featured Performance in a Musical

Jasmine Fitzgerald, “Passion” (Philippine Opera Company)

Anna Luna, “Lam-ang” (Tanghalang Pilipino)

Justine Narciso, “The Quest for the Adarna” (Repertory Philippines)

Tex Ordoñez-de Leon, “Lam-ang” (Tanghalang Pilipino)

Shiela Valderrama-Martinez, “Dani Girl” (The Sandbox Collective)


Vien King

Male Lead Performance in a Musical

Vien King, “Passion” (Philippine Opera Company)

JC Santos, “Lam-ang” (Tanghalang Pilipino)


Female Lead Performance in a Musical

Rebecca Coates, “Dani Girl” (The Sandbox Collective)

Felicity Kyle Napuli, “Dani Girl” (The Sandbox Collective)

Shiela Valderrama-Martinez, “Passion” (Philippine Opera Company)


Shiela Valderrama-Martinez

Outstanding Ensemble Performance for a Play

“Katsuri” (Tanghalang Pilipino)


Outstanding Ensemble Performance for a Musical

“Dani Girl” (The Sandbox Collective)

“Lam-ang” (Tanghalang Pilipino)

“Passion” (Philippine Opera Company)


The next segment was an In Memoriam slideshow accompanied by the song "Matatapos Din" (from "Mula sa Buwan") sung by Gab Pangilinan. The notable theater personalities included in the list were Heherson Alvarez, Carlos Celdran, Gilda Cordero-Fernando, Peque Gallaga, Tony Mabesa, Manny Pambid and Menggie Cobarrubias.


The final set of awards were as follows:

Outstanding Stage Direction for a Play

Jenny Jamora, “Every Brilliant Thing” (The Sandbox Collective)

Francis Matheu, “Dancing Lessons” (Twin Bill Theater)

Carlitos Siguion-Reyna, “Katsuri” (Tanghalang Pilipino)


Jenny Jamora


Outstanding Stage Direction for a Musical

Toff de Venecia, “Dani Girl” (The Sandbox Collective)

Robbie Guevara, “Passion” (Philippine Opera Company)


Outstanding Production of Existing Material for a Play

“Dancing Lessons” (Twin Bill Theater)

“Every Brilliant Thing” (The Sandbox Collective)


Karla Gutierrez 

Outstanding Production of Existing Material for a Musical

“Dani Girl” (The Sandbox Collective)

“Passion” (Philippine Opera Company)


The final remarks were given by Philstage Vice President Congressman Toff de Venecia. There was an emotional final song "Darating Din ang Araw" rendered by a group of theater singers led by Sweet Plantado and Poppert Bernadas. This first-of-its-kind online awards show was very well-executed by Black Box in cooperation with PETA and Philstage. 


Sunday, June 28, 2020

Reviews of VIRGIN LABFEST 2020 Writing Fellowship Program Showcase Sets A and B

June 28, 2020

Since 2012, the Writing Fellowship Program had been a 2-week program about writing plays which was held in conjuction with the Virgin Labfest. I had never seen any showcase live before, although I had seen some products of the workshop which had later made it into the Labfest roster itself. From last year's Workshop came three of this year's featured plays, namely "Titser Kit" "Blackpink" and "Mayang Bubot." 

From the usual 10, there were only 6 fellows this year because of the pandemic, all of them just happened to be female, and all from Metro Manila. Ms. Melissa Corazon Mantaring is the program director. Playwright and professor Glenn Sevilla Mas is again the program mentor as he had been since 2009 when it was called the Writer's Lab. All plays had been directed by Dennis Marasigan, which he had been doing since 2013.

Set A:


Laureana at Larissa

Written by Bienangela "Gentle" Mapagu

It was April 2020 during this time of the pandemic. Larissa (Chloe Jenna) could not absorb anything from the books she had been reading. Laurene (Micah Musa), a being who transported dead souls to the afterlife, appeared beside Larissa and engaged her in a game of checkers (a la Bergman's "The Seventh Seal") where winner gets to decide her fate.

The whole play turned out to be an internal conversation of a mentally-disturbed individual -- a manifestation of a restless mind when such a person is locked down in the house because of a community quarantine. These imaginary friends are their means of coping with the stress and crisis, and a way for them to express their frustrations about everything happening around them, from current events to personal problems. It was probably through these "friends" where they can bounce their thoughts to come up with the best logical decisions.  



Dalawang Tibok

Written by Franchesca Palattao

It was 11 pm in a studio in Manila. Angeli (Mina Cruz) and Paula (Bench Bautista) were a lesbian couple who had been together for 15 years. Both of them are already pushing 40 and gainfully employed. One night, Angeli expressed her desire to bear a child. Unfortunately, Paula did not agree. 

This play was an intimate private conversation between two partners, which later evolved into a major argument which brought up buried skeletons. This type of situation could realistically have happened to a relationship of any couple of any sexual orientation where one wanted a child and the other does not. Perhaps it becomes more problematic if the relationship had already lasted as long as this one in the play -- 15 years. Have they not made this matter clear long ago, or was there a desire that only arose later in life when one somehow felt something lacking in one's life?



Centerfold

Written by Jhudiel Clare D. Sosa

Teenager Ana (Pat Maliwat) was asking advice from her older sister Jessica (Maia Dapul) about a piece of advice she read from a girlie magazine. The conversation started lightly from a question about shaving. Then it later evolved to more sensitive matter regarding Ana's boyfriend Gregory and what he was demanding for her to prove her true love. 

This was a humorous sisterly conversation which could be objectionable for some because the girls were liberally saying terms which corresponded to private parts of the body and other profanity. Hearing those words said in Filipino further added to the vulgarity factor than if the medical English terms had been used. This play offered advice to young girls not to get their knowledge from magazines. They were also reminded to love and respect themselves first. What toxic men want should not dictate what their decisions about their bodies. 


Set B:


Afterwards 

Written by Cecilia M. de Jesus

Allie (Nicole Chua) was admitted in a private room in the hospital. Her admitting physician Dr. Salazar (Marvin Ong) was asking her tough questions in his need to understand when she tried to take her own life two days ago. To further draw her out of her resistance, the doctor related the suicide of a person dear to him.

This play was one very somber mental health affair replete with pregnant pauses throughout which cause a lot of tension and suspense. Having someone dear to us unexpectedly commit suicide leads us to blame ourselves for not being able to predict and prevent the tragedy. Being unpredictable events, we cannot be held responsible for the decisions other people make about their lives. Time will eventually lighten the weight of the guilt if we ourselves make the right choices. This play spoke to those left behind, to assuage them in their extreme anguish and to reassure them of eventual acceptance and moving on.



Balat, Sando, at Boxers 

Written by Hannah Dorol

One warm summer afternoon, Maggie (Pia Meily) and her elder brother Matt (Alvin Obillo) were both lounging around with their legs raised on their seats, wearing only sleeveless shirts and short shorts. Matt began chastising his sister about her poise and clothes, and how they were attracting lascivious looks from the men passing outside their house. 

This play covered a very current controversy about blaming the victims of sexual harassment or sexual assault for wearing skimpy clothing which provoked the men around them to entertain lusty thoughts. The approach of the play was light and humorous at first, but the argument between the siblings did become quite heated before long. I guess this topic will generate unending arguments between women (who want freedom to wear whatever they want) and men (who think that showing skin invites maniacs). 



Teacher Ka Lang/ Pa Naman 

Written by Ansherina May D. Jazul

Ms. Javier (Matel Patayon) was a Filipino teacher in a private university. One day she was called to speak with Mr. Ocampo (Jon Montes), the principal. She was asked why her students went to a rally with her, and admonished for posting a complaint about the school on her social media account. Ms. Javier used the opportunity to air her misgivings.

This play talked about the current difficulties experienced by teachers in our country. Being a teacher in Filipino was not being given its due importance. Feedback from students counted for only 5% of a teacher's yearly assessment, in contrast with 70% for feedback from the administration. Teachers were not given an open channel to complain to the administrators. Teachers who were idealistic and fought the status quo in their youth would eventually get jaded as they get promoted into the administration. 

Friday, June 26, 2020

Reviews of VIRGIN LABFEST 2020 STAGED READINGS Set 2: CASA DE PUN, MATIRA ANG MATIBAY: Venting on Violence

June 26, 2020

MONGOLOIDA'S CASA DE PUN

Written by Claro de los Reyes
Directed by Guelan Luarca and Zoe de Ocampo

Enrica (Kakki Teodoro) was the daughter of a dark-skinned African-American man and a fair-skinned Filipina with Hispanic ancestry. After suffering a violent assault which resulted in the loss of her left eye, she decided to migrate to New York City to live her dreams in anonymity. There she had a Haitian-American landlord (Anthony Vaughn Merchant) and African-American neighbors Punnygal (Teisha M. Duncan) and Brownman (Ybes Bagadiong). Along with foreign celebrities like Queen Isabel II and Billy Ray Bates, Enrica also encountered local personalities like Imelda (Tata Tuvera) and Rizal, both of whom had her facial deformity.

This staged reading turned out to be quite a web odyssey -- an online orienteering course or an obstacle course. On its website, you follow a series of written instructions which would lead you through a maze of YouTube videos, as designed by the tech team of Kat Dizon, Franny Tan and Carmen Dolina. It was fun at times and frustrating at times, as you click on boxes and arrows to get to the next page, or click on numbers on the side to get side notes, or click on a box to drag and read the unintelligible dialogue, or click on drawings of open eyes to close them. Seeing Imelda and Isabel eating bangus with huge wooden utensils was truly bizarre.

I am not going to pretend to completely understand what this play was all about. I went through the videos twice and watched the after-show Q and A session, but I really do not get what Filipino-American playwright de los Reyes was trying to tell me exactly. I think it may be about the tough life ahead for those of either the "mongoloid" race or worse, the "negroid" race (as they were called in the play's archaic terminology) throughout history up to the present. I am really not sure, in fact I may be way off. However, in creating this unique "virtual theater" web experience, directors Luarca and de Ocampo made sure I kept my fingers busy clicking links instead of scratching my head in confusion. 




MATIRA ANG MATIBAY

Written by Bernice Dacara
Directed by Alon Segarra

Vito (Matthew Deinla) and Erik (King Velasquez) were both plebes in a military school. Their classmate Nico just died from injuries resulting from blunt trauma he sustained after their initiation. On the night before their recognition day, a distraught Vito engaged Erik to discuss what happened to their friend and how he suffered under the their sadistic upperclassmen. Later, the discussion turned to themselves -- on what they should have done back then, and what they could do now.  

This was a straightforward two-hander about the sensitive topic of hazing in military institutions. Playwright Dacara admitted that her story started off as the experiences of an uncle. As she was writing though, the controversial news about the death of PMA cadet Darwin Dormitorio by hazing became a big national issue, and this made her story significant currently as well. That Dacara was able to convincingly write the culture of violence experienced by men with a balance of male and female perspective was notable.

The virtual staging by Director Segarra was quite basic, just one Zoom window for each boy as they were lying down on their beds conversing with each other. The progress of emotion was well-paced for both the nervous Vito and the pragmatic Eric. Both young actors were able to bounce off each other pretty well as the tension between them got more and more intense. The ending felt weaker than what the build-up promised, and could perhaps be polished more when it is actually staged. It was a bit distracting that Velasquez's ponytail and their scripts were both very visible, and their bedrooms looked very different, but then again it was supposed to be a script reading after all (but they could've gone for a full-on performance like the others readings did).