Barefoot: Review of THE LAST FIVE YEARS ( 2023): Bane of a Breakup

October 1, 2023

Jamie was a writer who just had a book out. Cathy was an aspiring actress. They were happy together and got married. However, for the next five years, circumstances kept them apart most of the time. Jamie was frequently in New York City promoting his book, getting high on his success. Cathy was left in Ohio, making the rounds of auditions, usually getting disappointed with rejections. They eventually broke up.

That last bit was not exactly a spoiler, as this whole show was all about their break-up rather than how they met. It opens with a miserable Cathy finding a break-up note from Jamie and his ring which he left behind, and she was singing "Still Hurting." Sudden shift of mood at the other end of the stage, watching an excited Jamie singing about a non-Jewish girl he was dating, whom he called his "Shiksa Goddess" -- Cathy. 

From there, writer Jason Robert Brown told Cathy's story going backwards in time, while telling Jamie's story going forwards. The show essentially had its two actors singing monologues on their own sides of the stage for the majority of the time. They only got together once in the middle of the show, to sing "The Next Ten Minutes" as a duet, depicting the blissful time in their lives, when Jamie proposed to Cathy and they get married.

Back in 2003, this show had already been staged locally at the RCBC Plaza, starring Philippine theater royalty Audie Gemora and Menchu Lauchengco-Yulo, directed by Bart Guingona. I was able to see the second local staging in 2014 produced by 9 Works, staged also at the RCBC Plaza, starring Joaquin Valdes and Nikki Gil, directed by Robbie Guevara. In 2015, a film version was released, starring Jeremy Jordan and Anna Kendrick.

I admit that when I first watched this show in 2014, I found the non-linear telling of the story confusing, and the wordy narrative songs not very much to my liking. This time around, I am now familiar with the story and the unique storytelling style, but those long-winded songs with many obscure ethnic references, I am not exactly a fan yet still. I believe that these are the types of songs that need repeat listenings to be familiarized with.

As the lyrics were key to full appreciation of the songs, It was unfortunate that the sound system at the Power Mac Spotlight Blackbox Theater in the matinee show I watched made it difficult for me to understand the lyrics, especially the first half of the show. I am actually not sure if the sound issue is just with me only or where I was seated. I observed that there were other people reacting to the certain lyrics with laughter in another part of the theater. 

I noted in my 2014 review (MY REVIEW) that it was the actors who elevated the whole show experience for me, and again the same is true this time around. Real-life newly-wed husband and wife Myke Salomon and Gab Pangilinan were in a unique life situation and undeniable chemistry to be able to imbue this material with unfiltered emotions that connect with the audience, those unclear lyrics and unfamiliar references notwithstanding. 

Gab Pangilinan's soaring singing voice is truly sparkling, seemingly effortless as she navigated those high notes and tricky lyrics of songs like "A Summer in Ohio" and the emotional depths of songs like "See I'm Smiling." The role of Jamie was a thankless one as he seemed to be the one who failed to make his marriage work. Nevertheless, Myke Salomon's charm still made him sympathetic. For me, his best vocal performance was in that song he sang to his sleeping mistress, "Nobody Needs to Know."

New York City-based set designer Joey Mendoza built a long raised stage in running lengthwise when you enter the blackbox theater, with the viewers seated on either side. This stage was divided into three long sections -- two covered with faux grass, and a central aisle where a mechanized platform moved from one end to the other, ferrying the characters where the story required them to be. When you are watching an actor sing on one end, you cannot see the other end, so you will tend to look left and right during the show. 

Kudos to director Topper Fabregas for his sensitive directorial style for tell this heavy depressing story. Musical director Rony Fortich expertly conducted his talented string musicians on violin, cello, bass and guitar, with Farley Asuncion on the piano.

*****

The Barefoot Theater Collaborative's "The Last Five Years" runs from September 29 to October 15, 2023 at the PMC Spotlight Blackbox Theater, Circuit Makati.

Recap of ANYWHERE WE SING IS HOME: The CCP's 54th Anniversary Gala

September 10, 2023

The Cultural Center of the Philippines (CCP) is celebrating its 54th founding anniversary this month. However, since it is currently being renovated, the whole CCP proper is not available to stage a major gala concert to be held to celebrate the milestone. Therefore this special event was instead held in the Samsung Performing Arts Center in the Ayala Circuit Makati Mall for two performances, September 9 at 8 pm and September 10 Sunday at 3 pm.  

The Philippine Philharmonic Orchestra played the music conducted by no less than by National Artist for Music Ryan Cayabyab. For each artist who sang in the show, their spiels revealed what year their first time to perform on the CCP stage was and on what production. They will then relate their own stage experiences with more personal detail with nostalgic effect. The show was directed by the ever-fabulous Floy Quintos.

Headlining the gala this year is Joanna Ampil, who was prominently in theater news lately for portraying the Engineer in the latest revival of "Ms. Saigon" in the UK. Not only that she was the first female to do so, the fact that she had played Kim before made this inspired casting even more remarkable.  (Ironically, Ampil did not get to sing any song from "Ms. Saigon" in this concert, be it a Kim song nor an Engineer song.)

Wearing a shiny black suit and pants ensemble, Ampil opened the concert by coming down a spiral flight of stairs on stage right, singing "As If We Never Said Goodbye" from "Sunset Boulevard." She followed this up with an energetic rendition of the sassy "Don't Rain on My Parade" from "Funny Girl." She then introduced the next two singers, both "Ms. Saigon" alumni abroad like her, to sing the next medley of Filipino songs with her.

After singing a triumphant "Nais Ko," Ampil left the stage. Gerald Santos sang "Hahanapin Ko," followed by a visibly expecting Aicelle Santos in a white maternity gown, singing "Narito Ako." Aicelle went on to sing "What I Did for Love" from "A Chorus Line". Gerald came back on to sing "Hanggang," his winning song when he won "Pinoy Pop Superstar" 2005, which he won over Aicelle. The two ended their set with "Ms. Saigon" most famous duets -- "Sun & Moon" and "Last Night of the World."

Ampil came back out on the stage wearing a bright green body-hugging gown with fuschia designs and a matching scarf on her head to sing "I Don't Know How to Love Him" from "Jesus Christ Superstar." Then she introduced Sheila Francisco, and they sang a slowed-down arrangement of "Happy Talk" and the ethereal "Bali Hai," both sung in "South Pacific" by Bloody Mary, a character they've both played in the UK. Francisco then took centerstage to sing a powerful, gritty and show-stopping rendition of "Some People, " a song by a character she longed to play onstage, Mama Rose of "Gypsy." 

Ampil returned onstage to introduce her next three younger guests, who had never performed in musical productions abroad yet -- Arman Ferrer, Reb Atadero and Gab Pangilinan (the only one of them who had not actually sung on the CCP stage yet). The four of them sang a medley of dreamy songs by Michel Legrand, including "What Are You Doing the Rest of Your Life" and "The Summer Knows" (love theme from the film "The Summer of '42").

Three songs composed by Ryan Cayabyab for Filipino musicals were next, so Toma Cayabyab came out to replace his father to conduct the orchestra for this segment. With her rich soprano, Pangilinan led off by singing "Magbalik Ka Na Mahal," then duetted with Ferrer in "Iisa ang Tibok," both from "Rama Hari." Ferrer then brought the house down with an impassioned "Awit ni Isagani" from "El Filibusterismo" with his robust tenor voice, then ending on an exquisite head tone key switch in his final note.

Reb Atadero returned to sing "Being Alive" from Sondheim's "Company," then gushed about his surreal experience of having Mr. C playing piano for him. He then reintroduced Ampil, who had now changed into an elegant silver evening gown. She sang two big ballads from her most iconic Broadway roles -- Fantine's "I Dreamed a Dream" from "Les Miserables" and Grizabella's "Memory" from "Cats." All her guest artists, this time dressed in glittering black, returned to the stage to join Ampil to sing Wency Cornejo's "Next in Line" as their inspirational finale, dedicated to the artists who will grace the CCP in the future.

Review of Tanghalang Ateneo's ARDOR: An Affair in Anarchy

September 3, 2023

A bomb exploded at one political rally being conducted by student activists. When their leader Astrid was hit and injured by shrapnel, she was rescued and brought to a safer place by one of her members named Z.  Outside, there was the smoky confusion and anguish over the casualties was going on. Meanwhile, Astrid and Z got carried away with the intimacy they shared and made love in spite of the pain and peril. 

This was the central love affair that was born in the middle of the violent revolutionary movement threatening to oust a corrupt dictator out of his position. Astrid still worked closely with her ex-boyfriend Luther, who still co-led their movement with her. Z was taking care of his precocious 7-year old cousin named Kali, whom people knew as an indigo child. Based on secret information she learned, Kali roused the other activists into more fiery action.  

This complicated play was written and directed by Guelan Varela-Luarca. It unfolded in one tense continuous act, one hour and 40 minutes long, with several scenes in which the young cast would be running all around the stage. Opening with a scene of a young girl Kali (Teia Contreras) talking to her petticoat-wearing cat (Nicole Chua) about the cosmos, you somehow get an inkling that this would not be as straightforward as you thought. 

When Kali let loose her long incendiary monologue in Act 2, it was at that moment that you be able to make sense of all the confusing dots together to that point. Still, Kali was such an over-the-top and and out-of-the-box character, as only Luarca could have created. Delicate-looking Teia Contreras really gave this character her all, even at the risk of losing her voice with her passionate orations, which required her to shout her lungs out. 

Jam Binay, Zoe De Ocampo, Teia Contreras, Kagi Umpad

The love triangle angle of the story gave a more personal dimension, but for me it did not work, mainly because a casting choice. I do not usually comment about an actor's physical features, but in this case, Zoe de Ocampo, his acting skills notwithstanding, felt miscast as Z, mainly because of his diminutive height and build beside Jam Binay as Astrid. Astrid saying "I love you" to him never once rang true, as there was no chemistry or "kilig" at all. 

That thought-provoking scene of Z and Luther talking about their art was very well-written. Ideally, it should have come across as something like a similar scene of the two men in Celine Song's current film "Past Lives." However again, de Ocampo as Z did not look like much of a credible romantic rival, because he looked and acted too immature to match the stronger stage presence of Kagi Umpad as the jaded Luther. 

Overall, all the bourgeois hypocrisies, double-dealings and double-crossings going on in student groups, rebel groups and corrupt dictatorships, and their violent consequences -- were solidly plotted. Luarca's stage tricks using actual flames, definitely raises the sense of danger in the play. By the time that scene with the "Three Little Kittens" video comes along, you are in total sympathy with Kali, even if we do not fully understand why she acted the way she did. 

*****

Guelan Varela-Luarca's "Ardor," maiden production of Tanghalang Ateneo's 45th season with the theme "Pag-ibig at Himagsikan," runs at the Rizal Mini-Theater, Faber Hall, Ateneo de Manila University, from August 26 to September 9, 2023, 2 pm at 7 pm. 

Ticket prices at P500 (General Audiences), P350 (ADMU Loyola School students) and P300 (for ADMU Loyola School scholars). Buy tickets via this LINK.

Reminders: "Ardor" is rated R-13 for its mature theme and scenes of violence. It has strobe lights, smoke and flames, gunshots and explosions.

Recap of APO HIKING SOCIETY 50 YEARS THE CONCERT

July 16, 2023

The very first concert I had ever seen was an Apo Hiking Society concert when I was still in high school and they performed in our school. That was 40 years ago, and tonight, they are already celebrating their golden year as an musical act. Like me, the whole Hyundai Hall of Arete in Ateneo was abuzz with excitement. At 8 pm, the concert began with an overture of familiar Apo Hiking Society tunes played by musical director Bond Samson and the 50 Years band, while a humorous history of the band was being flashed on the big screen onstage. 

Boboy Garovillo and Jim Paredes made their entrance on wheelchairs, pushed by nurses wearing bunny suits. Their first song was an upbeat new song about their 50 years together. Halfway though the song, Boboy and Jim changed into black Chinese-collared shirts with gold baybayin characters embroidered on the left side than meant "limampu" or "fifty.  Meanwhile their "nurses" had stripped off their PPDs and were gyrating in skimpy tops and shorts. 

The first hit song they sang was "Ewan" followed by "Love is for Singing". Then they stepped up the energy and sang the theme song of their first movie "Blue Jeans," letting the audience sing the "Whoo!" part.  After this, they performed their first comedy song number, singing classic songs like "Yesterday" and "Do, Re, Mi" with all the skipping, pitch changes and various other sound effects of a scratched up vinyl record. 

Boboy then sang a song he wrote entitled "Paano" which they said was their last major hit, and this was all of 15 years ago. The next song was "Yakap sa Dilim" which they naughtily branded as an "immoral" song. The guy who played the sax solo nailed his featured part and the audience appreciated that. This was followed by the novelty pop song "Syotang Pa-Class," with sexy back-up dancers and the giggling care of the female backup singer Camille Johnson.

Jim introduced their next song which was from their "latest" album,  which they then told us was released 13 years ago. This was "Boboy, Jim and Danny" which was the 27th album they had recorded. The song was a ballad entitled "Giliw," which Jim submitted to the soundtrack of a movie starring Regine Velasquez and Robin Padilla. Even if it was the first time many of us heard it, we still clapped and cheered.

The next three numbers were sung with a guest music ministry choir of Ateneo students called Hangad. They backed the Apo up when they sang "Wala Nang Hahanapin," a song they've dedicated to wives. When Boboy and Jim left the stage for a break, Hangad sang an Apo song (said to be inspired by a Pan-Am commercial) called "Minsan sa Buhay." The Apo guys came back out for another comedy number -- "Salawikain" sung in operatic style.

With Hangad

When Apo sang "Awit ng Barkada" and "Tuyo ng Damdamin," fans knew this was a tribute dedicated to their late friend and collaborator Danny Javier, who passed away last October 31, 2022.  The two guys sang with Danny's voice and video on songs like "One, Two, Three" and "Batang-bata Ka Pa." However, to sing the second verse of "Batang-bata", out came Danny's son Jobim Javier in a most touching surprise guest appearance. 

They then played a video of Danny singing the last song he ever wrote, a serio-comic song about dying called "Lahat Tayo". Despite its rather morbid lyrics, like "Lahat tayo'y mamamatay, gusto bang makisabay?" or "Sige akong mauuna, pangako susunod ka, ha? Malungkot ang nag-iisa, mas masayang kasama ka." In this new arrangement by Lorrie Illustre, Boboy and Jim comically responded with a vigorous "Ayoko pa!"

With Jobim Javier

Boboy and Jim proudly shared that the first local artist to coin the word "OPM" or Original Pilipino Music was Danny Javier. From there, they went on to perform "Pip-T," a elaborate medley of  folk songs and kundimans mashed up with foreign pop songs. Some of the notable ones are "Magtanim ay Di Biro" with EWF's "September", "Waray Waray" with Van Halen's "Jump," Diomedes Maturan's "Bulong-bulungan" with the "Voltes V" opening theme, and "Penpen de Sarapen" with the "Ting Ting Tang Tang" viral Tiktok dance craze. 

They shared an anecdote about an extravagant man who hired them to deliver a Valentine morning serenade of a single song in an effort to win back his ex-wife, then sang the song itself "Panalangin." This was followed by another one of their popular love songs "When I Met You." After they they argued about the definition of "medley," they sang their "Tagalog Medley" with "Lumang Tugtugin," "Pag-Ibig," "Araw" and the beautiful "Nakapagtataka." 

They could not resist to crack a political joke before singing "Tanggapin Mo Kung Gusto Mo" (from their 1996 album "Dating Alternatib") in a limbo rock rhythm. They then sang the rousing and hopeful "Kung Gusto Mo, Gusto Ko Pa" (from their 1991 album "Songbuk"), introducing their band, dancers and backup singers (one of whom was stage actor Juliene Mendoza!), which turned out to be the final song of their main set.

Of course, the audience clamored for more. So for their encore, they obliged to return onstage and sing three more of their most popular hits "Pumapatak ang Ulan," "Mahirap Magmahal ng  Syota ng Iba" and finally "Show Me a Smile." Everybody in the 900-strong audience that night was standing up, singing and swaying along up to the very last note. The rain was pouring very hard outside the Arete, but everyone's mood and energy was definitely happy and positive from their healthy dose of Apo Hiking Society music that night. 

Congratulations to Boboy and Jim, as well director Leo Rialp and his crew, for the success of this concert. 

Review of VIRGIN LABFEST 18- SET D (Muwang): Mind, Maid, March

June 21, 2023

1. ANG TUYOM

Writer: M. Manalastas

Director: Gio Potes

M (Jude Matthew Servilla) was a playwright cross-examining himself as he was drowning in his own loneliness. In the process, he interacted with his characters representing his younger self Batang M (Zöe De Ocampo), his mother Ma (Opaline Santos), his friend Raul (Fred Layno) and his love Elimar (Serena Magiliw).

To be fair, I came in a little late so I missed how it started. However, I never really got into the drift of this piece at all. The concept was theoretically good, but everything felt so abstract onstage. The lines were not connecting with each other. The humor was not working for me. The actors were trying to make things work, but I was not getting it. It just ended with a whimper with barely any impact to remember. 

2. HAWAII, HERE WE COME

Writer: Shenn Apillado

Director: Mark Mirando

As a crowd was forming outside Malacanang Palace during the final day of the ruling family, trusted aide Shirley (Madeleine Nicolas) asked her niece Angge (Sheryll Villamor Ceasico) to help her pack things for her dear Madam (Gem Padilla-Thomas). Angge came with another purpose in mind, to ask Madam's help to look for her missing son who was a political activist.

The story of this play could had more impact had it been part of Virgin Labfest 17 last year. However, since it was only staged this year, it was simply too late. The very controversial mega box-office hit film, Darryl Yap's "Maid in Malacanang" (2022) already beat it to the punch. Nicolas and Ceasico were dynamic in their banter as the lead duo. It was a pity that Padilla-Thomas's dry portrayal of the iconic Madam was not up to par, rendering the anticipation to her grand entrance a disappointment.

3. O'DONNELL

Writer: Jerry O'Hara

Director: Issa Manalo Lopez

A group of Filipino soldiers were in a field in Camp O'Donnell, where the Japanese confined prisoners of war from the fall of Bataan who had survived the death march.  Tunying Isleta (Eshei Mesina) was trying his best to keep the spirits of his comrades up. Pedro Peralta (Aldo Vencilao) had dysentery. Francisco Basa (Miguel delos Santos) wanted to escape. MSgt. Melchor Bautista (Joel Garcia) had gone mad. 

Like "Room 209" in Set D, this was another play that featured an all-male cast of characters who were struggling with serious issues of life and death.  It was interesting that, like "Room 209," this was also directed by a female director, Issa Manalo Lopez, who was able to give the formidable material a beating heart. This was undeniably powerful, moving stuff, but the play could use some streamlining, with edits of certain repetitive lines and situations.

Restaging Reviews: RED and PRIDE PLAYS (UNICA HIJAS, LARO)

June 17, 2023

RED (The Necessary Theater)

Writer: John Logan

Director: Bart Guingona

In 1958, abstract expressionistic artist Mark Rothko had just signed a contract to paint murals for the walls of the swanky Four Seasons Restaurant in the Seagram's Building. Because of the extensive scope of this job, he hired a young aspiring artist Ken (JC Santos) to be his work assistant at his studio in New York City. While working on the project for two years, the two discuss and argue about their clashing philosophies about art and legacy.

Bart Guingona was in his element as the arrogant, temperamental Rothko, after all he had played him before 10 years ago, with Joaquin Valdez as Ken. I was not able to see this original staging. This time around, Ken is played by JC Santos, whose command of English may surprise those who only knew him by his Filipino films. This is not a play that an actor can simply just memorize his lines to portray. They need to live and breathe their characters, immerse themselves fully into their talents, knowledge and neurotic idiosyncrasies before they can pull them off.

This was a deep, multi-layered script written by John Logan, who was nominated for a Tony in 2010 in its original Broadway run. It even actually required a glossary of artistic and historical terms in its souvenir program. However, despite its formidable premise, "Red" was a truly absorbing and immersive theater experience that will make us evaluate how we see our respective "arts" (even if they did not involve paint and brushes.  It will also make us reflect on your own professional principles as we grow older in our careers. 

**********

PRIDE PLAYS (Barefoot Theater Collaborative)

Writers: Mikaela Regis, Floy Quintos

Directors: Pat Valera, John Mark Yap

This twin-bill of LGBTQIA+ plays has been staged by the Barefoot Theater Collaborative to celebrate Pride Month. The first feature "Unica Hijas" written by Mikaela Regis and directed by Pat Valera. It was a one-act play first staged last year as part of Set C of the Virgin Labfest 17 "Hinga." The second feature "Laro" was written by no less than Floy Quinto, directed by John Mark Yap. It was a two-act play first staged in 2004, then only restaged in 2019 by Artists Playground. 

"Unica Hijas" was about two senior high school girls -- Nikki (Joy delos Santos) and Mitch (Ash Nicanor) -- who were caught in the act of almost kissing. They were called to the Principal's Office for this offense. This dreaded meeting will also have their parents in attendance. Before this moment of truth, the two were talking with each other, trying to come to grips with their sexuality, their parents and their school. 

Mitch was already sure of her gender orientation and was out and proud about it, even with her mother. The more interesting character here was actually Nikki, a girl who was still in the closet, hoping that she could still shake off this unnatural feelings she had sometime in the future. She did not want to disappoint her parents by announcing that she may be gay. She wanted to deny everything, keep things status quo, and not stir a hornet's nest.

The winsome and very realistic portrayals of both girls made this play light, sweet and engaging, despite the sensitive LGBTQ topic that it tackles. Gay audiences would invariably be behind Mitch all they way. Straight audiences may feel that doubtful Nikki was being pressured into coming out. It was just too bad that the director chose that Nikki's final decision had to be done via a phone call with loud music drowning out that actual words. 

"Laro" was a series of short intense scenes following a chain of gay men, with one character connected to two other characters. It began with an Call Boy and a Policeman, who later met a Drag Queen, who later met a User, who later met a random online Lover, who went home to his Ideal, who then met up with a Student, who then confessed to a cousin Writer, who then interviewed a Model, who then met his Philosopher boss, who later hired a Call Boy.

The most memorable scenes and acting were those which involved the scary Policeman (Gio Gahol), the perverse Ideal (Al Gatmaitan) and the megalomaniac Philosopher (Jojo Cayabyab). I had seen the original staging before and these scenes felt like Quinto could've upped the shock factor, or if not, director Yap may have intensified these specific encounters to make them seem more monstrous with his improved lighting, sound design and sets. 

Of course, only Phi Palmos can play a Tina Turner Drag Queen. Al Gatmaitan played Ideal and Mike Liwag played User before, though it was their alternates that I saw. The other members of the original cast took on different roles. Ross Pesigan from Student to Call Boy, and Gio Gahol from User to Policeman, and both of them upped their acting intensity. However, Andre Miguel, who went from Call Boy to Model, looked awkwardly miscast in his new role. 

Even if there was dark humor imbued in all the episodes, even queer audiences will find these salacious stories very disturbing. Straight audiences will likely react with disgust and revulsion to the sex scenes, all non-consensual. With all the gay predators depicted here, there was nothing positive nor feel-good in the whole of this lurid play. 

As "Pride Plays," while "Unica Hijas" tries to make straight viewers understand lesbian issues, "Laro" could actually alienate them against gays more. Provocative as he always is, Quintos surely will not let something like that get in the way. The cold truth needs to be told, uncomfortable and inconvenient as it may be. 

Review of VIRGIN LABFEST 18- SET C (Y.O.L.O.): Monsters, Machismo, Mush

June 15, 2023

For the first time since the pandemic, the Virgin Labfest is completely face to face at the new Tanghalang Ignacio B. Gimenez, with the theme "Hitik." The initial reviews for these 12 new one-act plays have been circulating in social media since they premiered last week, and they were all generally glowing. It had always been difficult for me to catch all four sets because of my day job. This year, this Set C might actually be the only set I could catch. (But I hope not.)

1. MGA HALIMAW RIN KAMI

Writer: Jules Pamisa

Director: Tats Soriano

A centuries-old Aswang (Chrome Cosio) encountered a Manananggal (Skyzx Labastilla) who landed on the same rooftop as him. They tell each other their life stories, and compare their killings to the killings going on among the humans in the streets below them. 

This was basically an amusing two-hander (with veterans Cosio and Labastilla at their most over-the-top) about the misadventures of two traditional monsters of Philippine myth. Pamisa juxtaposed the monsters' stories of killing human victims alongside the extra-judicial killings done with impunity during the drug wars. However, since it has been more than a couple of years after the height of these EJKs, this play concluded with an oddly dated feel. 

2. ROOM 209

Writer: Zheg Arban

Director: Delphine Buencamino

Since he was a child, Cadet 4th class Perez (Jao Catarus) was prepared by his late father and his older brother (Gino Ramirez) to enter the Philippine Military Academy, where they both graduated from. However, Perez became the target of bullying by his upperclassmen. 

Arban's script was powerful, but it was the dynamic direction of Buencamino that gave this play such a galvanizing effect. The ensemble of new young actors (CJ Barinaga, Denmark Brinces,  Raphne Catorce, Earvin Estioco & James Lanante) was solid in their performances as the cadets, especially Jao Catarus in the vulnerable central role. However, I wish they also mentioned what happened to the perpetrators of the unforgivable crime. 

3. HUKAY

Writer: Ophalain Margaux Serrano

Director: Melvin Lee

When Noel (Andoy Ranay) was burying his dead horse in a field, his policeman friend Rico (Floyd Tena) came by to help. The two middle-aged men talked about their friendship began, and how they think this friendship will proceed in the future.

The way this play began with Noel digging a hole, you would never really see where the play would be going. However, along the way, several hints, both subtle and frank, were already being dropped to clarify the plot direction. This two-hander worked so well because the rapport and chemistry between Ranay and Tena was simply so realistic and actually quite sweet. If there was any significance about the horse being buried, I do not recognize it.