TP: Review of BALETE: The Farmers' Fight

September 14, 2024

In the town plaza of Rosales, Pangasinan stood one old magnificent balete tree. The biggest rice farm there was owned by a corrupt politician Don Vicente. It was run by by a stern caretaker Espiridion, who was the father of the narrator / protagonist, Francisco or "Kiko." As a child,  Kiko got along well with their farm servants. However, he also witnessed how his father had been a very harsh employer, often resorting to violence. 

"Balete" is a reworking of Rody Vera's stage play written in 2002 originally for PETA. It was adapted from "Tree," a 1978 novel by National Artist for Literature F. Sionil Jose. It was the second book of his epic 5-volume Rosales Saga, written from 1962 to 1984 (not in chronological order). Director Chris Millado also shared in his notes that they also incorporated parts from Jose's 2021 autobiography, "Promdi." 

The magnetic Mr. Nonie Buencamino 

The story was being narrated by the adult Francisco in English, which then segued to dramatizations in Filipino detailing these stories. Narrator, child Kiko and father Espiridion were all played by one awesome actor -- Nonie Buencamino. Passion was always burning in those piercing eyes of his, it was mesmerizing to watch him perform. His portrayals were so distinct for all three roles, I'd say that the award for Best Actor in a Play 2024 is already wrapped up as early as now.

The four senior members of the Actors Company were at the top of their game as usual. Marco Viana played Kiko's long-lived grandfather, and his artist-philosopher Tio Marcelo. Jonathan Tadioan played the motherly cook, the affable horse groom David and the reviled landowner Don Vicente. Lhorvie Nuevo played Ludovico's father, housemaid Marita and farmhand Anghel. Toni Go played Hilda from the carnival, a Chinese businessman and the mysterious woman Kiko's father visited. 

The three younger members of the Actors Company also get to play some memorable characters. Earvin Estioko played Tio Baldo, Kiko's relative who later actively fought for farmer rights. Gelo Molina made a strong impression as the young servant Ludovico. He was Kiko's favorite playmate, something which got him into trouble with the boss. Ynna Rafa played Ludovico's mother, as well as Clarissa, Kiko's cousin from Cebu. 

Wika Nadera's stage was one huge circle with a trapdoor in the middle. A wooden lounge chair descended on the stage when needed. The actors sat around the circle, with all their props and costumes all on the floor beside them, as they changed as the scene required.  It was only the second show of the run that I watched, but everything went like clockwork, from Delphine Buencamino's dance movements to Roman Cruz's lights. This show could only get more polished from here. Bravo!!

The whole cast at the curtain call

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"Balete" runs from September 13 - October 6, 2024 at the Tanghalang Ignacio Gimenez, Cultural Center of the Philippines. Play runs for about 2 hours and a half, with a 15-minute intermission. 

Get your tickets at: Google Form (LINK), Ticket2Me (LINK), Ticketworld (LINK), or Klook (LINK). Ticket prices: VIP Php 2,000, VIP (20% Discount for Season Pass Holder, Senior Citizen, PWD) - Php1,600, VIP  (10% Discount for Students) - Php1,800, Regular Php1,500, Regular (20% Discount for Season Pass Holder, Senior Citizen, PWD) - Php1,200, Regular (10% Discount for Students) - Php1,350

9 Works: Review of ONCE ON THIS ISLAND: Lilting Legend of Love

September 7, 2024

After a terrible storm hit their island, Tonton Julian (Raul Montesa, alternate Noel Rayos) and his wife Mama Euralie (Lani Ligot) found orphaned Little Ti Moune (Reese Iso, alternate Bianca Estacio) on a tree. Despite their age and poverty, they decided to adopt her as their daughter. When she grew up into her teens, Ti Moune (Thea Astley) always helped her parents work in the fields, but she wanted to do more, and was excitedly waited for her life to begin. 

The four gods -- mother of the earth Asaka (Radha), god of water Agwe (Garrett Bolden), goddess of beauty Erzulie (Shiela Valderrama-Martinez, alternate Jasmine Fitzgerald) and demon of death Papa Ge (Lorenz Martinez) -- heard Ti Moune's yearning and granted her wish. Agwe created a strong storm which caused young "grand homme" Daniel (Jef Flores) to crash his car. Ti Moune witnessed the accident and took care for the young man.  

This is not the first time that I watched this play as it had been staged a number of times locally before. I am already familiar with the story adapted by Lynn Ahrens from a 1985 novel "My Love, My Love" by Rosa Guy, which in turn was adapted from Hans Christian Andersen's "The Little Mermaid." I already loved a number of its catchy songs with lilting calypso beats written by Stephen Flaherty -- particularly "We Dance" and "Waiting for Life." 

As for this new production, 9 Works and director Robbie Guevara chose their Ti Moune well. Triple-threat Thea Astley delivered strongly during her dramatic moments, belted with her crystal-clear singing voice in her musical numbers, and displayed terpsichorean chops during Ti Moune's impromptu island dance number at the ball. (I had seen alternate Angela Ken do very well in "Spelling Bee" last February, so I am looking forward to see her as Ti Moune.)

Jef Flores seemed to be having an off day at the matinee show today as Daniel. The chemistry between him and Astley was not working because he seemed tired and lacked energy, even in his solo "Some Girls." He came across as much older than her. We know he is capable of better work, 2-time Gawad Buhay best actor winner that he is. (The alternate is Sam Concepcion. Curious what he can bring to this character.)

The vocal powerhouses playing the gods all had knockout solo spots -- "Rain" for Agwe, "Mama Will Provide" for Asaka, "The Human Heart" for Erzulie and "Promises/ Forever Yours (Reprise)" for Papa Ge. The aristocratic Andrea, Ti Moune's rival, was played by Krystal Kane (alternate Shanaia Gomez). The storytellers were Fay Castro, Samantha Libao, skillful dancer Jordan Andrews and the delightfully cute scene-stealer Jonjon Martin. 

There were scenes where the blocking choices for certain characters looked awkward from where I was seated.  The center area of the circular ramp going all around the stage was a rather tight space, so there were dancers bumping into each other. Those hula hoops with long strips of paper hanging all around used in the "Rain" number did not look good for me. Anyhow, this is only opening weekend, so there is still time to tighten things up.  

Lani Ligot, Reese Iso, Lorenz Martinez, Radha, Thea Astley, Jef Flores and Shiela Valderama-Martinez at their curtain call

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UPDATE: September 21, 2024

Got to watch the alternate cast of this run of "Once on the Island" this afternoon. With her long curly hair in pigtails, Angela Ken looked very young and barely out of her tweens as Ti Moune. Her voice was clear as a bell, but compared to Thea Astley's, it was thinner and had less power. Sam Concepcion was better fit as Daniel, but the character is really unlikable, it was difficult for any actor to put a positive spin on him. Based on what I have seen, I think the combination of Thea Astley and Sam Concepcion would be the best to watch. I was also able to focus on more on the strong vocal performance of Ms. Lani Ligot as Euralie. 

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9 Works Theatrical's production of "Once on This Island" has a LIMITED RUN ONLY from September 6 to 29 at the RCBC Plaza, Makati City. The show is about 90 minutes long, without an intermission.

Get your tickets NOW via this LINK. 

Ticket prices are as follows: 

> Orchestra Center Premium: PHP 3900.00, 

> Orchestral Center: PHP 3700.00, 

> Orchestra Center Front: PHP 3600.00, 

> Orchestra Side: PHP 3300.00, 

> Orchestra Side Zone 2: PHP 3100.00, 

> Loge Center: PHP 3400.00, 

> Loge Side / Back:  PHP 3100.00

> Balcony: PHP 2200.00. 

Review of THE HALF-LIFE OF MARIE CURIE: Sisters in Science

August 25, 2024

In 1911, Marie Curie won her second Nobel Prize, this time in Chemistry, for the discovery of radium and polonium. However, she was not in the mood for any celebration. At that time, the widow Curie was being bashed in public for having a clandestine love affair with another scientist named Paul, who was very much married.  The Nobel organization even asked her not to attend her awarding ceremony because of the controversy she will attract. 

At this lowest point of her life, Curie was visited by her very good friend, electromechanical engineer Hertha Ayrton. Ayrton invited Curie and her two daughters Irene and Evie to come visit her in her seaside rest home back in Great Britain. Away from the distressing public scrutiny in France, Curie and Ayrton bonded over stories about their late husbands, about Curie's illicit affair, about Ayrton's criminal record, among other things.

Lauren Gunderson is a prolific American playwright who usually wrote about female scientists. Of her 25 plays written since 2001, I have only seen one of them so far -- "Silent Sky" (2011) about astronomer Henrietta Leavitt -- staged by Repertory Philippines in 2018. "The Half-life of Marie Curie" (2019) was about the most famous female scientist -- Curie, but sharing the stage was a fellow scientist, lesser-known, but also deserving of notice -- Ayrton.

Missy Maramara as Marie Curie

The first time I had seen Missy Maramara in action onstage was in 2018, in Dulaang Up's "Ang Dalagita'y Isang Bagay na Di-buo," and I had admired her since then. Maramara was very intense in portraying Curie's frustration and depression as her respected career crumbled down over the weight of a scandal.  Those who know Maramara more as a improv comedian of SPIT would also relish her sharp comic timing in the moments of levity here.

Caisa Borromeo was such a ball of energy throughout this play as Hertha Ayrton, from her introductory spiel about her invention. to her story about how she got her unique name, to her ribbing Marie to share juicy details. She was the best friend we all wish we had -- always looking on the bright side, always excited over our achievement, always honest in her criticism. The chemistry of Maramara and Borromeo was impeccable and a joy to watch. 

Caisa Borromeo as Hertha Ayrton

The fact that most of us now knew nothing about this "big scandal" which caused Marie Curie sleepless nights from 1911-12 proved that, more likely than not, history will eventually just remember us for our important achievements than our moments of human weakness.  Meanwhile, while we are still saddled with these mental health issues, we are lucky if we have loving family and loyal friends to rely on for support during these tough times.

Gunderson brings up now and again the constant challenge women go through to find equal footing in a world dominated by men. Women had always been judged with a different standard, be it about scientific achievements, political decisions or moral issues. Curie and Ayrton both loved their late husbands very much, but they also wanted to be known as brilliant scientists on their own merits. This play brings us into the intensity of their struggle. 

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"The Half-life of Marie Curie" is a two-hander play that runs for about 90 minutes without an intermission. This MusicArtes production is directed by Kiara Pipino, and staged at the Doreen Black Box Theater at the Arete in the Ateneo. Play runs 7pm on August 23-25, 27-30 with 3pm matinees on August 24-25, 30-31. It is rated PG-13 as there are scenes that tackle sex, gender discrimination, self-harm, and violence. 

Recap of A LA CARLOTTA: Celebrating Carla's Career!

August 13, 2024

The Cultural Center of the Philippines kicked off its first "Triple Threats" concert series in 2013, when it featured solo concerts by Audie Gemora, Nonie Buencamino and Menchu Lauchengco-Yulo. The latest one in 2022 featured Leading Men Markki Stroem, Arman Ferrer and Poppert Bernadas. This year, it's the turn of the Leading Ladies: Carla Guevara-Laforteza, Shiela Valderrama-Martinez and Tanya Manalang-Atadero.

Carla Guevara-Laforteza's concert was supposed to have been held on July 25, 2024, Thursday. Unfortunately, typhoon Carina flooded the metropolis Ondoy levels on July 24. This forced Carla to postpone her show to August 11, a Sunday, instead. I can just imagine the stress Carla and team had with this abrupt change of date, especially since some guests pegged for the original date would not be available on the new date, a list that included no less than her stage director Paolo Valenciano. 

When I received a personal invitation to attend this concert from Carla herself last June 2, of course I accepted without a second thought. I immediately knew this was going to be an extra-special event because the invitation even indicated a dress code -- Strictly All-Black Formal. This unique requirement was both intimidating and exciting, as it guaranteed that it will be elegant night.

On the night of August 11, the guests were indeed all dressed up in their all-black finery as they milled around the lobby of the Tanghalang Ignacio Gimenez, hobnobbing with the Who's Who of Philippine Theater who were also in attendance. By 7:30pm, everyone was settled in, eagerly anticipating the grand entrance of the star, while the Filharmonika Orchestra, with musical director Gerald Salonga at the baton, played the overture. 

Carla entered the room dressed in a voluminous scarlet ball gown made from luxurious satin. Her introductory spiel brought us back to when she was 14 years old, wanting to quit high school to become a stage performer. She began to sing Barbra Streisand's "Papa, Can You Hear Me?" (from the 1983 film "Yentl"), while telling the rest of the story of how she began in theater via Repertory Philippines. 

She segued to sing "Waving Through a Window" (from "Dear Evan Hansen") and "Can You Read My Mind?" (from 1978 film "Superman") to express her initial anxieties about her career choice. Then concluded this segment with "Horror Audition," a song specifically written for her by Rony Fortich, about her least favorite aspect of theater life -- auditioning.

Carla went to sing a couple of songs from two jukebox musicals she's involved in this year. First, she sang "Magpahinga" from the box-office record-breaking hit by PETA featuring songs by Ben&Ben, "One More Chance the Musical." Then, she talked Rep's coming holiday production "Going Home to Christmas," featuring songs by José Mari Chan, who was in the audience that night. She sang "Hahanapin Ko" (originally sung by Anthony Castello) to pay tribute to Chan,  whom many might not know was the one who composed this beautiful song.

Carla then called in four theater actors who had been her leading men before to sing a series of Broadway songs for her, as she sat downstage. Audie Gemora started the ball rolling with "Stars" (from "Les Miserables"), followed by Loy Martinez with his version of "Music of the Night" (from "Phabtom of the Opera"). As I only saw him in comic supporting roles previously, Raul Montesa surprised me with his powerful rendition of "If I Can't Love Her" (from the "Beauty and the Beast" musical). Last but not the least was the Beast himself, Arman Ferrer who sang the roof off of "This is the Moment" (from "Jekyll and Hyde").

Returning centerstage, Carla shared that the two singers who had inspired her the most had been Karen Carpenter and Lea Salonga. To pay tribute to her two icons, she asked Lea's permission if she could perform a medley of sentimental Carpenters hits which had been arranged for Lea by her brother Gerald before. The songs in the mix included: 'We've Only Just Begun," "I Won't Last a Day Without You" and "You (Are the One That Makes Me Happy)." 

For the next number, Carla intimated that she also idolized Gary Valenciano as a livewire performer. Her favorite number of his had always been jazzy scat classic "Spain." Sir Gary was supposed to have joined her for a duet, but he was out of the country on the new date. Therefore, Carla called on her so-called "favorite guest" Gian Magdangal and the inimitable dynamo Ms. Shiela Francisco (who had her own Triple Threats concert 10 years ago). I knew all three of them were vocal powerhouses, but their exuberant take on this frenetic song was certainly extraordinary. She took time during this song to acknowledge the members of the orchestra playing for her.

For the next number, Carla invited fellow leading ladies Shiela Martinez and Yanah Laurel, with again her favorite Gian Magdangal,  to join her in singing and rapping "Work." This snappy, catchy ensemble song number from "Hamilton" brought Act 1 to a rousing close. Guests were invited to partake of cocktails in the lobby during the 15-minute intermission.

Giving 100% in Every Song!

When Act 2 opened, Carla came in wearing a white satin ball gown with a huge complicated bow adorning her back. She immediately called next next guest Floyd Tena to sing a playful duet version of "Pure Imagination" (from the 1971 film "Willy Wonka and the Chocolate Factory").

Her next set of songs were dedicated to the members of her family.  First was a special request of her mother -- "Smile" (from Charlie Chaplin's 1936 classic film "Modern Times"). Her parents even did a short impromptu sweet dance while Carla sang the final chorus. Up next was a medley of  two hits by Stevie Wonder -- 'Too Shy to Say" and "Overjoyed," dedicated to her husband, Chef Godfrey Laforteza. Finally, for her children, she sang "Not While I'm Around" (from "Sweeney Todd"), a song she used to sing for them when they were still small kids.

Two duet numbers followed. For the first one, Carla saw Regine Velasquez sing "With You I’m Born Again" with no other than her concert conductor Gerald Salonga, and now Carla wanted one too. Salonga continued conducting while he was singing, which amused the audience. She then reminisced about her stint as Kim on "Ms. Saigon," then called one of her first leading men Noel Rayos to sing "Sun and Moon" with her. 

Carla talked about her difficulties during the past pandemic, during which her thirst for performing live could not be quenched,  even as she tried singing via streaming. The first show to open after the quarantine was lifted in 2022 was "Joseph the Dreamer" by Trumpets. She was given the role of Rachel, who got to sing the meaningful song of hope -- "He Opens a Window." Tonight, Carla belted this power ballad out of the park, while her niece gracefully danced ballet around her.

Her penultimate song number was about her continuing drive to face the future, uncertain as things may be -- Elsa's anthem from "Frozen 2" -- "Into the Unknown." To sing the operatic siren call Elsa was following, Carla invited acclaimed soprano Lara Maigue. Their ethereal collaboration filled the room with a otherworldly fairytale-like magical atmosphere.

To come full circle, Carla returned to Streisand's "Yentl" for her closing prayer, singing "Piece of Sky" -- for a contemplative yet hopeful finale. After she hit and nailed the soaring last note of this song, the audience all rose up to their feet simultaneously to give Carla a warm, spontaneous, well-deserved standing ovation. 

For her encore, Carla decided to go upbeat with a medley of disco hits by Earth, Wind and Fire, which included crowd favorites "Fantasy" and "September." At this point, Carla was cutting loose, gleefully dancing freestyle with her backup singers -- Johann dela Fuente, Jim Ferrer, Abi Sulit, and Paula Paguio -- who all had supported her expertly and unselfishly the whole night. What an exhilarating way to celebrate one's milestone 30th year in show business, La Carlotta! Brava!

Carla's Curtain Call

Sandbox: Review of LITTLE SHOP OF HORRORS: Carnivorous Comedy

July 8, 2024

Mr. Mushnik (Audie Gemora) owned a flower shop in a decrepit part of the city called Skid Row. Working for him were a foundling orphan boy named Seymour (Nyoy Volante), and a pretty but not-so-smart young lady named Audrey (Karylle). Because business was very bad, Mushnik declared that he has decided to close down shop. Desperate to keep the shop open, Seymour revealed that he had a new discovery which may improve business.

He brought out a strange plant which he found after a recent solar eclipse, which he called Audrey 2 for his crush. However Audrey currently had a boyfriend, the sadistic dentist Dr. Orin Scrivello (Markki Stroem), who frequently beat her up. At that time, the plant appeared to be dying, so Mushnick was not so impressed. That night, Seymour accidentally pricked his finger on a rose thorn. When drops of his blood fell onto the plant, it suddenly sprung to life. 

The original "Little Shop of Horrors" was a 1960 horror-black comedy B-movie directed by Roger Corman. Two decades later, Alan Menken and Howard Ashman (before their Disney renaissance with Ariel and Belle) turned the film into an acclaimed off-Broadway stage musical which ran from 1982 to 1987. In 1986, there was a film version of the stage musical directed by Frank Oz, starring Rick Moranis as Seymour and Steve Martin as Dr. Scrivello.  

I had long heard about this show and film, but I had not seen any version at all. This was the first time I was actually seeing this in full, so I was very excited to finally get to know what the fuss about it was all about. I was very pleasantly surprised how fun and entertaining the whole show was. Despite all the inevitable violence, abuse and deaths in the story, I, along with the rest of the audience, was laughing all the way through the supposedly revulsive scenes.  

In the show I watched, Seymour was played by Nyoy Volante (in all his wide-eyed nerdiness), Audrey by Karylle (always seductively sweet), Mushnik by Audie Gemora (amusingly cantankerous), Scrivello by Markki Stroem (so good being slick yet crazed) and Audrey 2 by OJ Mariano (channeling a vicious Zuma without snakes) Their ability to sing and act had long been proven by their impressive track records, and their performances were all just so lovable.

The alternate cast will have Seymour by Reb Atadero (I can see him already simper so delightfully), Audrey by movie star Sue Ramirez in her theater debut (someone I am most excited to see), Scrivello by David Ezra (an actor I have never seen in an antagonist role before), and Audrey 2 by Julia Serad (this female interpretation of the blood-thirsty carnivore should be totally different from OJ's take, and I want to see it). 

Hanging around Mushnik's flower shop and witnessing the events on Skid Row were three ladies, namely Crystal, Ronette and Chiffon (singular forms of 60s girl groups), collectively called the Urchins. This group functioned as a Greek chorus of sorts, filling in the details of the story with their inside information and insights. Abi Sulit, Paula Paguio, and Julia Serad (or Mikee Baskinas when Julia is Audrey 2) provide the Urchins with powerful singing vocals. 

The other most remarkable aspects of this show is the colorful way how director Toff de Venecia and his crew conjured up Audrey 2. Puppeteers handled Audrey 2's various parts, as he grew from a tiny weak potted plant withering away in hunger, into a murderous monstrosity occupying the whole stage, engulfing entire human beings. One can't really capture this phenomenal execution fully in words. You've really got to go see it live to appreciate it best.

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UPDATE: July 20, 2024

My wife and I watched the matinee show as part of our wedding anniversary weekend. Caught Reb Atadero as Seymour and Sue Ramirez as Audrey. Atadero seemed to have been born to play the bumbling botanist Seymour, effortlessly cute performance. In her films, Ramirez knew how to play quirky like the back of hand, and she knocked it out of the park here. Her Audrey was flirty and lovable, and her singing was unexpectedly rich and delightful -- it was hard to believe that this was her stage debut! 

Got to watch Julia Serad's portrayal of Audrey II this time around, and she gave it her sinister snarling best. Still preferred OJ Mariano's Audrey II. Also got to watch David Ezra's take on the sadistic dentist Scrivello. He did not seem to be the right fit for the role. The effort was showing but was not selling. Still preferred Markki Stroem's Scrivello.  

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"Little Shop of Horrors" runs from July 6-28, 2024 at the Globe Auditorium, Maybank Performing Arts Theater, BGC. Ticket are available via Ticketworld, with prices ranging from P3,600 (L1 Center Premium) to P2,000 (L3 Sides).

 

Review of CHOOSING: Living the LGBT Life

July 7, 2024

Mitch (Ice Seguerra) has been a tomboy all her life. Since her childhood, she only saw herself as a boy, with the games and toys she played with. At age 10, she saw nothing wrong about going shirtless with the other boys. She had crushes only on girls. In high school, her biggest crush became her best friend. However, Mitch had to give her up visiting her, so that the other girl won't get a bad reputation by being seen with her.

Stella (Liza Diño-Seguerra) has been always been feminine all her life. She loved playing with dolls. She only had crushes on boys. However, her experiences with boys and men had been less than ideal. At age 10, her personal space had been violated by an uncle. In high school, her big crush became her first MU one night, and her first heartache very next day. She had been a mistress of a married man, as well as a victim of a drunken ex.

A few minutes before the play began, Ice and Liza went out to greet their audience personally.  Being gala night, I believe they personally knew a lot of guests for that show. National Artist for Film sir Ricky Lee was in the house. However, they showed none of the usual pre-show jitters nor diva temperament other actors experience under pressure, especially before embarking on this two-hour-long, soul-baring, emotional roller-coaster ahead of them. 

Being an LGBT story, it was inevitable that sexual matters will come up, which may feel uncomfortable for the conservative and old-fashioned. We actually see the pages of the porn magazine that teenage Mitch was reading. We hear Stella hissing with pleasure while a stream of water was projected behind her. I may be in the minority with those who did not understand was the hissing sound she was making was about. 

From short vignettes, Act 2 ended in one very long argument which escalated from minor to major relationship issues. As how real couples argue in real life, there were non-sequiturs or statements that went against previous statements. I felt that the length and long-windedness of this argument somehow zapped the momentum of this play at its endgame. Perhaps, a revision of this part may be done to further improve its final impact. 

This script was Liza Dino-Seguerra's first venture as a playwright. We really do not know how much of what she wrote was drawn for the actual real lives of Ice and herself. By the time we get to the part when Mitch and Stella were already a couple, defining themselves as transman and cis-female respectively, as if they were talking about themselves. Director Anton Juan recognized this, and let that feeling of authenticity flow naturally. That was what made this piece of indie theater in a class of its own.

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UPDATE: June 8, 2025

In this restaging, Act 2 focused on the more serious aspects of Mitch and Stella's sex lives. It starts with them defining terms of gender orientation. Infidelity was brought up, then topics became more and more uncomfortable, like how being touched like a woman felt like molestation, or how being drunk at a birthday party led to rape, how pornography was like cheating, and how one can remain to be himself after full transitioning. Those who were expecting Ice to sing won't be disappointed with his moody original song that he sang here.

This restaging of "Choosing" runs two weekends, June 6 to 15, 2025 at the Doreen Black Box Theater, Arete, Ateneo de Manila University, Quezon City. Tickets are available from Ticket2Me, with prices ranging from P2200 (VIP), P2000  (Platinum), P1800 (Gold) and P1500 (Silver). This gala night was graced by several luminaries of stage (like Edru Abraham and Audie Gemora) and film (like Michael de Mesa and Bembol Roco Jr.). 

TA: Review of MGA MULTO: Haunted by History

July 6, 2024

Senyora Alvino (Miren Alvarez-Fabregas) was honoring his memory by funding an orphanage built in his name. Her only son Oswaldo (Yan Yuzon), an artist working in Paris, had just arrived for a visit. When she saw Oswaldo getting close with their young housekeeper Regina (Sabrina Basilio), daughter of carpenter Jacobo Estrano (Mark Aranal), Senyora poured out her secret concerns to her friend Pastor Mande (Joseph dela Cruz).

"Mga Multo" was originally "Gengangere" (literally, "the ones who return"), a play first written in Danish by acclaimed Norwegian playwright Henrik Ibsen in 1881, first staged in 1882. The English translation "Ghosts" (a title which Ibsen was reportedly not too happy about) was done by William Archer, likely in the same period when he translated other famous Ibsen classics like "A Doll's House" (1889) and "Peer Gynt" (1892). 

This Tanghalang Ateneo show featured an all-alumni cast. It was led by an actress whose name I had long heard about -- Miren Alvarez-Fabregas -- who thankfully decided to come out of retirement after a long 20 years to do this play. Her legendary reputation is certainly well-deserved. Each character was given a highlight moment, and everyone -- Yuzon, dela Cruz, Basilio and Aranal -- all delivered powerful performances of impressive depth.  

It was not easy to come into this play without any idea what going to be about like I did, because the plot was rather a complex family melodrama. During that first act, I must admit that I got confused with many things Senyora and Pastor Mande were talking about at length. However, eventually figuring out all the hidden secrets and connections between the five characters on my own did prove to be very rewarding indeed. 

The heart of Act 2 is a mother-and-son conversation about a mysterious affliction that has befallen Oswaldo. The name of the disease was not expressly mentioned, so the audience will have to rely on context clues as to what was wreaking havoc on Oswaldo's physical and mental well-being, as excruciatingly portrayed by Yuzon. Controversial allusions to scandalous topics of questionable morality are tackled in this intense second act. 

I had not yet read the original English text, but I have to say that pure, proud and magnificent Tagalog used by director Ron Capinding and Guelan Luarca to deliver Ibsen's dark and heart-wrenching story is easily the most impressive aspect of this production. To make things even more amazing, every actor in the cast was delivering these lengthy, difficult, tongue-twisting lines so naturally, briskly and flawlessly. This is truly a must-watch theatrical masterpiece.

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"Mga Multo" runs at the Doreen Blackbox Theater, Arete, Ateneo de Manila University, QC with 7:00 PM shows on June 28 - 30, July 5 -7, and 3:00 PM matinees on June 29 - 30, July 6-7. Tickets are priced at PhP 850 for the general public (exclusive of service fee), Php 680 for Senior Citizens, PWDs, and Tanghalang Ateneo Alumni, while Ateneo students (LS, SHS, JHS) may avail for their tickets priced at Php 600.