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. 

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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. 

Theatre Titas: Review of TWENTY QUESTIONS: Intimate Interviews

May 13, 2023

Jigs (Diego Aranda) and Yumi (Isabelle Prado) were members of one gang of friends. They had a yearly tradition to lock one boy and one girl, supposedly randomly picked, to spend 24 hours together in one hotel room. So far, those who had been locked together before all went on to have successful romantic lives as couples. At the start, Jigs and Yumi were determined to be the first couple not to end up together when they get out of the room. 

As an ice breaker, Jigs suggested that they play a game of "Twenty Questions" to be able to get to know each other better. Each one gets to ask any question on any topic about the other one. They would go alternatingly one after the other. One cannot ask the same question once it had been asked of him already.  The questions started off easy, but each subsequent question got more and more uncomfortable to answer, even with the wine.

"Twenty Questions" was the very first play written by playwright Juan Ekis in 2003. It won Ekis second place in the one-act play category in the Carlos Palanca Awards. This year, 20 years later, the play was chosen by the Theater Titas to be their fourth project, their first since the pandemic and since their membership in Philstage. Their first show "What's in the Dark?" was staged Halloween 2017, which I was able to watch back then (MY REVIEW).  

The twenty questions started with mundane questions like biggest frustrations or future plans. However, they soon went on to discuss more private matters, mostly about their past relationships. At first their conversations were light and jovial. However, as the questions become more challenging (and the wine they kept drinking loosened their tongues and inhibitions), the mood turned darker as more serious secrets were revealed.

Because of Yumi's more colorful love life and long list of past lovers, it was Isabelle Prado who had the more exciting and provocative stories to confess. This being her professional theatrical debut, Prado nailed her tough role, shifting seamlessly from wacky comedy to painful drama. Because Jigs was the conservative guy with a rigid-as-an-arrow sense of morality, Diego Aranda played him as the dorky yet charming straight-man in this two hander.  

I have not seen the original "Twenty Questions" so I could not comment on how director Cheese Mendez (one of the founding Theater Titas) had adapted the script to the present Gen Z milieu. The issues about virginity, living-in, sex and its attendant problems among the youth probably did not change that much in 20 years. However, there still wasn't much mention about social media and the major effect it had on relationships these days. 

In any case, the material still held up very well even twenty years after Juan Ekis wrote it -- a testament of its timeless appeal of Ekis's words and how they could make viewers reflect on their own attitudes about sex and relationships. It was a full-house when I watched, and the audience of mostly Gen Z and millennials lapped it up heartily, laughing and swooning in all the right places (probably also aided by the wine sold on their merch table).

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The Theater Titas' production of Juan Ekis's "Twenty Questions" opened last May 12, 2023 and will run up to May 28, 2023, weekends only. The play is staged at the Mirror Studio Theater, an intimate venue located on the 5th floor of the SJG Centre, along Kalayaan Ave., in Brgy. Poblacion, Makati City. It plays for one hour, without intermission, in Taglish. 

SJG Centre has no parking slots for private cars. They suggest parking in Century City Mall (approximately a 10 minute walk away) or Power Plant Mall (approximately a 15 minute walk away). They do not recommend Kalayaan Ave. street parking as it is a clamping zone, but there were cars parked along the road that Saturday night I watched.

TP: Review of NEKROPOLIS: Actualizing Anarchy

April 22, 2023

There were two sections in this city. The rich lived in Mariposa, where the rich residents were called butterflies. The poor lived in the Projects, where the poor residents were derisively called mosquitoes. The authoritarian leader was a man they called the Mayor. The main opposition was a woman they called the Kapitana (Julie Dimayuga). The nights in the city ring with gunshots as drug addicts were shot down without compunction.

One night, Miggs (Marco Viana) was contemplating about an imaginary wormhole where he can come out the other end as his younger self. A nervous young man named Alex (Marc Lorenz) met up with government employee also named Alex (Vince Macapobre) for his first sexual rendezvous. Claire (Lhorvie Nuevo) allowed lesbian drug pusher Karina (Mitzi Comia) into their apartment to hide during a surprise raid. 

This was an experimental project unlike anything I had seen from Tanghalang Pilipino before. It begins with a series of world-building episodes where various characters described their lives in this chaotic city which was on the brink of civil war. Admittedly, it was very confusing at first, I did not know what was going on. Even at the end, I cannot claim to understand everything that transpired, but I definitely felt the urgent unsettling message it was conveying.

The production design of Tata Tuviera was so abstract, beginning with bodies on the floor covered with newspapers, and ending with an explosive shower of waste paper and skulls making a big mess on the stage.  There were ropes crisscrossing from ceiling to floor in all directions, giving the illusion of shattered glass. The projection designs of Joyce Garcia on the floor or the live shots of the actors onstage on the backdrop heightened the mood of tension. 

The whole play felt like a madhouse when it reached that crazy climax when the whole cast was on different parts of the stage, simultaneous doing their own things, while some random characters were running around like headless chickens, I did not know where to look at or whom to listen to. Director Charles Yee wanted to show writer Guelan Luarca's idea of a society descending into anarchy, and that bleak dystopia was exactly what we saw and felt. 

*****

"Nekropolis" runs only for six shows at the Tanghalang Ignacio Gimenex in one weekend from April 20-23, 2023. 

Upstart: Review of BREAKUPS & BREAKDOWNS: Mercurial Millennial Mindsets

April 15, 2023

One Friday night, playboy commercial model Derek (Nelsito Gomez) was getting prepared for spending a night in a bar to meet up with a new girl. He was trying to convince his roommate and long-single best friend Mark to go out with him so he could meet girls. However, Mark (Reb Atadero) was still struggling to begin writing his new play about finding the perfect girl, so he won't budge from his computer. 

Mark's ex-girlfriend graphic artist Nina (Tanya Manalang), with her boss Felicia (Sarah Facuri), was dealing with difficult clients Howard (Joel Trinidad) and Morgan (Rachel Coates) at work. Sandy (Nicky Trivino) who was seeking advice from her friends Richard (Trinidad) and Pamela (Facuri) on how best to get on Derek's good side. She was leaving for Singapore in a few weeks and wanted to get serious with Derek before that.  

The libretto of the original musical "Breakups and Breakdowns" was Joel Trinidad's first work for theater back in 2005. Its music was composed by Rony Fortich back then and even now as new songs were added to beef up the show. This present edition of the play had been reworked extensively by Trinidad, together with his creative partner and dramaturg Nicky Trivino, along with additional script  suggestions by the cast members themselves. 

Reb Atadero and Tanya Manalang are powerful belters, and, as the lead couple of the show, they both get to sing the best songs in the show. The most vocally- and emotionally-challenging song is "Tired of Goodbyes" sung by Mark and Nina, the most traditional showtune in the list. Both also get show-stopping solo numbers -- "Only Words" for Mark, "Outside the Lines" for Nina -- to highlight their vocal range.

Those who only knew Nelsito Gomez for his iconic roles in "Angry Christ" or "Asher Lev" will be pleasantly shocked with his all-out transformation of persona, as much as they will be shocked by the electric colors of his shirts. The energy of the show tends to sag when his Derek was not onstage. The most attention-getting songs were those naughty ones by Derek, especially "Be Prepared," sung with a small square packet in his hand. 

Rachel Coates, Sarah Facuri and Trinidad himself got to play multiple distinct characters, and their side stories were sometimes wittier than the main love story. I liked the "Clients from Hell" side story best of all. The wishy-washy boss Howard was Trinidad's best character for me. The wig he wore made him look like a totally different person. Coates was so good playing annoying suck-up Morgan, practically echoing everything Howard said. 

The current version of the show now runs for about 2-1/2 hours, with a 15-minute interval between acts. Admittedly, because of the slimness of the plot, I felt the length of this running time, particularly when the momentum and the wit faltered in the second half of both acts. Surely, this pacing issue can still tightened for the regular shows. Anyhow, the vibrant talent and personalities of the actors still kept the show afloat and engaging to the end. 

*****

Upstart's "Breakups & Breakdowns" runs from April 15 (3 p.m.), April 16 (3 p.m. and 8 p.m.), April 22 (3 p.m. and 8 p.m.) and April 23 (3 p.m.) at the Creative Arts Centre, The British School Manila, 38th Street, BGC, Taguig. For ticket inquiries, call or text Upstart at 0917-8116156 or e-mail upstartproductionsinc@gmail.com.  Ticket prices are P2300, 2100, 1800, 800 and 500. 

For those who will be driving their own cars, the nearest parking areas would be in the two malls near the venue -- Market! Market! and Uptown Mall. However, the distance between each mall to the venue will take about a 10-minute walk in each direction. Walking back to the car alone at 10:30 pm after an evening show may not feel safe for nervous types. 

Review of ZSAZSA ZATURNNAH THE MUSICAL... 'YUN LANG: Effeminate Empowerment

March 17, 2023

Ada (Phi Palmos, Adrian Lindayag, Shaun Ocrisma) was a serious gay guy who lived in a small province town. He earned a living by running his own beauty salon. His loyal best friend was his very gay, very gregarious assistant Didi (Almond Bolante, Joshua Cabiladas, Robert Bradley Hao). The two friends were used to being the butt of jokes in their community but they boldly charge on being themselves. Ada's crush was the strapping guy at the vulcanizing shop, Dodong (Juan Carlos Galano, Jude Matthew Servilla, Elian Dominguez).

One night, a glowing pink rock fell into the bathroom where Ada was taking a bath. Didi convinced Ada to go ahead and swallow it to gain superpowers. When Ada shouted the word "Zaturnnah" which was written on the rock, he was transformed into a sexy woman with red hair and a healthy bosom, whom they would christen Zsazsa Zaturnnah (Kim Molina). They would soon discover that while Zsazsa possessed powers of super-strength and super-speed, she did not possess Ada's skills for cutting hair and doing makeup.

This comic homage to Filipino super-heroine Darna originated from the pages of a 2002 graphic novel written by Carlo Vergara. In 2006, Tanghalang Pilipino staged an adaptation of this cult-favorite into a musical with book by Chris Martinez, music by Vincent de Jesus and direction by Chris Millado. The original cast was led by Eula Valdez as the titular heroine, with Tuxqs Rutaquio as Ada, Ricci Chan as Didi and Arnold Reyes as Dodong. This show would have seven runs up to 2011, TP's longest-running musical show. 

In this press show, all the lead actors had powerful belting singing voices which matched de Jesus's soulful arrangements perfectly. Body-wise and voice-wise, Kim Molina, much missed on the musical stage after memorable lead roles in "Rak of Aegis" and "Kung Paano Ako Naging Leading Lady," is a perfect choice to play Zsazsa. Phi Palmos has been playing all the major gay characters in recent musicals like "Ang Huling El Bimbo" and "Mula sa Buwan," making his casting as Ada an inspired choice as well. 

The role of Didi was written for an effortless scene-stealer. The actor who played him needed a strong stage presence, precise comic timing and Jennifer Hudson-like vocals -- and fortunately, they were able to find this rare combination of talent in the incredible Almond Bolante. Juan Carlos Galano had the handsome face and chiseled body to play the neighborhood dreamboat Dodong. The vocal demands of his first song may have been a bit beyond his range, but by his final song, he has proved his worth as singer as well. 

Kakki Teodoro seemed born to play the silver-clad and formidable alien dominatrix, Queen Femina Suarestellar Baroux. Her excellent command of complex English dialogue and fluidly dynamic speaking and singing voice more than made up for her diminutive stature. Her four minions, the Amazonistas, were hilarious parodies of local movie queens, Nora A, Sharon C, Dina B and Vilma S. During their featured song number, Carlin Maximo, Jelena Evangelista, Dani Tan, and Heart Romeo all showed off their remarkably distinctive vocals.

This latest revival, presented by Rizal Library, co-presented by Areté Ateneo, and #Ateneo Blue Repertory, had updated the original script with various pop references of events and trends which had transpired since the last staging and the present. Some story elements about how badly gays are treated may seem dated at first. However, after a while, you'd eventually realize that, SOGIE Bill and all, perhaps not much had actually changed and they still feel persecuted, not only by society, but also within their families. 

I was seated in one of the two mosh pits on both sides of the catwalk. While they give a very close-up view of the actors, it was not easy for me to keep track of everything happening on different parts of the stage, especially the end of the catwalk which was behind me. I imagine it might actually be better to sit in the bleachers at the back in order to see the whole stage. During press night, there were sound and mic glitches, damaged props and a number of gags which did not fly -- nothing too serious that can't be corrected in the next shows.  

Director Missy Maramara had a talented team working with her, with musical director Vincent de Jesus, lighting designer D Cortezano and sound engineer John Robert “Ago” Yam. The most challenging technicals should be the production and costume designs by Tata Tuviera. He had to create the illusion of the giant frog attacking the town and how to show that Zsazsa could uproot a big tree and throw it into the sky. His eye-catching costumes for Zsazsa, Femina, the Amazonistas, as well as the zombies, all deserve commendation.   

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"ZSA ZSA ZATURNNAH THE MUSICAL...'YUN LANG !!!!" plays from March 17 to April 2, 2023 at the Doreen Fernandez Black Box Theater, Arete, Ateneo de Manila University, Loyola Heights, Quezon City. 

For tickets, click ateneobluerep.com/zz-ticket-reservations (the form is strictly open from 11:00AM-7:00PM only daily).