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.

 

Ranking the 12 New One-Act Plays of VIRGIN LABFEST 2024

June 30, 2024

Virgin Labfest "Pintog" is coming to an end tonight. I was able to watch all 5 sets of VLF this year. This is thanks to the fact that Set A premiered on June 12, so i was able to watch it this year. Set A is the one I usually miss in past VLFs due to scheduling problems.  

The fact that these plays have made it to this stage already means that their scripts have already been adjudged to be the best of all the submissions. My rankings here are purely subjective and personal, how I liked the performance of the play that I saw that specific day. Here is how I would rank the 12 new plays of VLF 19:

1. Ang Munting Liwanag 

Written by Dustin Celestino 

Directed by Toni Go-Yadao

The highlight of a Dustin Celestino play is the way he wrote dialogue, heard in the thought-provoking conversations in plays like "Doggy" (VLF 16) and "Fermata" (VLF 17), and his film "Ang Duyan ng Magiting" (Cinemalaya 2023). Here, we are engrossed as we listen in to the thoughts of both men and GROs as they psychoanalyzed each other. Joshymae impressively played against type as a toxic male with a savior complex, with Dyas Adarlo, Bon Lentejas, Jorrybelle and Heart Puyong all also delivering strongly in support.

2. The Foxtrot 

Written by Chesie Galvez Carino 

Directed by Paul Morales

JC Santos and Liesl Batucan were already limbering up onstage even when the play had not yet begun. Director Paul Morales took advantage his dance background to make the dancing scenes spectacular to watch. Santos was lithe and limber as dance instructor Diego, as he projected sex appeal with over-the-top dance moves.  The heart of this show was definitely Batucan, so effortlessly lovable and delightful as the lonely matron Anna, it was impossible not to take her side. 

3. Sentenaryo 

Written by Herlyn Alegre 

Directed by Ian Segarra

Herlyn Alegre is a known quality brand in VLF, with memorable works like "Imbisibol" (2013) and "Fangirl" (2019). Here, she mined comedy out of greedy family dysfunction and self-serving solicitousness of local politicians in the light of the cash gift for centenarians, and pulled it off, despite some lapses in logic.  The physical comedy aspects were the funniest for me, with the convincingly aged-up Ekis Gimenez (as the 100 year-old Dencio) literally getting carried like a limp sack all around the stage.

4. Ningas 

Written by Lino Balmes

Directed by BJ Borja

The premise of this play was so innovative, I had never heard anything like it before. True, it asked me to suspend a lot of disbelief, but I was entranced by the eloquence of Balmes' script. With the way Ge Malacaman delivered the woman's arguments why she wanted to be born, I would have been convinced. Ross Pesigan has always been a charming and reliable actor, and that is why we totally understand Austin's decision, whether we agree with it or not. BJ Borja bravely took on this abstract concept and delivered a moving piece of drama.

5. Sa Babaeng Lahat 

Written by Elise Santos

Directed by Caisa Borromeo 

This play felt like a synthesis of various memories of graduates of an all-girl high school. In the grand scheme of things, I don't seem to see how the Immaculate Conception story was connected to the teen lesbian romance story, so i felt it was more for shock value than anything else.  In any case, the three young ladies (Jam Binay, Cheska dela Cruz, Yani Lopez) were committed and consistent with their characters, so they were quite entertaining to watch, even if some jokes tended to be too irreverent for me. 

6. Pagkapit sa Hangin 

Written by Joshua Lim So

Directed by José Estrella

This is the most serious play of the 10 shows I had watched.  The topic of the play had no room for any humor at all, and So wisely steered clear of that, going against the popular trend of being hip and funny at VLF. Urgent, gritty and realistic, the actors made the audience relive the stress and tears of the pandemic, not only for health professionals (for whom life-and-death decisions are haunting ghosts), but also those who helplessly witnessed their loved ones expire, as represented by the Watcher (Gold Villar-Lim). 

7. Identité 

Written by Jhudiel Claire Sosa

Directed by Meann Espinosa

Like the first two plays in this set, there were serious issues being tackled here behind the laughs -- about the wide difference between how female sexuality was regarded by the Gen X and Gen Z women.  Kitsi Pagaspas was also a master in comic delivery as the shell-shocked Mommy Luz getting to know the new Regina.  While a central mother-daughter bonding scene set to psychedelic imagery and heady music was trippy good, I was not really sure what they were actually doing. 

8. Si Hesus Na'a sa US

Written by Neil Azcuna

Directed by Phil Noble

For practically the entire play, Luna and Marlon were only talking in the makeshift "taxi," as the video projections behind them simulated the motion of the ride. It really depended on the skills of the two actors to make the lines pop into vivid life. Ceasico flawlessly went through the gamut of emotions, while Calilong solidly played her straight man. Luna was from Bohol, so the tone of the script was prominently Bisaya. The accents sounded realistic even if the actors were not Bisaya.

9. The Divine Family 

Written by Dip Mariposque

Directed by Roobak Valle

Via Antonio was clearly the star of this show as her undeniable talent for comic delivery was in full display here. However, I was not comfortable with the religious irreverence of her jokes, as her every line broke the third commandment. The pandemic setting of this play immediately made it and its jokes feel dated for me. I suspect it would have worked better if the story had been taken out of the Covid situation, which it could have. 

10. Love on the Brain 

Written by Rick Patriarca

Directed by John Mark Yap

Compared to the profane "Hapagkainan" (2016), the insightful "Birdcage" (2017) and the outrageous "Wanted Male Boarders" (2019) -- the topic of HIV/AIDS tackled by Patriarca in this play was rather too familiar already. However, the patient count of HIV/AIDS continues to grow, so public education about it is still important. The complicating issue of how HIV will impact one's popularity and clout as an influencer will resonate with the Gen Z LGBT crowd.

11. Lipistik at Pulbura 

Written by Ara Jenika Vinzon

Directed by Charles Yee

"Remember Erlinda" was apparently a battle cry for Filipinos fighting in the Battle of Bataan during World War 2. Honestly, this was the first time I have heard of this historical fact. Good thing, the play reminded us of Erlinda's tragic story before the story proper. It was admittedly confusing when you hear Odeng called her friend Erlinda, but you eventually understand that this play was trying to give Erlinda a more heroic story than what really happened. 

12. Vengeance of the Gods 

Written by Hans Pieter Arao

Directed by Hazel Gutierrez-Marges

The topic may have sounded interesting on paper, but the execution was very dry. The set is only a bare stage with a line projected on the floor and back wall, like the central line of a street. The two men were engaged in a rather rambling conversation, with several words unintelligible for me. One thing which was evident from the first scene to the end was the lawyer's sweating in the heat. I sure it meant something, but I can't guess it.  

Rep: Review of I LOVE YOU, YOU'RE PERFECT, NOW CHANGE: Reflecting on Relationships

June 29, 2024

As it ran for 12 years from August 1996 to July 2008, "I Love You, You're Perfect, Now Change" (or ILYYPNC) is the second-longest running Off-Broadway musical, albeit a far second from the 55 years of "The Fantastiks." It is a musical comedy with book and lyrics by Joe DiPietro, and music by Jimmy Roberts. It tells various stories about human relationships as a series of unrelated vignettes instead of one continuous story.  

Repertory Philippines had already staged ILYYPNC before, as their second show of their 69th season back in 2006. 18 years later in 2024, Rep brings it back as their second show of their 84th season.  The creative team behind this brand new staging is led by Menchu Lauchengco-Yulo, donning the director's hat for the first time since "Jekyll and Hyde" 12 years ago. Running for 2 hours (with a 10 minute intermission), ILYYPNC features a cast of four triple threat actors to portray the multiple characters in 20 skits, spread out in two acts. 

Gian Magdangal's powerful tenor and leading man looks had landed him lead roles in musicals. His past characters had always been very serious and intense, so seeing him being funny and playful in this show (playing roles ranging from a flighty gay dad, a husband waiting for his wife shopping, to a murderous inspirational speaker) is quite a surprise. His best bits here were the sensitive guy in "Tear Jerk," the disappointed dad in "And Now the Parents," and the elderly lothario in "Funerals are for Dating." 

The first time I saw Marvin Ong onstage was way back 2009 when he was still very young, as Toby in Rep's "Sweeney Todd" and Juan Tamad in PETA's "Si Juan Tamad, Ang Diyablo at and Limang Milyong Boto." He is already quite mature-looking now, but his singing voice was still very strong. His characters were usually shy and cute, the nerdy guy in "A Stud and a Babe" or the hesitant suitor in "The Lasagna Incident." His best number was his showcase solo song in Act 2, "Shouldn't I Be Less in Love with You."

Krystal Kane had been acting on stage since she was 10 years old, but this is only the first time I am seeing her perform. From the impatient date in "Not Tonight, I'm Busy, Busy, Busy" to the tired but frisky wife in "Sex and the Married Couple," Kane is energetic and perky throughout. However, her absolute most memorable number was the song that opens Act 2 --"Always the Bridesmaid." She was a riot as she sarcastically sang about all those ugly bridesmaid gowns of various fabrics she had been made to wear through the years.  

The fourth member of the cast should have been Gabby Padilla. However, she was sick today, so her place was taken over by the swing, Barbara Jance. I must say, Ms. Jance had the roles of Woman 1 (from the bossy mom in "The Family That Drives Together" to the exasperated wife in "Waiting"), as well as her solo song number "I Will Be Loved Tonight", down pat. Her most stellar moment was definitely "The Very First Dating Video of Rose Ritz," where she bared the heart and soul of a lonely divorcee desperate to meet a good man.

Even if the material is almost 30 years old, most of it still worked in the current context, as these male-female relationship tropes are timeless. A raunchy song like "A Picture Of His..." may be uncomfortable for the conservative types, but hilarious for most. There was a gender switch in "The Baby Song" to make the parents both male, and the guest female. The "Satisfaction Guaranteed" skit may not fly for everyone.  Based on the loud and hearty laughter of the audience, the show was a rousing success in entertainment value. 

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I LOVE YOU, YOU'RE PERFECT, NOW CHANGE runs from June 15 - July 6, 2024 at the Carlos P. Romulo Auditorium, RCBC Plaza Makati City. Buy your tickets from TICKETWORLD (LINK), TICKET2ME (LINK) or at the gate. 

Review of VIRGIN LABFEST 19 SET E REVISITED ("SAGAD"): Coercion, Corruption, Convolution

June 27, 2024

1. DOMINADOR GONZALES: NATIONAL ARTIST

Playwright: Dingdong Novenario

Director: George A. de Jesus III 

Playwright and theater director Dominador Gonzales (Joel Saracho) had been named as one of the candidates for National Artists. Oliver Torres III (Bong Cabrera) went to Gonzales's place to congratulate his former mentor and lover, whom he called Dmon. Oliver once wrote plays, but was now focused on a career in the corporate world. He asked Dmon to collaborate with him to stage an old play they had collaborated on before. Dmon was not interested.

Watching this live was so much more entertaining than its staged reading form I saw back in VLF 2020 via online video. Like before, Novenario still dropped a lot of updated pop culture and current events references, from the critic who gave negative infinity ratings to the girl who opened her laptop during a play. Saracho and Cabrera slayed the insidiously explosive script, delivering every line dripping with sarcasm, with AJ Sison completing the trio as Dmon's ward Edward.   

2. ROOM 209

Playwright: Zheg Arban 

Director: Delphine Buencamino 

Since he was a child, Cadet 4th class Anghelo Perez (Jao Catarus) was prepared by his late father and his older brother (Gino Ramirez) to enter the Philippine Military Academy. Their father wanted both his sons to follow in his footsteps to be PMA-bred military officers like him. Unfortunately, Perez became the target of bullying by his upperclassmen. Anghelo tried his best to withstand the abuse, until he could not. 

The dynamic directing decision of Buencamino to bring Arban's powerful script to life with energetic choreography created such a galvanizing effect on the audience. The ensemble of new young actors performed solidly -- especially Earvin Estioco and James Lanante as the bullies, Aksel Panlilio as the roommate, and Catarus in the vulnerable central role. Even if this was the second time I've seen this play, its sensitive and respectful ending still packed quite a punch.     

3. ANG AWIT NG DALAGANG MARMOL 

Playwright: Andrew Estacio 

Director: Nazer Salcedo

For its inaugural presentation, the Inang Bayan Theater Company was presenting a play about "Jocelynang Baliwag," known to be the "Kundiman ng Himagsikan." About two weeks prior to opening day, the playwright/director (Adrienne Vergara) brought in the dramaturge (Kath Castillo) who was seeing the play for the first time. Much to the director's dismay, the dramaturge's suggestions were transforming her play into something totally different.  

For theater fans who have long-wondered what the role of a dramaturge was to a theater production, Kath Castillo educates us, and then some. Soprano Rachella Jasmin Balunes, baritone Enso Lapresca, pianist Dane Hinol, plus "senior" actor Andrew Cruz gave their all to deliver the comedy, but the radiant Adrienne Vergara was effortlessly ebullience personified. The beautiful kundiman singing of Ms. Mia Bolanos brought this play to a specially fitting conclusion. 

  

Review of VIRGIN LABFEST 19 SET C ("PU-TIM"): Resuscitation, Reinterpretation, Recreation

June 20, 2024

1. PAGKAPIT SA HANGIN 

Playwright: Joshua Lim So

Director: José Estrella 

At the height of the Covid pandemic, the medical staff of the island hospital -- two nurses (Elora Espano and Wena Nagales) and one doctor (Timothy Mabalot) -- had already been on duty for more than 24 hours attending to an endless stream of patients. To make things worse, they were running out of oxygen supply for their tanks. Pushed to the wall to prioritize the remaining supply, the doctor made a tough decision that only the three of them knew.

This is the most serious play of the 10 shows I had watched.  The topic of the play had no room for any humor at all, and So wisely steered clear of that, going against the popular trend at VLF. Urgent, gritty and realistic, the actors made the audience relive the stress and tears of the pandemic, not only for health professionals, but also those who watched their loved ones expire from lack of oxygen, as represented by the Watcher (Gold Villar-Lim).  

2. LIPISTIK AT PULBURA

Playwright: Ara Jenika Vinzon

Director: Charles Yee

It was 1943 in Abucay, Bataan. Odeng (Pau Benitez) was a journalist who wrote news about the war. Her best friend, guerilla rebel Erlinda (Chase Salazar) passed by Odeng's office so she can have her hair curled and her face made up. Their lunchtime conversation turned serious when Erlinda told Odeng that her writing is being censored so that it would feel like pro-Japanese propaganda, something that Odeng vehemently disagreed with. 

"Remember Erlinda" was apparently a battle cry for Filipinos fighting in the Battle of Bataan during World War 2. Honestly, this was the first time I have heard of this historical fact. Good thing, the play reminded us of Erlinda's tragic story before the story proper. It was admittedly confusing when you hear Odeng called her friend Erlinda, but you eventually understand that this play was trying to give Erlinda a more heroic story than what really happened. 

3. THE FOXTROT

Playwright: Chesie Galvez-Cariño

Director: Paul Morales

Anna (Liesl Batucan) was a society matron who loved ballroom dancing as her outlet to escape the drudgery of her daily life with husband Mark. Her favorite dance instructor had been Diego (JC Santos), who was currently training Anna the foxtrot for an upcoming competition. However, Diego informed Anna that he was endorsing her to his fellow DI Gino because he was going to the States to get married.

Santos and Batucan were already limbering up onstage even when the play had not yet begun. Director Paul Morales took advantage his dance background to make the dancing scenes spectacular to witness. Santos was lithe and limber as Diego, as he projected sex appeal with over-the-top dance moves.  The heart of this show was definitely Batucan, so effortlessly lovable and delightful, it was impossible not to side with her. 

This was my favorite of Set C.