Filipino Canadian play teaches kids how to grieve, cope with loss

By WALTER ANG
June 26, 2019
Inquirer.net
https://usa.inquirer.net/33119/fil-canadian-play-teaches-kids-how-to-grieve-cope-with-loss

TORONTO  Filipino Canadians Andrea Mapili and Byron Abalos have created a children's play, "Through the Bamboo," that will go on stage as part of the Toronto Fringe Festival this July.

Angela Rosete (center) as the smart Filipino Canadian child Philly,
during rehearsals with her co-actors. 

Inspired by Philippine folklore, the play is an action-packed adventure about the value of storytelling and how families deal with the loss of loved ones.

The play is about a smart 12-year-old Filipino Canadian child whose grandmother has recently passed away. The independent, sarcastic and driven Philly is sorting through her grandmother's items when she suddenly finds herself in the fantastical land of Uwi, a place where storytelling is forbidden.

Philly helps two duwende restore storytelling in Uwi. Along the way, she meets a tikbalang, a kapre, an ekek and other creatures. At the end of her quest, she learns to grieve for her grandmother.

Filipino Canadians involved in the production include director Nina Lee Aquino, sound designer Maddie Bautista and the entire cast, which has Angela Rosete as Philly and Carolyn Fe as Lola.

Epic

"We wrote this play to fill a void," says Mapili. "We wanted to write a Filipino play for young audiences-an epic tale using Philippine mythology that featured women, young and old, as the central characters.

Byron Abalos and Andrea Mapili co-wrote
the children's play "Through the Bamboo."
Photo by Jenna Harris 

"We wanted to write something for our nieces and nephews and wanted to write a Filipino story with a scope that could rival the worlds in Chronicles of Narnia and Wizard of Oz."

When she was a child, Mapili had received a book about the Samal (one of the indigenous peoples in the Philippines) myth of the love story between the human woman Tuan Putli and sky deity Manik Buangsi.

"We used that story as inspiration and then had fun reimagining other mythological creatures in the world," says Abalos.

"This is not Philippine myths as you would hear it in its truest form," they point out. Instead, in their capacity as theater makers, they've crafted a Filipino Canadian reimagination of Philippine culture, story and artistic traditions.

Collaboration

Born and raised in Toronto, Abalos' playwriting credits include "Remember Lolo," "Brown Balls" and "Monday Nights." He also has acting credits with numerous theater companies.

Mapili moved to Canada when she was four years old. In addition to acting and dancing, Mapili also does choreography, with recent credits such as "Asiansploitation: We Will Wok You," "Asiansploitation: The Text Generation" and "Cassettes 100."

Over the years, "Through the Bamboo" has had developmental stage readings at Filipino American theater Bindlestiff Studio in San Francisco and Filipino Canadian organizations Kapisanan Philippine Centre for Arts and Culture and Carlos Bulosan Theatre, both in Toronto.

Though the couple have been developing the script for more than six years, they've known each other for far longer.

"We've actually known each other since elementary school. Our dads became friends on the neighborhood tennis court," Abalos says.

They were cast as romantic leads in a show at the Next Stage Theatre Festival in the late 2000s and were married in 2010. "We've been collaborating on various projects ever since."

Comforting children

The couple did not set out to write just any play for young audiences. They also wanted to address a specific subject matter.

"After experiencing death and loss in our own family, we were inspired to write a play about grieving from a child's perspective. Something that would comfort children and help them understand what it means to grieve," says Mapili. 

They consulted with grief counselor and psychotherapist Andrea Kwan and incorporated her inputs.

In a poignant coincidence for the playwrights, the premiere of their children's play (about death) is coinciding with the birth of their own child.

"We've been working on this play for about the same time we've tried to get pregnant. And now both are coming into the world within a couple of weeks of each other," they say.

"We're thinking a lot about family, ancestry and legacy. This play is dedicated to our family and ancestors, and to the child we are about to bring into the world."

"Through the Bamboo" runs July 3-14, 2019 at Factory Theatre, 125 Bathurst St., Toronto. Visit Throughthebamboo.ca.

Justin Huertas’ musical all about Filipino American ‘octopus-wrestling mom’

By WALTER ANG
June 19, 2019
Inquirer.net
https://usa.inquirer.net/32630/justin-huertas-musical-all-about-fil-am-octopus-wrestling-mom

SEATTLE  Filipino American composer and actor Justin Huertas has created a new pop-rock musical about a Filipino American family whose matriarch is a wrestler of octopi from the Pacific Ocean.

 Justin Huertas is composer and librettist of
"The Last World Octopus Wrestling Champion,"
a musical about a Filipino American family
in Seattle whose matriarch wrestles octopi.

For "The Last World Octopus Wrestling Champion," Huertas takes inspiration from his heritage and upbringing, blending Filipino culture and Seattle history into a "modern myth of love, family, and transformation."

He gives an overview of the musical's premise, "Grace competed in and won the World Octopus Wrestling Championships 18 years ago. But she didn't release her octopus back into the water; she secretly kept it.

"Now, Grace's daughter is coming of age, falling in love, and exhibiting strange new abilities. Meanwhile, Grace is trying to defend her family from an ocean that holds a grudge against her."

Filipino Americans

Filipino American actor Corinna Lapid-Munter will play Grace. Other Fil-Ams in the production include actor Christian Quinto, set designer Lex Marcos and choreographer Alyza DelPan-Monley.

"I wanted to write a musical about a mom who's also a superhero in her own right," says Huertas. "It's just my luck that Corinna Lapid-Munter is a musical theater actress, a mother, and a real-life superhero-she knows karate, drives a motorcycle, and has one of the most incredible singing voices in Seattle.

"She's also Filipino like me. So in a sense, I get to write about my own mom, my own family and my own cultural experience while I invent new Seattle-based mythology."

Development

Huertas's previous musicals include "Lizard Boy" (music, lyrics, book) with Seattle Repertory Theatre and "Howl's Moving Castle (music, lyrics) with Book-it Repertory Theatre.

The musical will be staged by ArtsWest Playhouse and Gallery. Musical arrangements and orchestrations are by Steven Tran. The show is helmed by ArtsWest artistic director Mathew Wright, who commissioned Huertas to create the musical.

"Mat and I have been huge fans of each other for years. For two years in a row, he commissioned me to co-curate an immersive theater experience for ArtsWest's annual gala. Now that I think about it, that might have been my audition," says Huertas.

"Our collaboration was so easy and yielded some pretty tremendous art, so he straight-up asked me to pitch him a musical to put in the 2018-19 Season. I sent him two pitches, and he chose the weirder one."

Spin

Huertas wanted to create a "modern myth musical" set in Seattle and infused with its culture.

Corinna Lapid-Munter (front) and Christian Quinto
are in the cast of Justin Huertas' "The Last World Octopus Wrestling Champion." 

Inspired by stories he had heard as a child about a giant octopus that lived under the Narrows Bridge in Tacoma, he started researching online.

"I went down a Google rabbit hole that led me to the World Octopus Wrestling Championships. It took reading a few articles to believe it was actually real. I was so surprised I'd never heard of it until that point."

In octopus wrestling, a diver grapples with a large octopus in shallow water and drags it to the surface. It was very popular in the 1960s and an annual championship was held in Puget Sound.

"I took what I learned of that history and put my own spin on it for this story."

Relatable, joy

Huertas believes that fantasy and science fiction are "truly just different lenses to look at the world that's already around us." 

"I fell in love with superheroes and sci-fi growing up because it gave me a vocabulary to think about myself and the world around." (Huertas' first musical "Lizard Boy" also has superhero elements.)

"`The Last World Octopus Wrestling Champion' has magic and battles, but at its heart, it's about a mother and daughter and about first love, which are things we all can relate to in one way or another."

"I'm so excited about the Filipino presence in this production and in this story. The narrative centers on a Filipino family, they speak Tagalog, they eat Spam, Grace constantly asks, 'Did you eat?'"

"It's been a joy to bring that aspect of my identity to this musical."

"The Last World Octopus Wrestling Champion" runs Jun. 20-Jul. 28 at ArtsWest, 4711 California Ave. SW, Seattle. Visit Artswest.org.

Filipino American artist Maia Cruz Palileo reclaims U.S. colonial images of PH

By WALTER ANG
June 15, 2019
Inquirer.net
https://usa.inquirer.net/32366/artist-maia-cruz-palileo-reclaims-u-s-colonial-images-of-ph

WASHINGTON, DC - Filipino American painter Maia Cruz Palileo is responding to images of Filipinos that were created during the US colonization of the Philippines with images of her own.

"Woman Leaning on a White Tigress" by Maia Cruz Palileo,
oil on canvas, 2016. 

Palileo's pieces were crafted after a period of research where she studied a collection of photographs taken by American zoologist Dean Worcester from 1899 until 1903.

Palileo wanted to assess images of Filipinos as seen from "multiple points of view"-those of foreigners and of Filipinos-against the backdrop of the Philippine revolution against Spain and the Philippine-American war.

"The Worcester archive is a collection of exploitative and dehumanizing photographs," notes Palileo in a statement.

"I was drawn to the people in the pictures with the impulse to pull them out and away from this historical framework."

Inspiration, honoring

To this end, taking inspiration from Filipinos artists and writers of that era, Palileo reconfigures the images into new contexts.

Maia Cruz Palileo

She found creative prompts from painter Damian Domingo's 1820s watercolors of people in and around Manila and from folklorist Isabelo De los Reyes' 1889 book El Folk-lore Filipino.

Her works will be presented in an eponymously titled solo show at the Katzen Museum curated by Fil-Am artist and educator Isabel Manalo.

"For this exhibition, Maia has included an installation of rubbings on paper from the Worcester archive," says Manalo.

"It's her attempt to re-contextualize these subjects in a way that gives them an identity and humanity beyond what they were in Worcester's eyes-a subject to be educated and civilized.

"It is a way to re-honor who they were as real, living human beings and place them in new environments."

Context  

Currently based in New York, Palileo was born in Chicago, studied Studio Art at Mount Holyoke College in Massachusetts and took up a master's in sculpture at the Brooklyn College of the City University of New York.

Rubbings on paper by Maia Cruz Palileo,
from a previous exhibition.
Photo by RCH Photography

Her recent solo shows include "All the While I Thought You Had Received This" in Chicago, "The Way Back" in London and "Meandering Curves of a Creek, Pioneer Works" in New York.

To introduce Palileo to viewers as well as to provide a more personal context for her pieces, Manalo composed the exhibition as a mini-retrospective of Palileo's works.

Manalo will be providing viewers a frame of reference for Palileo's thought process by including earlier pieces.

Manalo's recent curatorial credits include "DeCentered." As an artist herself, recent exhibition credits include "Adrenaline," "Celebrating Asia in Maryland" and "Character Abstraction."

Manalo supports Fil-Am visual artists through curatorial initiatives and artist residential opportunities in Berlin, Germany through her project The Studio Visit.

Memory, history

"Maia's paintings and drawings depict historical narratives from the colonial past of the Philippines as well as stories and moments about her own life as a Filipina American growing up in the midwestern United States," says Manalo. 

"Uranium in the Hotsprings" by Maia Cruz Palileo,
oil on canvas, 2016. 

"This body of work is as much about history as it is about memory, and one's discovery of a colonized personal and cultural identity.

"Her works from 2013-15 express feelings of longing and belonging by imagining the Philippines from the perspective of a contemporary Filipina mid-westerner informed by her family's photos and stories.

"From 2016-17, she continued to make works that are influenced by her family archive mixed with the environments of various cities she had traveled to and lived in."

"These works question notions of home, feelings of longing or displacement, and how figures inhabit the natural and physical environment.

"The paintings in this exhibition beg the viewer to delve deeper into how they possibly relate to one another."

There will be an artist talk on June 15 with Katzen Museum director Jack Rasmussen, curator Isabel Manalo and Maia Cruz Palileo.

"Maia Cruz Palileo" runs June 15-Aug 11 at Katzen Museum, American University, Washington, DC.

Filipino Americans of TheatreWorks celebrate Tony award

By WALTER ANG
June 13, 2019
Inquirer.net
https://usa.inquirer.net/32049/fil-ams-of-theatreworks-celebrate-tony-award

MOUNTAIN VIEW, California  Filipino American directors and playwrights Jeannie Barroga and Jeffrey Lo have good cause to celebrate. A theater company they have been involved with, TheatreWorks Silicon Valley, has been given this year's Tony Award for Regional Theatre.

Jeannie Barroga (right)
with TheaterWorks founding artistic director Robert Kelley.

The honor was presented at the award's 73rd annual ceremony at Radio City Music Hall in New York.

Filipino American nominees this year included Robert Brill (Scenic Design/Musical-"Ain't Too Proud to Beg: The Life and Times of the Temptations"), Eva Noblezada (Actress in a Leading Role/Musical-"Hadestown"), and Clint Ramos (Costume Design/Play- "Torch Song"). Fil-Am actor Darren Criss was an award presenter.

Led by founding artistic director Robert Kelley, TheatreWorks is celebrating its 50th anniversary season this fall. Kelley founded the company in 1970 initially as a theater arts workshop for youth.

The company has grown to have a 30-member Board of Trustees, more than 8,000 subscribers, and an annual budget of $8 million.

Pre-computer 

"Our founding artistic director Robert Kelley is very happy for TheatreWorks," says Jeannie Barroga. "He has inspired not only myself but also numerous Bay Area and nationwide theater artists of color, a tag setting TheatreWorks apart in its earlier years and visible in their stage content today."

"Overall, I'd been with TheatreWorks for 21 years. I joined as a script reader in 1981."

She recounts how small the staff was back then. "It was Kelley, his wife Ev, technicians Bill and Bruce, office workers Jodi and Liz, and me. I had to stand at a manual typewriter pouring out script reviews, usually five at a time. This was during the pre-computer era." The company now has 40 staff members.

New works

"In two years, I had produced and stage-read 60 readings for local playwrights, including my own play, `Walls' [about the controversies surrounding the Vietnam Memorial in Washington, DC], which got a standing ovation at intermission! Kelley agreed that I had something there. To this day, he wishes he had premiered it."

Barroga had founded a support group for playwrights called Playwright Forum which was eventually merged into TheaterWorks, which had its own efforts in developing and premiering new works.

"The Playwright Forum by then had been absorbed by TheaterWorks as its Stage II series, in which my play 'Talk Story' [about a Fil-Am journalist's attempt to establish her identity by reliving her father's past] premiered in 1992."

"I moved from script reader to TheatreWorks' first Literary Manager through 2002."

Barroga's recent credits include "Buffalo'ed," about the African American soldiers sent to the Philippines during the Philippine-American War, and a novel, Marked, about a detective who is aided by her cat and paranormal clues.

Rewarding

"It's incredibly rewarding to be a part of TheatreWorks as it receives the Tony Award for Regional Theatre," says Jeffrey Lo, who is currently the company's casting director.

Jeffrey Lo

"It has helped me reflect on my going on 10 years with the company and take time to appreciate the hundreds of people who were involved in the 40 years before that helped elevate this small theater troupe to what it has become."

Lo's first job with the group was as a sound mixer, then becoming assistant director to Leslie Martinson on numerous shows as well as her associate in the casting department.

"I have been the casting director for just over a year, before that I was the casting associate for three years," he says.

"I love being at TheatreWorks. I feel so fortunate to have landed in this incredible artistic home right out of school," says the alumnus of University of California-Irvine's Drama Department. 

Growth

"They have fostered my growth both as an arts administrator and as an artist." In addition to his responsibilities as casting director, Lo has had opportunities to direct for the company.

Credits include David Sedaris' "The Santaland Diaries" and he is about to begin rehearsals for Julia Cho's "The Language Archive," a comedy about a linguist who is at a loss for words. (Later in the year, he is slated to direct "A Doll's House Part 2" for The Palo Alto Players.)

For playwriting projects, Lo is also currently working with Lisa Ramirez and Carlos Aguirre on a new work exploring the roles of labor leaders Filipino American Larry Itliong and Mexican Americans Dolores Huerta and Cesar Chavez in the Delano Grape Strike.

"Our founding artistic director Robert Kelley has always been a great champion of my artistic endeavors both within and outside the company, and that support means the world to me," he says.

RELATED STORY:

Three Filipino Americans nominated for 2019 Tony Awards 

Ciarlene Coleman is 'Your Best American Girl'

By WALTER ANG
June 4, 2019
Inquirer.net
https://usa.inquirer.net/31219/ciarlene-coleman-is-your-best-american-girl

SAN DIEGO, California  Filipino American group MaArte Theatre Collective is staging "Your Best American Girl," a one-person music and dance spectacle written and performed by Ciarlene Coleman.

Ciarlene Coleman

In the piece, Coleman recounts her youth and the ways she sought to figure out the identity of who she "should" be when she grew up. In striving to become the indisputable best, she finds that being the best isn't always what one expects.

The production will be MaArte's entry to this year's San Diego Fringe Festival. Held throughout the world, Fringe Festivals provide "an opportunity for artists to showcase their works and performances with each other and with the local community."

A founding member of MaArte, Coleman is collaborating with fellow founding members Christine "Yari" Cervas, who is directing, and Patrick Mayuyu, who is choreographing.

Filipino kid 

Born and raised in San Diego-her parents are from the Philippines; her paternal grandfather is from Texas-Coleman grew up always singing.

"Being a Filipino kid, of course," she adds, laughing.

"In eighth grade, I was introduced to songs from Bock and Harnick's 'Fiddler on the Roof' in my school's choir class. From then on, I listened to show after show! Later that year I performed in my first-ever theater production 'Bye Bye Birdie.'"

She went on to study music at University of California-San Diego and has performed with groups such as La Jolla Playhouse and Barn Stage Company.

Recent credits include "Guadalupe in the Guest Room" and "Avenue Q" for New Village Arts and "Vietgone" (helmed by Fil-Am director Jesca Prudencio) for San Diego Repertory Theatre.

Difficult

The idea for the piece came to Coleman last year. From her own personal experiences, Coleman says she felt pressure during her youth from different cultural sources.

"Growing up the way I did, I felt like being the 'best' American I could be meant being assertive and likable.

"Being the 'best' Asian woman-as my Asianness is very much attached to my gender-meant being obedient and small.

"Something I wanted to focus on with the show is how difficult living with multiple cultures can be, specifically for mixed-white and Asian American women."

Media influence

Coleman also wanted to grapple with the effects of society's influence and expectations on young Filipino Americans like her.

"I had always been conscious of how Asian and Asian American women are portrayed in American media. I understood it affected me as my acting career continued to grow.

"My spare thoughts and essays on the subject evolved into this show, with my own personal life experiences added in."

As a way to explore this particular subject matter, the show provides Coleman a vehicle to revisit and comment on snippets of mass media audio and imagery from her youth.

The show will use projections of scenes from animated and live-action movies and television shows that Coleman was exposed to as a child.

"I will physically 'shadow' different characters being projected on the screen while lip syncing their dialogue," says Coleman. "This way, I physically 'insert' myself into the stories I grew up with."

Founded in 2018 in response to a deep lack of Asian American representation on stage and in film, MaArte Theatre Collective seeks to create space for the Filipino American experience through fearless storytelling.

MaArte's Summer New Play Festival returns this August, featuring eight new Filipino playwrights and poets. "Mga Alamat Kami" celebrates the stories and myths that make us who we are.

"Your Best American Girl" runs June 6-16 at Worldbeat Cultural Center, 2100 Park Blvd., San Diego.