Apo Hiking Society: Four decades in the performing arts
By Walter Ang
September 15, 2008
Philippine Daily Inquirer
The Apo Hiking Society, one of the country's leading music icons, will kick-off a year-long celebration marking their 40th year in the music scene with a pre-anniversary concert titled "Apo of the Philippines" on September 20, 8:00 PM, at the Araneta Coliseum.
The concert will celebrate 39 years of lasting friendship among Danny Javier, Boboy Garrovillo, and Jim Paredes as well as the music that they have shared with Filipinos since their group's inception when they were still in college (which was then known as the Apolinario Mabini Hiking Society).
Paredes is now known more to younger audiences as one of the mentors to a group of singer-hopefuls in the premiere season of reality TV show "Pinoy Dream Academy." Older audiences who grew up with the group will recall that it also hosted several television shows including their own noontime Sunday show "Sa Linggo nAPO Sila" which turned into the daily noontime show "`Sang Linggo nAPO Sila."
Musical journey
Their upcoming concert is not at all a reunion concert or a comeback concert. After all, over the years, the Apo Hiking Society has recorded 26 albums and performed in thousands of live concerts in the Philippines and over 50 cities across the world including the United States, Canada, Singapore, Indonesia, Germany, Switzerland, Italy and Japan.
"We actually do an average of 30 shows every year," says Paredes. Despite having immigrated to Australia a few years ago, he still schedules return trips to the Philippines when a certain number of bookings are lined up.
"Apo of the Philippines" is slated to be a musical journey of the group's unforgettable songs such as Pumapatak ang Ulan, Awit ng Barkada, Nakapagtataka, Ewan, Batang-Bata Ka Pa, When I Met You, Anna, Blue Jeans, Panalangin, Bawat Bata, and Saan Na Nga Ba'ng Barkada, among many others.
"I think we have around 60 recognizable songs. Of course, not all of them are popular, but when people hear some of our `less popular' songs, they are still able to identify us as the singers," says Paredes. "Somehow, our songs have a life of their own."
Tribute albums
So much so that two tribute albums have been produced: "Kami nAPO Muna" in 2006 (considered the biggest selling album in the country that year with more than 125,000 copies sold in less than 6 months) and "Kami nAPO Muna Ulit" just last year.
"It is a new world out there!" says Paredes. "Kids connect to our music, maybe not in the way I pictured, but nonetheless, they are connecting. It goes to show that if you stay around long enough, you get hip all over again."
The group has always been able to keep up with new technologies and trends. In 1987, they were one of the first Filipino groups to be recorded on CDs. Paredes, meanwhile, has joined the blogosphere with his online musings at http://haringliwanag.pansitan.net
"Admittedly, I don't think we individually have great voices, but when we sing together, it's like we're three Clark Kents becoming one Superman," says Paredes. While the group has performed before in the Araneta Coliseum, they've actually only been guest acts. This time audiences will finally get to see them headline their own concert and are sure to be treated to the group's signature stage presence, unique banter, wit, and humor.
Paredes attributes the group's success to three reasons: "We enjoy what we're doing. We believe we're doing something greater than us." He then concludes, with a wink, "And we don't have sex with each other. Sex just complicates things."
For details, visit www.apohikingsociety.org or call 426-0103 or 426-5301. Tickets available from Ticketnet at 911-5555.
Also published online:
http://showbizandstyle.inquirer.net/lifestyle/lifestyle/view/20080915-160667/Four-decades-in-the-performing-arts
Opera for beginners: 'The Magic Flute'
Opera for beginners
By Walter Ang
September 15, 2008
Philippine Daily Inquirer
This September, Filipinos who've always wanted to try watching an opera but were too intimidated will finally have a chance to get their feet (and ears) wet with a one-hour children's version of the fantasy-opera "The Magic Flute" by Wolfgang Amadeus Mozart.
"To be honest, even I get bored sometimes when I listen to opera," says director Kokoy Jimenez. With that in mind, he and Karla Gutierrez, the president of the Philippine Opera Company (POC), developed the concept of staging a "colorful, entertaining, and visually interesting" production using black theater, puppets and animation.
"The Magic Flute" tells of Prince Tamino's quest to find the beautiful Pamina, whose image he has fallen in love with. During his search, Tamino gains a sidekick in Papageno, a bird-catcher, and encounters a myriad of weird and unique characters such as the Queen of the Night
(Pamina's grand but menacing mother), Sarastro (a high priest) and even a talking dragon. The prince will have to overcome ordeals to win his damsel in distress.
Eclectic Jimenez was chosen by the POC to bring this story to life because of his eclectic directorial experience. Aside from having directed the original Filipino musical "Kenkoy Loves Rosing," he directs "all sorts of productions like corporate shows and concerts." The most recent ones he's done were for Mitch Valdez and Gabby Concepcion. He'll also be helming the upcoming Apo Hiking Society concert at the Araneta Coliseum.
Aside from the shortened running time from the original three hours, the opera will be sung in English. "We had sportscaster Sev Sarmento do additional adaptations to the lyrics to make the show fit Pinoy sensibilities and realities," he says. The show includes the addition of a character called Ana, a little girl who is "transported into Prince Tamino's magical world."
"These devices are our efforts to bring opera closer and more accessible to the Filipino audience," he says. "Children are the hardest audience to please. Either they like it or they don't." The show is in good hands. After all, Jimenez is the man behind the country's longest running children's educational television program, "Batibot."
Proven So good, in fact, that this run at the Cultural Center of the Philippines is already the third for the production. "We first staged this in Pampanga years ago. We had no idea it would be this well-received. We had our second run in 2006 also at the CCP," he says.
This latest incarnation has incorporated some changes that have developed since the original run. The "Yellow Submarine"-inspired animation has worked well enough with audiences that when female singers were not available to portray the Queen of the Night for the show's second run, an animated version of the character was developed and is now a permanent element of the show.
"It's a really great way to expose children to opera so that they grow up not being afraid of it. But this show is not just for children, it's a show even adults can enjoy," he says. As an added treat, adults who grew up watching "Batibot" will get a chance to see one of the show's mainstays, Bodjie "Kuya Bodjie" Pascua, sing opera as he tackles the role of Papageno.
"I really appreciate the creative risks that the POC takes. They have a lot of ideas that are brave and they tap different directors who are not necessarily opera directors to infuse new blood into opera. The purists may not like it, but if it will help bring in new audiences for opera, then it's very exciting," he says.
Appreciation Founded in 1999, the POC is committed to developing opera appreciation among Filipinos by performing in malls, churches, community centers, government agencies, private corporate organizations, parks, and schools throughout the country.
POC's 2008 season will round out in October with two productions. To coincide with the 150th anniversary of Giacomo Puccini's birth, his opera La Boheme (on which the musical "Rent" is loosely based) will be staged at the CCP Tanghalang Nicanor Abelardo. This staging, to be directed by Floy Quintos, will update the material originally set in 1830 to the 21st century, following the stories of a circle of young artists' struggle against poverty and their quest for integrity. Helen Quach will be conducting the Philippine Philharmonic Orchestra.
There will also be a restaging of Terrence McNally's Tony Award-winning play "Master Class" at the Carlos P. Romulo Theater, RCBC Plaza in Makati City. Cherie Gil will portray the legendary opera diva Maria Callas with Michael Williams directing.
Magic Flute runs from Sept. 19 to 27 at the CCP Tanghalang Aurelio Tolentino. For details, call Philippine Opera Company (892-8786), TicketWorld (891-9999) or CCP Box Office (832-1125 loc. 1801-1806). Log on to www.philippineoperacompany.com
Also published online:
http://showbizandstyle.inquirer.net/lifestyle/lifestyle/view/20080915-160666/Opera-for-beginners
By Walter Ang
September 15, 2008
Philippine Daily Inquirer
"To be honest, even I get bored sometimes when I listen to opera," says director Kokoy Jimenez. With that in mind, he and Karla Gutierrez, the president of the Philippine Opera Company (POC), developed the concept of staging a "colorful, entertaining, and visually interesting" production using black theater, puppets and animation.
"The Magic Flute" tells of Prince Tamino's quest to find the beautiful Pamina, whose image he has fallen in love with. During his search, Tamino gains a sidekick in Papageno, a bird-catcher, and encounters a myriad of weird and unique characters such as the Queen of the Night
(Pamina's grand but menacing mother), Sarastro (a high priest) and even a talking dragon. The prince will have to overcome ordeals to win his damsel in distress.
Eclectic Jimenez was chosen by the POC to bring this story to life because of his eclectic directorial experience. Aside from having directed the original Filipino musical "Kenkoy Loves Rosing," he directs "all sorts of productions like corporate shows and concerts." The most recent ones he's done were for Mitch Valdez and Gabby Concepcion. He'll also be helming the upcoming Apo Hiking Society concert at the Araneta Coliseum.
Aside from the shortened running time from the original three hours, the opera will be sung in English. "We had sportscaster Sev Sarmento do additional adaptations to the lyrics to make the show fit Pinoy sensibilities and realities," he says. The show includes the addition of a character called Ana, a little girl who is "transported into Prince Tamino's magical world."
"These devices are our efforts to bring opera closer and more accessible to the Filipino audience," he says. "Children are the hardest audience to please. Either they like it or they don't." The show is in good hands. After all, Jimenez is the man behind the country's longest running children's educational television program, "Batibot."
Proven So good, in fact, that this run at the Cultural Center of the Philippines is already the third for the production. "We first staged this in Pampanga years ago. We had no idea it would be this well-received. We had our second run in 2006 also at the CCP," he says.
This latest incarnation has incorporated some changes that have developed since the original run. The "Yellow Submarine"-inspired animation has worked well enough with audiences that when female singers were not available to portray the Queen of the Night for the show's second run, an animated version of the character was developed and is now a permanent element of the show.
"It's a really great way to expose children to opera so that they grow up not being afraid of it. But this show is not just for children, it's a show even adults can enjoy," he says. As an added treat, adults who grew up watching "Batibot" will get a chance to see one of the show's mainstays, Bodjie "Kuya Bodjie" Pascua, sing opera as he tackles the role of Papageno.
"I really appreciate the creative risks that the POC takes. They have a lot of ideas that are brave and they tap different directors who are not necessarily opera directors to infuse new blood into opera. The purists may not like it, but if it will help bring in new audiences for opera, then it's very exciting," he says.
Appreciation Founded in 1999, the POC is committed to developing opera appreciation among Filipinos by performing in malls, churches, community centers, government agencies, private corporate organizations, parks, and schools throughout the country.
POC's 2008 season will round out in October with two productions. To coincide with the 150th anniversary of Giacomo Puccini's birth, his opera La Boheme (on which the musical "Rent" is loosely based) will be staged at the CCP Tanghalang Nicanor Abelardo. This staging, to be directed by Floy Quintos, will update the material originally set in 1830 to the 21st century, following the stories of a circle of young artists' struggle against poverty and their quest for integrity. Helen Quach will be conducting the Philippine Philharmonic Orchestra.
There will also be a restaging of Terrence McNally's Tony Award-winning play "Master Class" at the Carlos P. Romulo Theater, RCBC Plaza in Makati City. Cherie Gil will portray the legendary opera diva Maria Callas with Michael Williams directing.
Magic Flute runs from Sept. 19 to 27 at the CCP Tanghalang Aurelio Tolentino. For details, call Philippine Opera Company (892-8786), TicketWorld (891-9999) or CCP Box Office (832-1125 loc. 1801-1806). Log on to www.philippineoperacompany.com
Also published online:
http://showbizandstyle.inquirer.net/lifestyle/lifestyle/view/20080915-160666/Opera-for-beginners
Philippines, Japan and Korea stages a 'Tosca,' Asian style
Tosca, Asian style
By Walter Ang
Sept. 1, 2008
Pep.ph (http://www. pep. ph/guide/2498/TOSCA,-Asian-style)
The Philippine Educational Theater Association (Peta) recently staged a two-day run of "Asian Tosca," an experimental reworking of the opera classic by Giacomo Puccini.
Puccini's opera is based on a drama by Victorien Sarou and tells the tale of the jealous Floria Tosca and her boyfriend Mario during Napoleon's invasion of Rome. The Chief of Police Scarpia uses Tosca to gain information on the whereabouts of the escaped political prisoner Angelotti, whom Mario has helped.
This production, however, transplants the action to Asia. A collaboration with the Black Tent Theater (BTT) of Japan and the Nottle Theater of Korea, the Manila run of "Asian Tosca" is the current incarnation of a series of revisions and adaptations that have been made by the different theater groups involved.
The first "installment" of this multi-group touring production was created in 2006 by Nottle Theater and BTT. Last year, Peta and the Practice Theater of Singapore joined forces with BTT to further adapt the storyline, infusing their own understanding of each other's cultures and histories.
The attempt at creating a version of Tosca with an Asian perspective and staged in an experimental way was an exciting and creative experience for the audience. There is a mixed cast of Filipino, Korean and Japanese actors and the exposition of Tosca's main plot is told, more or less, in Nihongo, Korean, Tagalog and English dialogue with snippets of arias from the Italian opera.
To add to the unusual and unique flavor, the show begins with five Toscas (four Japanese and one Filipina). Later on, there are two Marios and two Scarpias. Actors interchange with each other from scene to scene, shifting from Japanese to Filipino and from young to old versions of the same character.
It is interesting that directors Soxie Topacio and Kirtani Natsuko decided not to use any supertitles (the theater equivalent of subtitles, where text is projected above the stage) for the first few scenes. This may have been a deliberate decision to further immerse the audience in the confusion that Tosca experiences.
The first half features mostly a Noh re-imagining of the story, where the "ghosts" of the different Toscas seem trapped in an endless curse to continually live through the events that lead to Scarpia's murder, Mario's execution and Tosca's suicide. In a nod to the Filipino's love of a good punchline, the second half upends the serious tone and flips it around to slapstick comedy.
Featuring Nor Domingo as Mario and Bernah Bernardo as Tosca, both are now ghosts in a netherworld where they realize what has happened to them. Angelotti is now a member of the Hukbalahap, the anti-Japanese resistance group in World War II and Scarpia (played by Raffy Tejada) is an officer of the Japanese army.
Corny one-liners lead to a Benny Hill-type chase scene when the ghost of Scarpia finds them and the three of them start blaming Angelotti (played by Willy Casero) for their deaths. While funny and entertaining, the scene's point does not really lead to anything until Tosca addresses the audience with the other four Toscas with a final message.
One of the more striking components of the production is its use of the leitmotif of the image of a running Tosca. Sometimes shown as a moving neon laser light display (calling to mind the works of Toshimitsu Takagi, found at www.takagism.net) and sometimes as actors running in "slow motion," this leitmotif provides a crafty way to weave a common thread through the multilingual, multicultural, multidimensional and multireality sequence of events and serves as the anchor for the show's poignant ending. It is this constant running that Tosca points out as her higher calling: to do so for those who are unable.
Peta will stage the children's plays Mga Kuwento ni Lola Basyang and Batang Rizal from Sept. 19 to Oct 12, Fridays to Sundays at PETA Theater Center. For details, call 410-0821 or 725-6244 or email petampro@yahoo.com.
By Walter Ang
Sept. 1, 2008
Pep.ph (http://www. pep. ph/guide/2498/TOSCA,-Asian-style)
Puccini's opera is based on a drama by Victorien Sarou and tells the tale of the jealous Floria Tosca and her boyfriend Mario during Napoleon's invasion of Rome. The Chief of Police Scarpia uses Tosca to gain information on the whereabouts of the escaped political prisoner Angelotti, whom Mario has helped.
This production, however, transplants the action to Asia. A collaboration with the Black Tent Theater (BTT) of Japan and the Nottle Theater of Korea, the Manila run of "Asian Tosca" is the current incarnation of a series of revisions and adaptations that have been made by the different theater groups involved.
The first "installment" of this multi-group touring production was created in 2006 by Nottle Theater and BTT. Last year, Peta and the Practice Theater of Singapore joined forces with BTT to further adapt the storyline, infusing their own understanding of each other's cultures and histories.
The attempt at creating a version of Tosca with an Asian perspective and staged in an experimental way was an exciting and creative experience for the audience. There is a mixed cast of Filipino, Korean and Japanese actors and the exposition of Tosca's main plot is told, more or less, in Nihongo, Korean, Tagalog and English dialogue with snippets of arias from the Italian opera.
To add to the unusual and unique flavor, the show begins with five Toscas (four Japanese and one Filipina). Later on, there are two Marios and two Scarpias. Actors interchange with each other from scene to scene, shifting from Japanese to Filipino and from young to old versions of the same character.
It is interesting that directors Soxie Topacio and Kirtani Natsuko decided not to use any supertitles (the theater equivalent of subtitles, where text is projected above the stage) for the first few scenes. This may have been a deliberate decision to further immerse the audience in the confusion that Tosca experiences.
The first half features mostly a Noh re-imagining of the story, where the "ghosts" of the different Toscas seem trapped in an endless curse to continually live through the events that lead to Scarpia's murder, Mario's execution and Tosca's suicide. In a nod to the Filipino's love of a good punchline, the second half upends the serious tone and flips it around to slapstick comedy.
Featuring Nor Domingo as Mario and Bernah Bernardo as Tosca, both are now ghosts in a netherworld where they realize what has happened to them. Angelotti is now a member of the Hukbalahap, the anti-Japanese resistance group in World War II and Scarpia (played by Raffy Tejada) is an officer of the Japanese army.
Corny one-liners lead to a Benny Hill-type chase scene when the ghost of Scarpia finds them and the three of them start blaming Angelotti (played by Willy Casero) for their deaths. While funny and entertaining, the scene's point does not really lead to anything until Tosca addresses the audience with the other four Toscas with a final message.
One of the more striking components of the production is its use of the leitmotif of the image of a running Tosca. Sometimes shown as a moving neon laser light display (calling to mind the works of Toshimitsu Takagi, found at www.takagism.net) and sometimes as actors running in "slow motion," this leitmotif provides a crafty way to weave a common thread through the multilingual, multicultural, multidimensional and multireality sequence of events and serves as the anchor for the show's poignant ending. It is this constant running that Tosca points out as her higher calling: to do so for those who are unable.
Peta will stage the children's plays Mga Kuwento ni Lola Basyang and Batang Rizal from Sept. 19 to Oct 12, Fridays to Sundays at PETA Theater Center. For details, call 410-0821 or 725-6244 or email petampro@yahoo.com.
Gossip Boy makes trouble: Tanghalang Ateneo stages Shakespeare's 'Otelo"
Gossip Boy makes trouble
By Walter Ang
September 1, 2008
Philippine Daily Inquirer
In an age when everyone knows what everyone else is doing, it's easy to dismiss rumors since we hear so much of it all the time.
At the same time, TV shows like "Gossip Girl" shows us how easily technology like cellphones and the internet can help "substantiate" a piece of "news" with photo or video proof, image manipulation or video editing notwithstanding
In Tanghalang Ateneo's staging of Shakespeare's "Othello," audiences see how far hearsay can go when word-of-mouth and actual, tangible evidence are the only two things one has to go by.
In this Filipino translation by Rogelio Sicat and Luna Sicat-Cleto ("Otelo: Ang Moro ng Venecia"), director Ricky Abad and assistant director B.J. Crisostomo partners our tragic hero with his antagonist in a guitar-toting gossip-orchestrating Iago.
Iago despises Otelo, a foreign military general living in Venice, for bypassing him as a lieutenant and for marrying Desdemona. He plots to make Otelo believe that Desdemona is having an affair with Cassio (the man Iago was bypassed for). But unlike Gossip Girl who (to be fair) only reports what is actually fed to her, Iago creates the lies that will bring on the downfall of the other characters.
Perhaps as a statement to our technology-aided gossip-obsessed world (or perhaps an acknowledgement that the premise may feel dated if set in contemporary times), Abad stages the play in its original 17th century setting.
While it is always fun and exciting to watch the Bard's works transplanted into different time periods (and even worlds), it's refreshing to see that Shakespeare can still work even if you don't wring him through a time machine.
Tight
Save for the directors' conceit of having Iago carry around a guitar, Abad and Crisostomo stick to a gimmick-free, no-nonsense and tight telling of the story, which serves the story well given its premise.
After all, watching a man end up going crazy and killing his wife just because he believes in the gossip of his so-called friend and takes a planted handkerchief as enough proof can elicit either horror and disbelief or, if not staged well, guffaws.
National Artist for Theater Design Salvador Bernal takes his cue straight out of Iago's lines such as "with as little a web as this will I ensnare as great a fly as Cassio" and "make the net that shall enmesh them all," by plying the floor and wall panels with intersecting lines to form a portentous lattice where our players will become entangled.
Interestingly, this design seems to be a hold-over (albeit a variation) from the set design of World Theater Project's 1996 staging of "Othello" that Abad co-directed with Anton Juan.
The concept of Iago's instrument-prop and the web-set are enhanced by sound designer Reamur David's crafty use of guitar sounds as ominous punctuations to the characters' lines. Audiences see just how deep Iago's machinations run when he plucks the "lines" on stage, as if they were guitar strings, as he plots against everyone else.
The set changes and different scenes are enhanced by the lighting design of Jonjon Villareal, who occasionally saturates the entire stage in a foreboding blood-red color. Bernal's costumes are gorgeous, detailed and well-constructed, fitting the actors well.
Believable
Almost all roles are played by alternating actors. In the performance we caught, Nonie Buencamino (alternating with Teroy Guzman) played Otelo and Irma Adlawan-Marasigan (alternating with Missy Maramara) played Desdemona. Both veteran actors fill the stage with their strong presence and consistency.
But the play is usually a showcase for the actor playing Iago as he is onstage almost the entire first act. In this case, Ron Capinding (alternating with Rody Vera) pulls off the role convincingly, filling the character with a constant agitation and disturbing menace.
Student actors Rachel Quong as Iago's wife Emilia and Exzell Macomb (alternating with Jaru Hermano) as Roderigo deserve praise for performing on the same level as the veteran actors. Macomb is funny as the quirky, whiny and forever-excitable Roderigo, the lovelorn milquetoast who bewails losing Desdemona to Otelo and becomes Iago's willing accomplice and unwitting victim.
The entire cast has a wonderful "sense of performance," giving an oratorical, almost melodic, delivery to the Filipino lines that does not, thankfully, deteriorate into melodramatic ham.
The final scene is a picturesque rendering as Otelo falls beside his wife, his long robes draped fully across the bed like an Aubrey Beardsley illustration, very much the defeated posturing peacock.
"Otelo: Ang Moro ng Venecia" runs until Sept. 6 at the Rizal Mini-Theater, Ateneo de Manila University. For details, call 0916-521-5154.
Also published online:
http://showbizandstyle.inquirer.net/lifestyle/lifestyle/view/20080831-157921/Gossip-Boy-makes-trouble
By Walter Ang
September 1, 2008
Philippine Daily Inquirer
 |
| Buencamino and Maramara |
At the same time, TV shows like "Gossip Girl" shows us how easily technology like cellphones and the internet can help "substantiate" a piece of "news" with photo or video proof, image manipulation or video editing notwithstanding
In Tanghalang Ateneo's staging of Shakespeare's "Othello," audiences see how far hearsay can go when word-of-mouth and actual, tangible evidence are the only two things one has to go by.
In this Filipino translation by Rogelio Sicat and Luna Sicat-Cleto ("Otelo: Ang Moro ng Venecia"), director Ricky Abad and assistant director B.J. Crisostomo partners our tragic hero with his antagonist in a guitar-toting gossip-orchestrating Iago.
Iago despises Otelo, a foreign military general living in Venice, for bypassing him as a lieutenant and for marrying Desdemona. He plots to make Otelo believe that Desdemona is having an affair with Cassio (the man Iago was bypassed for). But unlike Gossip Girl who (to be fair) only reports what is actually fed to her, Iago creates the lies that will bring on the downfall of the other characters.
Perhaps as a statement to our technology-aided gossip-obsessed world (or perhaps an acknowledgement that the premise may feel dated if set in contemporary times), Abad stages the play in its original 17th century setting.
While it is always fun and exciting to watch the Bard's works transplanted into different time periods (and even worlds), it's refreshing to see that Shakespeare can still work even if you don't wring him through a time machine.
Tight
Save for the directors' conceit of having Iago carry around a guitar, Abad and Crisostomo stick to a gimmick-free, no-nonsense and tight telling of the story, which serves the story well given its premise.
After all, watching a man end up going crazy and killing his wife just because he believes in the gossip of his so-called friend and takes a planted handkerchief as enough proof can elicit either horror and disbelief or, if not staged well, guffaws.
National Artist for Theater Design Salvador Bernal takes his cue straight out of Iago's lines such as "with as little a web as this will I ensnare as great a fly as Cassio" and "make the net that shall enmesh them all," by plying the floor and wall panels with intersecting lines to form a portentous lattice where our players will become entangled.
Interestingly, this design seems to be a hold-over (albeit a variation) from the set design of World Theater Project's 1996 staging of "Othello" that Abad co-directed with Anton Juan.
The concept of Iago's instrument-prop and the web-set are enhanced by sound designer Reamur David's crafty use of guitar sounds as ominous punctuations to the characters' lines. Audiences see just how deep Iago's machinations run when he plucks the "lines" on stage, as if they were guitar strings, as he plots against everyone else.
The set changes and different scenes are enhanced by the lighting design of Jonjon Villareal, who occasionally saturates the entire stage in a foreboding blood-red color. Bernal's costumes are gorgeous, detailed and well-constructed, fitting the actors well.
Believable
Almost all roles are played by alternating actors. In the performance we caught, Nonie Buencamino (alternating with Teroy Guzman) played Otelo and Irma Adlawan-Marasigan (alternating with Missy Maramara) played Desdemona. Both veteran actors fill the stage with their strong presence and consistency.
But the play is usually a showcase for the actor playing Iago as he is onstage almost the entire first act. In this case, Ron Capinding (alternating with Rody Vera) pulls off the role convincingly, filling the character with a constant agitation and disturbing menace.
Student actors Rachel Quong as Iago's wife Emilia and Exzell Macomb (alternating with Jaru Hermano) as Roderigo deserve praise for performing on the same level as the veteran actors. Macomb is funny as the quirky, whiny and forever-excitable Roderigo, the lovelorn milquetoast who bewails losing Desdemona to Otelo and becomes Iago's willing accomplice and unwitting victim.
The entire cast has a wonderful "sense of performance," giving an oratorical, almost melodic, delivery to the Filipino lines that does not, thankfully, deteriorate into melodramatic ham.
The final scene is a picturesque rendering as Otelo falls beside his wife, his long robes draped fully across the bed like an Aubrey Beardsley illustration, very much the defeated posturing peacock.
"Otelo: Ang Moro ng Venecia" runs until Sept. 6 at the Rizal Mini-Theater, Ateneo de Manila University. For details, call 0916-521-5154.
Also published online:
http://showbizandstyle.inquirer.net/lifestyle/lifestyle/view/20080831-157921/Gossip-Boy-makes-trouble
Joanna Ampil joins Stages' 'West Side Story'
We hear you, Joanna
By Walter Ang
September 2008 issue
Metro Magazine
If Joanna Ampil had a corporate job, she reckons she'd be a workaholic. But because she is an accomplished musical theater actress who's been based in London's West End for the past sixteen years, she describes herself as a "rehearsal-holic."
"I don't want to waste time," she says. "I really look forward to rehearsing, I love it." After flying to Manila, she went straight to rehearsals the following day for her homecoming musical in the Philippines: Leonard Bernstein and Stephen Sondheim's "West Side Story" produced by Stages, a theater company headed by Audie Gemora.
Joanna comes full circle by being able to finally work with Audie, the actor who inspired her to pursue a life on stage. She had seen him perform in a musical when she was younger. "I remember the way he was dancing. He was so free. That was a turning point for me, I wanted to get into theater," she says. There was no looking back for Joanna after she auditioned for the London production of "Miss Saigon" in 1993.
She had only turned eighteen when she started her run in the lead role of Kim for the famed Cameron Mackintosh-produced musical. After that came an impressive list of roles. She was Mimi in "Rent." She was handpicked by Sir Andrew Lloyd Webber to play Mary Magdalene in "Jesus Christ Superstar." She was Eponine in "Les Miserables." She actually graduated from the Eponine role to the Fantine role before Lea Salonga did.
Down-to-earth With credentials like that, you would think Joanna would be every bit a prima dona. The petite and charming actress is quick to dispel this notion. "I don't want my fellow cast members to be intimidated just because I've performed in London nor because I'm playing a lead role in this musical. I make sure I talk to everyone, after all, I'm just like everybody else," she says.
When Metro interviewed her, she was worried about, of all things, having onion-breath after a meal and schemed around with her manager Girlie Rodis on where she could sneak off to brush her teeth, giggling and all. Unassuming and earnest, it's easy to see why Joanna is so endearing and why she really is, as she claims, just like the rest of us.
But of course, definitely unlike the rest of us, she's got a great set of pipes. It is surprising to know, therefore, that Joanna's never had any formal training in singing. "I have a maternal aunt who made me listen to songs on the radio and explain the lyrics to me," she says. "So you could say she was my first singing teacher."
Joanna's parents realized their little girl loved to sing and supported her all the way. "I used to do shows in our living room," Joanna says. "My teachers in school were also very encouraging. I joined school shows and local contests."
Life leads the way Now, local audiences will finally have a chance to see why Joanna has been attracting rave reviews halfway across the world. Joanna admits that Kim was really her dream role and all the roles that came after where really bonuses. However, when she found out about the Manila staging of West Side Story, she made plans to become part of it just so she could play the lead role of Maria.
She's using rehearsal time to thresh out her characterization for her role. "Maria falls in love and her whole world starts revolving around that man. It's a challenge to get into that mode because I'm a very independent woman. I won't just drop everything for a man," Joanna says. "I focus on what I want to do in life and I work hard for it."
Her independence also plays out in the way she schedules for the future. "I'm such a gypsy. I don't like being tied down. I like being everywhere," she says. So peripatetic is her outlook in life that, save for a trip to visit her family in US this Christmas after 16 years of not being with them during the holidays, she still has no plans for after the run of the show. "I never, ever plan my life. I never even knew I would be able to perform in Manila. I just found out about the show through the internet," she says. "This way, everything's a surprise. This way, life's an adventure."
By Walter Ang
September 2008 issue
Metro Magazine
If Joanna Ampil had a corporate job, she reckons she'd be a workaholic. But because she is an accomplished musical theater actress who's been based in London's West End for the past sixteen years, she describes herself as a "rehearsal-holic."
"I don't want to waste time," she says. "I really look forward to rehearsing, I love it." After flying to Manila, she went straight to rehearsals the following day for her homecoming musical in the Philippines: Leonard Bernstein and Stephen Sondheim's "West Side Story" produced by Stages, a theater company headed by Audie Gemora.
Joanna comes full circle by being able to finally work with Audie, the actor who inspired her to pursue a life on stage. She had seen him perform in a musical when she was younger. "I remember the way he was dancing. He was so free. That was a turning point for me, I wanted to get into theater," she says. There was no looking back for Joanna after she auditioned for the London production of "Miss Saigon" in 1993.
She had only turned eighteen when she started her run in the lead role of Kim for the famed Cameron Mackintosh-produced musical. After that came an impressive list of roles. She was Mimi in "Rent." She was handpicked by Sir Andrew Lloyd Webber to play Mary Magdalene in "Jesus Christ Superstar." She was Eponine in "Les Miserables." She actually graduated from the Eponine role to the Fantine role before Lea Salonga did.
Down-to-earth With credentials like that, you would think Joanna would be every bit a prima dona. The petite and charming actress is quick to dispel this notion. "I don't want my fellow cast members to be intimidated just because I've performed in London nor because I'm playing a lead role in this musical. I make sure I talk to everyone, after all, I'm just like everybody else," she says.
When Metro interviewed her, she was worried about, of all things, having onion-breath after a meal and schemed around with her manager Girlie Rodis on where she could sneak off to brush her teeth, giggling and all. Unassuming and earnest, it's easy to see why Joanna is so endearing and why she really is, as she claims, just like the rest of us.
But of course, definitely unlike the rest of us, she's got a great set of pipes. It is surprising to know, therefore, that Joanna's never had any formal training in singing. "I have a maternal aunt who made me listen to songs on the radio and explain the lyrics to me," she says. "So you could say she was my first singing teacher."
Joanna's parents realized their little girl loved to sing and supported her all the way. "I used to do shows in our living room," Joanna says. "My teachers in school were also very encouraging. I joined school shows and local contests."
Life leads the way Now, local audiences will finally have a chance to see why Joanna has been attracting rave reviews halfway across the world. Joanna admits that Kim was really her dream role and all the roles that came after where really bonuses. However, when she found out about the Manila staging of West Side Story, she made plans to become part of it just so she could play the lead role of Maria.
She's using rehearsal time to thresh out her characterization for her role. "Maria falls in love and her whole world starts revolving around that man. It's a challenge to get into that mode because I'm a very independent woman. I won't just drop everything for a man," Joanna says. "I focus on what I want to do in life and I work hard for it."
Her independence also plays out in the way she schedules for the future. "I'm such a gypsy. I don't like being tied down. I like being everywhere," she says. So peripatetic is her outlook in life that, save for a trip to visit her family in US this Christmas after 16 years of not being with them during the holidays, she still has no plans for after the run of the show. "I never, ever plan my life. I never even knew I would be able to perform in Manila. I just found out about the show through the internet," she says. "This way, everything's a surprise. This way, life's an adventure."
Nonoy Froilan is Still on Pointe
Still on Pointe
By Walter Ang
September to November 2008 issue
Metro Him Magazine
Back in the late 60s, Rafael "Nonoy" Froilan joined the University of the East Dance Troupe as a folk dancer. He also studied ballet and jazz dance, eventually joining one of the country's premiere dance companies, Ballet Philippines.
Tall, lithe and talented, he soon became the company's principal danseur. Career highlights include partnering with Dame Margot Fontaine in a performance for then President Ferdinand Marcos and having a show created specifically for him by choreographer Norman Walker. "It was called `Song of a Wayfarer' and it was staged in Germany. That was the only time in my life where I received 24 curtain calls," Nonoy beams.
Despite retiring in 1993 from twenty years of dance, he has never really left the clutches of Terpsichore. He still teaches dance in several ballet schools, conducts master classes for Ballet Philippines, and is a consultant for the Philippine High School for the Arts.
He is also now known as the go-to man for video documentation of dance performances. "I've always been interested in video. Early in my dance career, I once used my Christmas bonus to buy a Super 8 video camera I had been eyeing," he says. He lugged along his camera to a performance tour in Europe and promptly become the company's resident videographer. "It was all intuitive. I learned as I went along and by reading books."
Nonoy's come a long way from buying film that could only hold three minutes of footage. He's fully booked as far as next year to provide coverage for dance performances. A staunch proponent of archiving, digitizing and preserving footage of past dance performances, his current projects include plans of bringing dance to television.
"I want to produce a show where excerpts of performances are interspersed with interviews with dancers," he says. "When you watch the Arirang channel on cable TV, they show cultural dances of Korea. In the US, you have PBS that broadcasts entire ballet performances and other classics. We should have that kind of show here, too."
Aside from working behind the camera, he recently acted in Paul Morales' independent film "Concerto." Unbeknownst to many, Nonoy used to work as a dancer for Peque Gallaga's variety show "Changes." His on-cam performing genes have recently blossomed in daughter Mica, one of the newest additions to the pool of VJs for music channel Myx.
When he's not in Manila, Nonoy can be found in his hometown of Calbiga, Samar, working with the mayor on setting up an arts council as well as advocating renewable energy sources. "We're working on developing mini-hydroelectric generators for this area. Aside from the arts, I'm very concerned with environmental issues," he notes.
By Walter Ang
September to November 2008 issue
Metro Him Magazine
 |
| From Nonoy Froilan Facebook page |
Tall, lithe and talented, he soon became the company's principal danseur. Career highlights include partnering with Dame Margot Fontaine in a performance for then President Ferdinand Marcos and having a show created specifically for him by choreographer Norman Walker. "It was called `Song of a Wayfarer' and it was staged in Germany. That was the only time in my life where I received 24 curtain calls," Nonoy beams.
Despite retiring in 1993 from twenty years of dance, he has never really left the clutches of Terpsichore. He still teaches dance in several ballet schools, conducts master classes for Ballet Philippines, and is a consultant for the Philippine High School for the Arts.
He is also now known as the go-to man for video documentation of dance performances. "I've always been interested in video. Early in my dance career, I once used my Christmas bonus to buy a Super 8 video camera I had been eyeing," he says. He lugged along his camera to a performance tour in Europe and promptly become the company's resident videographer. "It was all intuitive. I learned as I went along and by reading books."
Nonoy's come a long way from buying film that could only hold three minutes of footage. He's fully booked as far as next year to provide coverage for dance performances. A staunch proponent of archiving, digitizing and preserving footage of past dance performances, his current projects include plans of bringing dance to television.
"I want to produce a show where excerpts of performances are interspersed with interviews with dancers," he says. "When you watch the Arirang channel on cable TV, they show cultural dances of Korea. In the US, you have PBS that broadcasts entire ballet performances and other classics. We should have that kind of show here, too."
Aside from working behind the camera, he recently acted in Paul Morales' independent film "Concerto." Unbeknownst to many, Nonoy used to work as a dancer for Peque Gallaga's variety show "Changes." His on-cam performing genes have recently blossomed in daughter Mica, one of the newest additions to the pool of VJs for music channel Myx.
When he's not in Manila, Nonoy can be found in his hometown of Calbiga, Samar, working with the mayor on setting up an arts council as well as advocating renewable energy sources. "We're working on developing mini-hydroelectric generators for this area. Aside from the arts, I'm very concerned with environmental issues," he notes.
Lester Pimentel-Ong teaches The Art of Fighting
The art of fighting
By Walter Ang
September-November 2008 issue
Asian Dragon Magazine
Imagine a job where all you do all day is asking people to fight with each other. No, it's not being the manager of a boxing ring. Actually, it's a little more complicated than that. Aside from telling them to knock fists with each other, you also have to teach them how to do it while making sure they don't hurt themselves. Oh yes, you'll also need to make them fly on occasion.
All this is what Lester Pimentel-Ong, a freelance TV/movie fight director, does. Having started as a fight coordinator in "a small movie called `Ex-con' years ago," his latest choreography was featured in the recently concluded TV show "Palos," which starred Cesar Montano and Jake Cuenca.
Lester got his mettle as a practitioner of wushu, which, he explains, is actually the generic term for martial arts. "It's what we all used to call kung-fu," he says. His father Ong Chiao Hing, himself a practitioner, exposed Leter to the discipline. Lester started training at eight and by the time he started high school, he was already being groomed to be a national athlete.
"It was fun when I was younger because it felt like playing. I got a chance to copy what action stars Jet Li and Jackie Chan did in the movies," he recalls. "The training became a little more serious by the time I was a teenager, we had to train three hours every day."
Lester even spent a whole summer in Beijing, China to train with Chinese coaches. "You're not allowed to complain. You get the feeling that the Chinese coaches own you and all your waking hours are allotted for training," he said a bit grimly, then laughs. "It's just like in all those Chinese martial arts movies where they show children training!"
Lester brought home a gold medal from the 1995 Third World Wushu Championships held in Baltimore, USA. He capped off his competitive career with a gold medal from the 2005 23rd SEA Games held in Manila.
Meantime, he got his philosophy degree at De La Salle University-Manila and, after that, he attended a course in Wushu and Chinese Martial Arts Specialization Training at the Beijing Sports University.
During his trips abroad, Lester discovered that the athletes he used to compete with had already started the transition from athletics to choreographing fights in showbusiness. They encouraged him to make a similar shift.
"Joining my former co-competitors in their productions, I started out as part of the crew in Chinese movies that were shot in Singapore and China," he says. Since local productions usually hired fight directors, he was able to slowly break into the domestic movie industry.
His ability to speak Tagalog and English gave him the edge. "Producers in Manila used to have to hire a group of ten to 15 people from Hong Kong or China to execute fight sequences," he says. "But they would also need to hire translators. With me, the language barrier disappears. I can read the scripts and I can talk to them freely for better collaboration. In the end, when they work with me, they still get international quality stunts."
Lester's work has been featured in action, fantasy, and even romantic comedies. One of his funniest works was a tennis match scene for the movie "Ang Cute ng Ina Mo," which starred Ai-ai De Las Alas, where the players are contorted and bounced around every which way.
"I'm not a natural comedian," says Lester. That's why he applies the same rigorous preparations he has learned from his background in athletics to his work. "I make sure to research first and collaborate with the actors themselves to see what kind of movements will be funny and yet safe for the actors to do." He always keeps in mind that, unlike the action stars of Chinese movies who are usually "martial artists-turned-actors," most actors he deals with do not necessarily have the training to portray action characters or execute martial arts moves.
No matter the limitations, whether in lack of training for local actors or budget constraints, Lester is optimistic for the local movie industry to break through in the realm of action choreography. "We can certainly do it. We have the talent," he says. One day, he hopes to direct "epic stunt sequences with a thousand extras, like the scenes in 'Braveheart' or 'Lord of the Rings,'" just like his idol Yuen Woo Ping, the action director for movies like "The Matrix."
Lester also stays busy as the Chair of the Wushu Federation of the Philippine's Development Committee. He's also in the food business with his wife Rosette with whom he has two sons.
"I enjoy doing action choreography since it uses traditional forms from Chinese opera that have been transformed into filmmaking conventions," he concludes. "It's a chance for me to share a bit of Chinese culture with the Filipino audience."
By Walter Ang
September-November 2008 issue
Asian Dragon Magazine
All this is what Lester Pimentel-Ong, a freelance TV/movie fight director, does. Having started as a fight coordinator in "a small movie called `Ex-con' years ago," his latest choreography was featured in the recently concluded TV show "Palos," which starred Cesar Montano and Jake Cuenca.
Lester got his mettle as a practitioner of wushu, which, he explains, is actually the generic term for martial arts. "It's what we all used to call kung-fu," he says. His father Ong Chiao Hing, himself a practitioner, exposed Leter to the discipline. Lester started training at eight and by the time he started high school, he was already being groomed to be a national athlete.
"It was fun when I was younger because it felt like playing. I got a chance to copy what action stars Jet Li and Jackie Chan did in the movies," he recalls. "The training became a little more serious by the time I was a teenager, we had to train three hours every day."
Lester even spent a whole summer in Beijing, China to train with Chinese coaches. "You're not allowed to complain. You get the feeling that the Chinese coaches own you and all your waking hours are allotted for training," he said a bit grimly, then laughs. "It's just like in all those Chinese martial arts movies where they show children training!"
Lester brought home a gold medal from the 1995 Third World Wushu Championships held in Baltimore, USA. He capped off his competitive career with a gold medal from the 2005 23rd SEA Games held in Manila.
Meantime, he got his philosophy degree at De La Salle University-Manila and, after that, he attended a course in Wushu and Chinese Martial Arts Specialization Training at the Beijing Sports University.
During his trips abroad, Lester discovered that the athletes he used to compete with had already started the transition from athletics to choreographing fights in showbusiness. They encouraged him to make a similar shift.
"Joining my former co-competitors in their productions, I started out as part of the crew in Chinese movies that were shot in Singapore and China," he says. Since local productions usually hired fight directors, he was able to slowly break into the domestic movie industry.
His ability to speak Tagalog and English gave him the edge. "Producers in Manila used to have to hire a group of ten to 15 people from Hong Kong or China to execute fight sequences," he says. "But they would also need to hire translators. With me, the language barrier disappears. I can read the scripts and I can talk to them freely for better collaboration. In the end, when they work with me, they still get international quality stunts."
Lester's work has been featured in action, fantasy, and even romantic comedies. One of his funniest works was a tennis match scene for the movie "Ang Cute ng Ina Mo," which starred Ai-ai De Las Alas, where the players are contorted and bounced around every which way.
"I'm not a natural comedian," says Lester. That's why he applies the same rigorous preparations he has learned from his background in athletics to his work. "I make sure to research first and collaborate with the actors themselves to see what kind of movements will be funny and yet safe for the actors to do." He always keeps in mind that, unlike the action stars of Chinese movies who are usually "martial artists-turned-actors," most actors he deals with do not necessarily have the training to portray action characters or execute martial arts moves.
No matter the limitations, whether in lack of training for local actors or budget constraints, Lester is optimistic for the local movie industry to break through in the realm of action choreography. "We can certainly do it. We have the talent," he says. One day, he hopes to direct "epic stunt sequences with a thousand extras, like the scenes in 'Braveheart' or 'Lord of the Rings,'" just like his idol Yuen Woo Ping, the action director for movies like "The Matrix."
Lester also stays busy as the Chair of the Wushu Federation of the Philippine's Development Committee. He's also in the food business with his wife Rosette with whom he has two sons.
"I enjoy doing action choreography since it uses traditional forms from Chinese opera that have been transformed into filmmaking conventions," he concludes. "It's a chance for me to share a bit of Chinese culture with the Filipino audience."
Tequi exhibit focuses on Perigord episode
Tequi exhibit focuses on Perigord episode
By Walter Ang
August 25, 2008
Philippine Daily Inquirer
Multi-awarded painter and printmaker Ofelia "Ofie" Gelvezon-Tequi was recently featured in the "100 Nudes" fund raising art exhibit of the University of the Philippines Alumni Association (UPAA) for the university's centennial celebrations.
Known for her still lifes and use of symbolism, Tequi admits that she does not usually tackle nudes as a subject matter. For the exhibit, on display were four nude sketches she executed for a class exercise when she took further studies in Rome at the Accademia di Belle Arti di Roma.
In addition to being included in the exhibit, Tequi was awarded the UPAA Distinguished Alumni Award for Culture and the Arts at the grand homecoming and reunion held in Araneta Coliseum. "It was a surprise for me. I frankly did not expect it," she says. "It's a nice feeling to be validated for what we artists do." Tequi adds, "While other alumni are getting awarded for causes like poverty alleviation, I'd like to think that we [artists] advocate the alleviation of the soul."
The road to UP Tequi was born in Iloilo but had a peripatetic childhood. "My father Ramon G. Gelvezon was a military man. We moved from place to place as he was assigned to different camps in the Philippines," she recounts. "But when we needed to go good schools for more 'serious' education, we stayed put in Manila."
"My mother, Milagros L. Lucas, graduated from the UP Conservatory of Music and we always had music in the house - the popular songs of her youth and classical music. We learned to be eclectic in our musical taste although none of us made music our profession. Nor the military for that matter," Tequi adds.
Growing up, Tequi always liked to draw, but when she got to college, she initially enrolled in AB English. "I thought I'd wanted to be a kind of Brenda Starr (a comic strip character). During my time, there was still no real journalism degree," she says. "But I was thankful for the literature courses I had to take. These later became sources for what I would express visually. It was possible then to cross register in two different colleges and take up two courses simultaneously, which was what I did."
Tequi double enrolled in Fine Arts and there she met "wonderful people, great human beings both in the classroom and outside" that helped mold her artistic talents. "I had several National Artists as teachers like NVM Gonzalez and Jose Joya. Joya was not only a mentor but was also a friend. I remember riding the bus with him that went on EDSA as he lived all the way in Pasay then, while I got off at the Crossing on Shaw Boulevard."
Colors of home
After college, Tequi has had over 30 solo exhibitions since 1970 in Manila, Paris, New York, and Monaco, as well as numerous group shows since 1968 in various countries around the world. She was the first female recipient of the Cultural Center of the Philippines Thirteen Artist Awards.
For painting, Tequi usually uses acrylic on canvas or rag paper, collage and mixed media, and aniline on silk. For her printmaking, she usually does colored etching on zinc or copper plates and engraving on copper.
"My maternal grandfather, Pablo Lucas was the first Filipino director of the Bureau of Printing. Perhaps I inherited the genes for printmaking from him. I also, later on, was a book designer for the UP Press," she says. The major themes or topics that Tequi deals with in her works revolve around "politics, our relationship with the Almighty, and time."
In the home Tequi shares with husband Marc, a retired banker, in France, practically all of the artworks are by Filipino artists. "We have a number of works by Joya, of course," she says. "Macario Vitalis, BenCab, Claude Tayag, Phyllis Zaballero, Popo San Pascual, R.M. de Leon and many more. I also have a 1928 Amorsolo landscape that I inherited from my mother."
Tequi's husband was actually her French teacher when she was in college. "He was teaching in UP and the Alliance Française in lieu of the military service that was obligatory in France at that time," she recounts. They married in 1977 and moved to France the same year. Her daughter and two sons are now all married and have given Tequi five grandchildren.
Between two lands Her last exhibit in Manila was two years ago at the Hiraya Gallery. This year, Tequi will be sharing a glimpse of her life in France with Filipino art lovers. Tequi is currently preparing for an exhibit to be featured at the Alliance Francaise.
"It will be called `Périgord Still Life.' Périgord is the region where my family and I live and my still life paintings show, in some way, my life there in that village. There will be around thirty pieces of acrylic on linen and they will range from small to big sizes."
"I've used Périgord as a theme off and on starting with my exhibit with Budji Layug in Reposo but more consistently so starting with my show at Dr. Joven Cuanang's Pinto Gallery," she says.
Despite living away from the Philippines, Tequi clearly has strong ties to her land of birth. In fact, she foresees a "rich and varied future for Philippine art." She notes, "There is a lot of public interest in local artists who can satisfy a great range of tastes with works of high quality from the experimental to the conservative. And not just in the visual arts. Theatre is very much alive and fecund. In France right now, Filipino cinema is included in the Paris Film Fest. We Pinoys have something to say to the world, we `say' it in our language and we are sure the world will hear us."
For details on "Périgord Still Life," contact Alliance Francaise Manila at 895-7441.
Also published online:
http://showbizandstyle.inquirer.net/lifestyle/lifestyle/view/20080825-156602/Tequi-exhibit-focuses-on-Perigord-episode
By Walter Ang
August 25, 2008
Philippine Daily Inquirer
Multi-awarded painter and printmaker Ofelia "Ofie" Gelvezon-Tequi was recently featured in the "100 Nudes" fund raising art exhibit of the University of the Philippines Alumni Association (UPAA) for the university's centennial celebrations.
Known for her still lifes and use of symbolism, Tequi admits that she does not usually tackle nudes as a subject matter. For the exhibit, on display were four nude sketches she executed for a class exercise when she took further studies in Rome at the Accademia di Belle Arti di Roma.
In addition to being included in the exhibit, Tequi was awarded the UPAA Distinguished Alumni Award for Culture and the Arts at the grand homecoming and reunion held in Araneta Coliseum. "It was a surprise for me. I frankly did not expect it," she says. "It's a nice feeling to be validated for what we artists do." Tequi adds, "While other alumni are getting awarded for causes like poverty alleviation, I'd like to think that we [artists] advocate the alleviation of the soul."
The road to UP Tequi was born in Iloilo but had a peripatetic childhood. "My father Ramon G. Gelvezon was a military man. We moved from place to place as he was assigned to different camps in the Philippines," she recounts. "But when we needed to go good schools for more 'serious' education, we stayed put in Manila."
"My mother, Milagros L. Lucas, graduated from the UP Conservatory of Music and we always had music in the house - the popular songs of her youth and classical music. We learned to be eclectic in our musical taste although none of us made music our profession. Nor the military for that matter," Tequi adds.
Growing up, Tequi always liked to draw, but when she got to college, she initially enrolled in AB English. "I thought I'd wanted to be a kind of Brenda Starr (a comic strip character). During my time, there was still no real journalism degree," she says. "But I was thankful for the literature courses I had to take. These later became sources for what I would express visually. It was possible then to cross register in two different colleges and take up two courses simultaneously, which was what I did."
Tequi double enrolled in Fine Arts and there she met "wonderful people, great human beings both in the classroom and outside" that helped mold her artistic talents. "I had several National Artists as teachers like NVM Gonzalez and Jose Joya. Joya was not only a mentor but was also a friend. I remember riding the bus with him that went on EDSA as he lived all the way in Pasay then, while I got off at the Crossing on Shaw Boulevard."
Colors of home
After college, Tequi has had over 30 solo exhibitions since 1970 in Manila, Paris, New York, and Monaco, as well as numerous group shows since 1968 in various countries around the world. She was the first female recipient of the Cultural Center of the Philippines Thirteen Artist Awards.
For painting, Tequi usually uses acrylic on canvas or rag paper, collage and mixed media, and aniline on silk. For her printmaking, she usually does colored etching on zinc or copper plates and engraving on copper.
"My maternal grandfather, Pablo Lucas was the first Filipino director of the Bureau of Printing. Perhaps I inherited the genes for printmaking from him. I also, later on, was a book designer for the UP Press," she says. The major themes or topics that Tequi deals with in her works revolve around "politics, our relationship with the Almighty, and time."
In the home Tequi shares with husband Marc, a retired banker, in France, practically all of the artworks are by Filipino artists. "We have a number of works by Joya, of course," she says. "Macario Vitalis, BenCab, Claude Tayag, Phyllis Zaballero, Popo San Pascual, R.M. de Leon and many more. I also have a 1928 Amorsolo landscape that I inherited from my mother."
Tequi's husband was actually her French teacher when she was in college. "He was teaching in UP and the Alliance Française in lieu of the military service that was obligatory in France at that time," she recounts. They married in 1977 and moved to France the same year. Her daughter and two sons are now all married and have given Tequi five grandchildren.
Between two lands Her last exhibit in Manila was two years ago at the Hiraya Gallery. This year, Tequi will be sharing a glimpse of her life in France with Filipino art lovers. Tequi is currently preparing for an exhibit to be featured at the Alliance Francaise.
"It will be called `Périgord Still Life.' Périgord is the region where my family and I live and my still life paintings show, in some way, my life there in that village. There will be around thirty pieces of acrylic on linen and they will range from small to big sizes."
"I've used Périgord as a theme off and on starting with my exhibit with Budji Layug in Reposo but more consistently so starting with my show at Dr. Joven Cuanang's Pinto Gallery," she says.
Despite living away from the Philippines, Tequi clearly has strong ties to her land of birth. In fact, she foresees a "rich and varied future for Philippine art." She notes, "There is a lot of public interest in local artists who can satisfy a great range of tastes with works of high quality from the experimental to the conservative. And not just in the visual arts. Theatre is very much alive and fecund. In France right now, Filipino cinema is included in the Paris Film Fest. We Pinoys have something to say to the world, we `say' it in our language and we are sure the world will hear us."
For details on "Périgord Still Life," contact Alliance Francaise Manila at 895-7441.
Also published online:
http://showbizandstyle.inquirer.net/lifestyle/lifestyle/view/20080825-156602/Tequi-exhibit-focuses-on-Perigord-episode
Ballet Philippines announces 39th season line-up, new co-artistic directors
New beginnings for dance, courtesy of Ballet Philippines
By Walter Ang
August 25, 2008
Manila Bulletin
What many people don't know is that Ballet Philippines is a dance company that not only does classical ballet, it also does other forms of dance like neo-classical, jazz, modern jazz, neo-ethnic and even post-modern.
For its 39th season, the line up of productions has been carefully and thoughtfully planned to showcase its dancers' strengths in these different kinds of dance to as many types of audiences there are. This formulation is the initial output of the company's two newly appointed artistic directors Max Luna III and Alan Hineline.
Hineline, an internationally seasoned choreographer and ballet master, was on the faculty of the Central Pennsylvania Youth Ballet as resident choreographer for 11 years. "I am thrilled and honored that the board has chosen the two of us to guide the company and its artists into its next phase," says Hineline. "This is a company brimming with talent and history in a city and country that is bursting with passion and energy ? what an extraordinary combination!"
Luna, on the other hand, is a former BP member and has had an internationally celebrated dance career with Ballet International de Caracas, Joyce Trisler Danscompany and Alvin Ailey American Dance Theatre, where he was a principal dancer and in whose school he also taught for 20 years. "I've been very fortunate to have worked with different companies and now I want to share the knowledge and experience I have gained throughout my career and give back to the company that opened my eyes to the world of dance," says Luna. "Returning home to Manila and Ballet Philippines brings my life and career full circle. This is a dream come true!
Both have already been very busy infusing new ideas into BP, including a revamp of the company logo to reflect its entry into a new chapter of its lifestory. "The season's theme is `A season of new beginnings," because it's the next logical step for the company. It's been around for a while and the question is `What now?' It's time to mature, to grow, to take that next step," says Hineline.
Founded in 1969 by Alice Reyes with the support of Edie Elejar and the Cultural Center of the Philippines, BP has done over 400 works including full length classical ballets and indigenous works of Filipino folklore. Even though the dancers are all classically trained and perform many of the 19th- and 20th-century ballet standards, their repertory almost always includes modern works. "This season, we'll have classical ballet, innovative contemporary works and major new productions. There are shows for young people, for the chic and hip, for families, for everyone!" says Luna.
From tradition to neo-Filipino As a nod to Philippine and its own history, the season premiere opening in September will be Agnes Locsin's acclaimed retelling of Apolinario Mabini's "La Revolucion Filipina" With music by Ryan Cayabyab, "La Rev" was was first performed in 1997 in celebration of the Centennial of Philippine Independence.
"New Beginnings," the second show for the season, to open in October, brings in a touch of international flair with Alvin Ailey's "Night Creature," one of his most classically choreographed ballets with music by jazz-legend Duke Ellington. Audiences will also finally get a chance to see the choreography of the new artistic directors with Luna's "Mga Awit," featuring the music of Michael Dadap, where the many cycles of male camaraderie are explored, and Hinelines' "Thresholds II," with the music of Jerome Begin, described as "an angular, sexy, and fast-paced work that pushes classical ballet to its edges and audiences to their feet."
In December, families will have a chance to enjoy a comic ballet with Hineline's restaging of "Coppélia," a "timeless story of young love and one of the last great Romantic ballets ? a light comedy set in a quaint country village which tells the story of a young man who falls in love with a doll."
The season ends in March 2009 with "Neo-Filipino," featuring a revival of Alice Reyes' "Amada," a work inspired by the "Tadtarin," the annual three-day summer solstice festival of women that mixes pagan rituals with the Feast of St. John. The show will also feature two world premieres, one by Luna and the other by resident choreographer, Alden Lugnasin.
Audience favorites from this season will be included in the national tour, which will commence once Neo-Filipino ends its run. The tour will feature the Philippine premiere of Vicente Nebrada's "Our Waltzes" and will be brought throughout the country.
As it works toward bringing in new and more audiences for dance, Ballet Philippines allows its longtime (and any new) supporters to be part of its endeavors. The company has long had a Pointe Shoe Fund and a Sponsor-a-dancer Program where supporters can help subsidize dance shoes or the training for company dancers. It also gives perks, such as sneak peeks at rehearsals and invitations to exclusive receptions, to the donors of its annual fund.
BP board member Sofia Zobel Elizalde will chair a black-tie fundraiser titled "New Beginnings Gala" on October 16 at the CCP. The fundraiser will be co-hosted by honorary gala chairperson, Elizabeth Roxas.
For details on shows, call Ballet Philippines (551-0221 or 551-1003) or CCP Box Office (832-1125 loc. 1801-1806). For details on the New Beginnings Gala, call Steps Dance Studio ( 757-2984 or 843-8472).
By Walter Ang
August 25, 2008
Manila Bulletin
What many people don't know is that Ballet Philippines is a dance company that not only does classical ballet, it also does other forms of dance like neo-classical, jazz, modern jazz, neo-ethnic and even post-modern.
For its 39th season, the line up of productions has been carefully and thoughtfully planned to showcase its dancers' strengths in these different kinds of dance to as many types of audiences there are. This formulation is the initial output of the company's two newly appointed artistic directors Max Luna III and Alan Hineline.
Hineline, an internationally seasoned choreographer and ballet master, was on the faculty of the Central Pennsylvania Youth Ballet as resident choreographer for 11 years. "I am thrilled and honored that the board has chosen the two of us to guide the company and its artists into its next phase," says Hineline. "This is a company brimming with talent and history in a city and country that is bursting with passion and energy ? what an extraordinary combination!"
Luna, on the other hand, is a former BP member and has had an internationally celebrated dance career with Ballet International de Caracas, Joyce Trisler Danscompany and Alvin Ailey American Dance Theatre, where he was a principal dancer and in whose school he also taught for 20 years. "I've been very fortunate to have worked with different companies and now I want to share the knowledge and experience I have gained throughout my career and give back to the company that opened my eyes to the world of dance," says Luna. "Returning home to Manila and Ballet Philippines brings my life and career full circle. This is a dream come true!
Both have already been very busy infusing new ideas into BP, including a revamp of the company logo to reflect its entry into a new chapter of its lifestory. "The season's theme is `A season of new beginnings," because it's the next logical step for the company. It's been around for a while and the question is `What now?' It's time to mature, to grow, to take that next step," says Hineline.
Founded in 1969 by Alice Reyes with the support of Edie Elejar and the Cultural Center of the Philippines, BP has done over 400 works including full length classical ballets and indigenous works of Filipino folklore. Even though the dancers are all classically trained and perform many of the 19th- and 20th-century ballet standards, their repertory almost always includes modern works. "This season, we'll have classical ballet, innovative contemporary works and major new productions. There are shows for young people, for the chic and hip, for families, for everyone!" says Luna.
From tradition to neo-Filipino As a nod to Philippine and its own history, the season premiere opening in September will be Agnes Locsin's acclaimed retelling of Apolinario Mabini's "La Revolucion Filipina" With music by Ryan Cayabyab, "La Rev" was was first performed in 1997 in celebration of the Centennial of Philippine Independence.
"New Beginnings," the second show for the season, to open in October, brings in a touch of international flair with Alvin Ailey's "Night Creature," one of his most classically choreographed ballets with music by jazz-legend Duke Ellington. Audiences will also finally get a chance to see the choreography of the new artistic directors with Luna's "Mga Awit," featuring the music of Michael Dadap, where the many cycles of male camaraderie are explored, and Hinelines' "Thresholds II," with the music of Jerome Begin, described as "an angular, sexy, and fast-paced work that pushes classical ballet to its edges and audiences to their feet."
In December, families will have a chance to enjoy a comic ballet with Hineline's restaging of "Coppélia," a "timeless story of young love and one of the last great Romantic ballets ? a light comedy set in a quaint country village which tells the story of a young man who falls in love with a doll."
The season ends in March 2009 with "Neo-Filipino," featuring a revival of Alice Reyes' "Amada," a work inspired by the "Tadtarin," the annual three-day summer solstice festival of women that mixes pagan rituals with the Feast of St. John. The show will also feature two world premieres, one by Luna and the other by resident choreographer, Alden Lugnasin.
Audience favorites from this season will be included in the national tour, which will commence once Neo-Filipino ends its run. The tour will feature the Philippine premiere of Vicente Nebrada's "Our Waltzes" and will be brought throughout the country.
As it works toward bringing in new and more audiences for dance, Ballet Philippines allows its longtime (and any new) supporters to be part of its endeavors. The company has long had a Pointe Shoe Fund and a Sponsor-a-dancer Program where supporters can help subsidize dance shoes or the training for company dancers. It also gives perks, such as sneak peeks at rehearsals and invitations to exclusive receptions, to the donors of its annual fund.
BP board member Sofia Zobel Elizalde will chair a black-tie fundraiser titled "New Beginnings Gala" on October 16 at the CCP. The fundraiser will be co-hosted by honorary gala chairperson, Elizabeth Roxas.
For details on shows, call Ballet Philippines (551-0221 or 551-1003) or CCP Box Office (832-1125 loc. 1801-1806). For details on the New Beginnings Gala, call Steps Dance Studio ( 757-2984 or 843-8472).
Virginal, indeed: Review of 4th Virgin Labfest 2008
Virginal, indeed
By Walter Ang
July 14, 2008
Philippine Daily Inquirer
If a play is the fruit of a playwright's labor, then artistic collaborators like directors, actors, set designers and costume designers are the ones who tend and nurture the text into full blossom.
In this year's Virgin Labfest, the artistic collaboration of these different disciplines have produced four main sets of three one-acts that were staged at the Cultural Center of the Philippines, providing audiences with a veritable fruit orchard of subject matter to watch. A separate set was dedicated to children's plays adapted from published stories while another set featured three plays from last year's fest.
Although this writer was able to interview festival artistic director Rody Vera prior to the fest's opening, no details on staging were provided except for the line-up and synopses for each play. And that is always the fun and excitement of the Labfest, you truly never know what you're going to get.
With this many productions, audiences were treated to some that were a little raw, some choice picks, some that were run-of-the-mill, some that strained under their own weight and a few bad apples.
A little pruning needed
Layeta Bucoy once again tackles her obsession with incest between siblings in "Las Mentiras de Gloria." Fortunate for Bucoy that her entry last year, "Ellas Innocentes," was chosen to be restaged. Unfortunately, for those who got to watch both her plays, it became clear that Las Mentiras is essentially a variation of the same banana.
Which is not to say that Las Mentiras was not a strong piece, given its tight dialogue, intrinsic rhythm and Tuxqs Rutaquio's sensitive direction. It did have a stray branch that needed clipping in the sorely miscast Bart Guingona as a working class grunt. Guingona bravely struggled with the Tagalog lines but ultimately was not able to project the bearing that was crucial to his character.
Njel de Mesa's use of glow-in-the-dark costumes, props and puppets as a device to push his adaptation of "Terangati" (under his own direction) worked well, but the material suffered an overly long overture and music that sounded too adult and heavy for a children's musical.
Koh Jun Eiow's "Ang Dalawa Niyang Libing" translated by Terrence Co and directed by Leo Rialp was an engaging clash of culture and religion. Rialp was able to add colorful theatrical touches with background scenes to add to his mis-en-scene as well as the use of a newspaper-reading, gossip-mongering Greek chorus. However, the story feels rushed for its one hour running time and yearns to be threshed out into a two-act play.
Both Terengati's and Dalawa's stagings were overscaled and busy for the standard small stage size used for all labfest productions, but should work better in larger venues.
Nurture to full bloom
Argel Tuazon's adaptation of "Bru-ha-ha-ha-ha-ha, Bru-hi-hi-hi-hi-hi" directed by Mayen Estañero and Job Pagsibigan's adaptation of "Uuwi na ang Nanay Kong si Darna" directed by Catherine Racsag were a breath of fresh air and earnest energy.
In Bru-ha, plucky Bea Sarah Angoba plays a girl who thinks her neighbor is a witch. Coaching her to add more variety to her delivery of lines will compliment her charming confidence and talent. Estañero's use of a roving cameraman and live broadcast screen in the story's TV game show scene was a clever element to add excitement and fun for audiences.
For Uuwi na, many adults in the audience were moved to tears due to scenes that heightened the story's inherent poignancy. A wise move by Racsag to balance out her otherwise fun and funky interpretation of the Filipina Everywoman. Further development will make these two children's plays blossom to their full potential.
Ripe for the picking
Hase Hiroichi's "Amoy ng Langit," provided a sweet, relaxed, and genteel viewing experience with strong acting from its ensemble cast who interchangeably used Nihongo, Tagalog and English to tell the story of school girls and their encounter with one of the girls' sister's ghost.
Fans of anime, especially those featuring school girls in everyday non-eventful situations like "Kamichu (Gradeschool Goddess)," "Ichigo mashimaru (Strawberries and marshmallows)," and "Paradise Kiss," will surely appreciate the acting and pacing conventions employed by director Toshihisha Yoshida (such as the girls contentedly sighing loudly while reveling in the fact that "The sky is so blue!" and the fact that talking to ghosts seem like the most normal thing in the world) that are so characteristic of Japanese animation.
Despite the cultural quirks, because it did not try to be anything else than what it was, Amoy's sincere and unassuming staging was a pleasure to watch.
Rogelio Braga's "Ang Bayot, Ang Meranao,at ang Habal Habal sa isang Nakababagot na Paghihintay sa Kanto ng Lanao del Norte" directed by Nick Olanka offers sharp and witty dialogue in a tightly packed and slick conversation. Repartee zips merrily along between actors Joey Paras and Arnold Reyes, as they play an odd couple who offers enlightening and insightful points on the many guises of discrimination: political, geographical, religious, workplace-related, gender or otherwise.
Hilarious and never preachy, Ang Bayot deserves a run that should be as long as or longer than its title. Hopefully, itinerant actor Paras will stay in Manila long enough to be recast in order to preserve the great timing he and Reyes share.
Floy Quintos' "Ang Kalungkutan ng mga Reyna" (under his own direction) presents a strong argument for a possible solution to our country's ills: would we be better off as a monarchy? He gives us a lady president who becomes the Philippines' first queen and her conversations with a hairdresser on matters of taste (not state).
Sharmaine Buencamino is brilliant as Quintos' beautifully written character. Wisely steering clear of aping known female presidents, Beuncamino imbues Queen Yolanda with a roiling hysteria kept under a fragile veil of iron will.
Tuxqs Rutaquio, as the deadpan and sarcastic hairdresser, was the perfect foil to the queen's ravings. Through his eventual acquiescence to her desires, we see that underneath the queen's delusional ambition, Quintos' lines and Buencamino's interpretation effectively show her sincere and burning desire to uplift the country. Surreal, funny and full-to-the-bite with strong writing and strong acting, this production is hands down the best of the bunch.
A durian for everyone
Which brings us to the one fruit that casts a divisive opinion. People either love or hate the durian, and in the same vein, it is impossible to have an in-between reaction to Allan Lopez's "Masaganang Ekonomiya" directed by Victor Villareal.
The story features an interrogator and his captive. It features elements such as a female actor playing the interrogator with a tumescent phallus sticking out of her groin and constant interruptions to the exposition as the interrogator goes into trances whenever he's possessed by a dyslexic horse.
Less performance than it was performance art with dialogue, as the production assaults audiences' patience and sensibilities, it also challenges notions of what theater should or can be. Unapologetic in its strangeness and definitely thought provoking, it cannot be described any other way except as exciting, trite, avant-garde, yawn-inducing, awesome and irritating all at the same time. It is either the labfest's worst production, or its best.
Also published online:
http://showbizandstyle.inquirer.net/lifestyle/lifestyle/view/20080714- 148250/Virginal-indeed
By Walter Ang
July 14, 2008
Philippine Daily Inquirer
In this year's Virgin Labfest, the artistic collaboration of these different disciplines have produced four main sets of three one-acts that were staged at the Cultural Center of the Philippines, providing audiences with a veritable fruit orchard of subject matter to watch. A separate set was dedicated to children's plays adapted from published stories while another set featured three plays from last year's fest.
Although this writer was able to interview festival artistic director Rody Vera prior to the fest's opening, no details on staging were provided except for the line-up and synopses for each play. And that is always the fun and excitement of the Labfest, you truly never know what you're going to get.
With this many productions, audiences were treated to some that were a little raw, some choice picks, some that were run-of-the-mill, some that strained under their own weight and a few bad apples.
A little pruning needed
Layeta Bucoy once again tackles her obsession with incest between siblings in "Las Mentiras de Gloria." Fortunate for Bucoy that her entry last year, "Ellas Innocentes," was chosen to be restaged. Unfortunately, for those who got to watch both her plays, it became clear that Las Mentiras is essentially a variation of the same banana.
Which is not to say that Las Mentiras was not a strong piece, given its tight dialogue, intrinsic rhythm and Tuxqs Rutaquio's sensitive direction. It did have a stray branch that needed clipping in the sorely miscast Bart Guingona as a working class grunt. Guingona bravely struggled with the Tagalog lines but ultimately was not able to project the bearing that was crucial to his character.
Njel de Mesa's use of glow-in-the-dark costumes, props and puppets as a device to push his adaptation of "Terangati" (under his own direction) worked well, but the material suffered an overly long overture and music that sounded too adult and heavy for a children's musical.
Koh Jun Eiow's "Ang Dalawa Niyang Libing" translated by Terrence Co and directed by Leo Rialp was an engaging clash of culture and religion. Rialp was able to add colorful theatrical touches with background scenes to add to his mis-en-scene as well as the use of a newspaper-reading, gossip-mongering Greek chorus. However, the story feels rushed for its one hour running time and yearns to be threshed out into a two-act play.
Both Terengati's and Dalawa's stagings were overscaled and busy for the standard small stage size used for all labfest productions, but should work better in larger venues.
Nurture to full bloom
Argel Tuazon's adaptation of "Bru-ha-ha-ha-ha-ha, Bru-hi-hi-hi-hi-hi" directed by Mayen Estañero and Job Pagsibigan's adaptation of "Uuwi na ang Nanay Kong si Darna" directed by Catherine Racsag were a breath of fresh air and earnest energy.
In Bru-ha, plucky Bea Sarah Angoba plays a girl who thinks her neighbor is a witch. Coaching her to add more variety to her delivery of lines will compliment her charming confidence and talent. Estañero's use of a roving cameraman and live broadcast screen in the story's TV game show scene was a clever element to add excitement and fun for audiences.
For Uuwi na, many adults in the audience were moved to tears due to scenes that heightened the story's inherent poignancy. A wise move by Racsag to balance out her otherwise fun and funky interpretation of the Filipina Everywoman. Further development will make these two children's plays blossom to their full potential.
Ripe for the picking
Hase Hiroichi's "Amoy ng Langit," provided a sweet, relaxed, and genteel viewing experience with strong acting from its ensemble cast who interchangeably used Nihongo, Tagalog and English to tell the story of school girls and their encounter with one of the girls' sister's ghost.
Fans of anime, especially those featuring school girls in everyday non-eventful situations like "Kamichu (Gradeschool Goddess)," "Ichigo mashimaru (Strawberries and marshmallows)," and "Paradise Kiss," will surely appreciate the acting and pacing conventions employed by director Toshihisha Yoshida (such as the girls contentedly sighing loudly while reveling in the fact that "The sky is so blue!" and the fact that talking to ghosts seem like the most normal thing in the world) that are so characteristic of Japanese animation.
Despite the cultural quirks, because it did not try to be anything else than what it was, Amoy's sincere and unassuming staging was a pleasure to watch.
Rogelio Braga's "Ang Bayot, Ang Meranao,at ang Habal Habal sa isang Nakababagot na Paghihintay sa Kanto ng Lanao del Norte" directed by Nick Olanka offers sharp and witty dialogue in a tightly packed and slick conversation. Repartee zips merrily along between actors Joey Paras and Arnold Reyes, as they play an odd couple who offers enlightening and insightful points on the many guises of discrimination: political, geographical, religious, workplace-related, gender or otherwise.
Hilarious and never preachy, Ang Bayot deserves a run that should be as long as or longer than its title. Hopefully, itinerant actor Paras will stay in Manila long enough to be recast in order to preserve the great timing he and Reyes share.
Floy Quintos' "Ang Kalungkutan ng mga Reyna" (under his own direction) presents a strong argument for a possible solution to our country's ills: would we be better off as a monarchy? He gives us a lady president who becomes the Philippines' first queen and her conversations with a hairdresser on matters of taste (not state).
Sharmaine Buencamino is brilliant as Quintos' beautifully written character. Wisely steering clear of aping known female presidents, Beuncamino imbues Queen Yolanda with a roiling hysteria kept under a fragile veil of iron will.
Tuxqs Rutaquio, as the deadpan and sarcastic hairdresser, was the perfect foil to the queen's ravings. Through his eventual acquiescence to her desires, we see that underneath the queen's delusional ambition, Quintos' lines and Buencamino's interpretation effectively show her sincere and burning desire to uplift the country. Surreal, funny and full-to-the-bite with strong writing and strong acting, this production is hands down the best of the bunch.
A durian for everyone
Which brings us to the one fruit that casts a divisive opinion. People either love or hate the durian, and in the same vein, it is impossible to have an in-between reaction to Allan Lopez's "Masaganang Ekonomiya" directed by Victor Villareal.
The story features an interrogator and his captive. It features elements such as a female actor playing the interrogator with a tumescent phallus sticking out of her groin and constant interruptions to the exposition as the interrogator goes into trances whenever he's possessed by a dyslexic horse.
Less performance than it was performance art with dialogue, as the production assaults audiences' patience and sensibilities, it also challenges notions of what theater should or can be. Unapologetic in its strangeness and definitely thought provoking, it cannot be described any other way except as exciting, trite, avant-garde, yawn-inducing, awesome and irritating all at the same time. It is either the labfest's worst production, or its best.
Also published online:
http://showbizandstyle.inquirer.net/lifestyle/lifestyle/view/20080714- 148250/Virginal-indeed
Kim Chiu is a pretty young thing
Whether she's locked in a house on a reality series, or playing a perky tour guide on a remake of a Korean telenovela, Kim Chiu stays true to herself.
Pretty young thing
By Walter Ang
July-August 2008 issue (Maiden issue)
You Magazine
Kimberly Chiu sits curled up in her chair, slightly groggy from having just woken up from a nap. The poor girl is exhausted from a full day of traversing the city, going from one engagement to another. The life of an up-and-coming young star certainly requires more stamina than most people assume.
This 18 year old's claim to fame began when she joined a reality TV show where contestants are mandated to stay inside a house filled with surveillance cameras and microphones. After spending an entire summer inside that famed house with other teenagers and avoiding eviction from her housemates, Kim emerged the winner with more than 600,000 audience votes (more than 40% of the total votes).
Since then, Kim has decided to, as we say around here, "enter showbiz." An ensemble teenybopper movie was soon under her belt and this led to a solo starrer with her love team partner Gerald Anderson. A popular tandem with audiences, the pair was also tapped to do a telenovela that was also shown also in Taiwan.
Busy The craft and discipline of working in the field of acting promptly kicks in as Kim straightens her back, switches on some source of internal energy, and perks right up.
Her days are, as she explains, "Very busy with tapings and pictorials. There really is no time to rest." She talks about the long hours involved in working as a talent in the broadcast industry. "Sometimes we wrap early in the morning and I only have a few hours of sleep before I need to get to my next call time."
She says all of this with a big grin and quickly adds, "But it's fun!" For a teenager who auditioned for a TV show just for the heck of it, Kim points out, "I had no idea I would be thrust into this kind of world. I was just an ordinary girl who wanted to go to college after high school," she says.
Determined Despite her hectic and sometimes erratic schedule, education is still a priority. She makes sure to stay enrolled in a distance learning program and shares her dreams for the future. "I want to take up something related to business because," as she matter-of-factly puts it, "I don't know anything at all about running a business. I want to learn."
Given the chance, she wants to eventually put up a restaurant or a grocery store. "I like looking at nice food," she shares. Ultimately, it is a keen practicality that informs her choice, "I want a business that will be stable and we Filipinos love to eat."
In the meantime, her calendar is currently filled with taping for an upcoming Filipino television series adapted from a Koreanovela. Preparations included studying the original Korean show ("It was a must for us to watch it because some of the scenes we are going to do will be replicas of the original.") and refreshing herself in foreign languages for certain scenes that are crucial to the exposition of her role.
"I will be playing a character who is proficient in Cebuano, Chinese, and Tagalog," she explains. These are languages she's familiar with, having grown up in Cebu City. "But at home, my family speaks Fujian Chinese and I'm not so used to Mandarin Chinese."
Fun You can tell that beneath all her cheer and girly demeanor, Kim is one determined individual. "My character starts out as a tour guide and, of course, her spiels have to look natural," she says. Kim then recounts how she worked hard to memorize "all those lines," and gives out a congratulatory laugh for herself.
In fact, Kim punctuates most of her sentences with a smile or a laugh. She admits to gravitating towards humor and fun because, well, that's what she's like in real life, too. "That's why I like my role's personality. She's bubbly and fun."
This natural ebullience and laid back attitude permeates how she views life as well, "I like living in the moment. What will happen, will happen," she announces. No complicated living for this jeans-shirt-and-sandals girl, thank you. "Sure, I dress up and use make-up, but I don't really like going out. I prefer staying at home where it's quiet and I get to watch TV, eat and sleep."
Confidence When she does get a chance to go out, however, she is partial to wearing clothes that have "shocking colors, because I want to be seen. I don't like pale or dark colors for my outfits." This loud, outgoin bent ? this love of the limelight, even ? wasn't too apparent when she was growing up, "Even though I'd join all these school projects where we had to perform, I only really joined for the extra credit," she admits. "But when I finally went into showbiz, my family and friends were surprised!"
Having been able to surprise so many people and entertain so many Filipinos through national television and movies may have satiated her need to "shock." She is, after all, starting to become a lady. "I want to look elegant. I have a favorite pair of silver earrings that is for every day use," she says. "Just don't make me wear necklaces!" she laughs.
Kim wears a kooky mix of confidence and charm that seems to suit her very well in this very public life that she now leads. She appreciates the fact that she's become a role model to young girls and understands the need to "be wholesome, where you don't show or exhibit any behavior that is ugly." She's not too worried, though. "I don't control what I do, whatever personality I `project' to the public, that's really who I am."
Pretty young thing
By Walter Ang
July-August 2008 issue (Maiden issue)
You Magazine
Kimberly Chiu sits curled up in her chair, slightly groggy from having just woken up from a nap. The poor girl is exhausted from a full day of traversing the city, going from one engagement to another. The life of an up-and-coming young star certainly requires more stamina than most people assume.
This 18 year old's claim to fame began when she joined a reality TV show where contestants are mandated to stay inside a house filled with surveillance cameras and microphones. After spending an entire summer inside that famed house with other teenagers and avoiding eviction from her housemates, Kim emerged the winner with more than 600,000 audience votes (more than 40% of the total votes).
Since then, Kim has decided to, as we say around here, "enter showbiz." An ensemble teenybopper movie was soon under her belt and this led to a solo starrer with her love team partner Gerald Anderson. A popular tandem with audiences, the pair was also tapped to do a telenovela that was also shown also in Taiwan.
Busy The craft and discipline of working in the field of acting promptly kicks in as Kim straightens her back, switches on some source of internal energy, and perks right up.
Her days are, as she explains, "Very busy with tapings and pictorials. There really is no time to rest." She talks about the long hours involved in working as a talent in the broadcast industry. "Sometimes we wrap early in the morning and I only have a few hours of sleep before I need to get to my next call time."
She says all of this with a big grin and quickly adds, "But it's fun!" For a teenager who auditioned for a TV show just for the heck of it, Kim points out, "I had no idea I would be thrust into this kind of world. I was just an ordinary girl who wanted to go to college after high school," she says.
Determined Despite her hectic and sometimes erratic schedule, education is still a priority. She makes sure to stay enrolled in a distance learning program and shares her dreams for the future. "I want to take up something related to business because," as she matter-of-factly puts it, "I don't know anything at all about running a business. I want to learn."
Given the chance, she wants to eventually put up a restaurant or a grocery store. "I like looking at nice food," she shares. Ultimately, it is a keen practicality that informs her choice, "I want a business that will be stable and we Filipinos love to eat."
In the meantime, her calendar is currently filled with taping for an upcoming Filipino television series adapted from a Koreanovela. Preparations included studying the original Korean show ("It was a must for us to watch it because some of the scenes we are going to do will be replicas of the original.") and refreshing herself in foreign languages for certain scenes that are crucial to the exposition of her role.
"I will be playing a character who is proficient in Cebuano, Chinese, and Tagalog," she explains. These are languages she's familiar with, having grown up in Cebu City. "But at home, my family speaks Fujian Chinese and I'm not so used to Mandarin Chinese."
Fun You can tell that beneath all her cheer and girly demeanor, Kim is one determined individual. "My character starts out as a tour guide and, of course, her spiels have to look natural," she says. Kim then recounts how she worked hard to memorize "all those lines," and gives out a congratulatory laugh for herself.
In fact, Kim punctuates most of her sentences with a smile or a laugh. She admits to gravitating towards humor and fun because, well, that's what she's like in real life, too. "That's why I like my role's personality. She's bubbly and fun."
This natural ebullience and laid back attitude permeates how she views life as well, "I like living in the moment. What will happen, will happen," she announces. No complicated living for this jeans-shirt-and-sandals girl, thank you. "Sure, I dress up and use make-up, but I don't really like going out. I prefer staying at home where it's quiet and I get to watch TV, eat and sleep."
Confidence When she does get a chance to go out, however, she is partial to wearing clothes that have "shocking colors, because I want to be seen. I don't like pale or dark colors for my outfits." This loud, outgoin bent ? this love of the limelight, even ? wasn't too apparent when she was growing up, "Even though I'd join all these school projects where we had to perform, I only really joined for the extra credit," she admits. "But when I finally went into showbiz, my family and friends were surprised!"
Having been able to surprise so many people and entertain so many Filipinos through national television and movies may have satiated her need to "shock." She is, after all, starting to become a lady. "I want to look elegant. I have a favorite pair of silver earrings that is for every day use," she says. "Just don't make me wear necklaces!" she laughs.
Kim wears a kooky mix of confidence and charm that seems to suit her very well in this very public life that she now leads. She appreciates the fact that she's become a role model to young girls and understands the need to "be wholesome, where you don't show or exhibit any behavior that is ugly." She's not too worried, though. "I don't control what I do, whatever personality I `project' to the public, that's really who I am."
Julius Babao's art collection
Julius Babao's art collection
By Walter Ang
June 23, 2008
Philippine Daily Inquirer
The façade of newscaster Julius Babao's home is austere. However, its plain walls, clean lines, and lack of embellishments belie a cornucopia of colors and shapes that adorn the interior. There is an almost acute sense of horror vacuii upon entering the home as every available square inch of wall space is filled with paintings of varying sizes in every imaginable technique and medium.
The eye-level painting nearest the door by Welbart shows dramatic red curtains oh-so-slightly parted in the middle, revealing the faces of two harlequins in a deep, furtive kiss. High above everything else, with a sole wall dedicated to it, is one of Babao's favorites, Elmer Borlongan's "Bus stop" depicting several would-be passengers in various poses of sleepiness.
These two pieces are an apt prelude for every visitor: yes, there's a lot going on here, this is just the holding area, and you've only seen the tip of the iceberg. A kinetic bust (a sculpture with moving parts) by Gabby Barredo stares at the door, beckoning new arrivals to stay and digest the eclectic exhibit curated by Babao in his home-cum-gallery.
Passion
If there is anyone to "blame" for his obvious passion for visual arts, it is Onib Olmedo. Although Babao wanted to take up fine arts in college, he never thought he would one day be collecting art. But back in the mid-90s, he passed by one of Olmedo's pieces at a mall-based gallery and was smitten.
"It was beautiful. I got goosebumps," he recalls. "I had no idea who the painter was. They told me he was dead already." He was still a starting reporter and blanched at the price, but the love affair had already been sparked. "I told myself that someday, I would buy one of his paintings."
A few years later, he acquired his first Olmedo painting on installment. It wasn't long till he'd amassed a collection that includes the works of Ang Kiukok, Mauro "Malang" Santos, Arturo Luz, Benedicto "Bencab" Cabrera, Jose Goya, Gus Albor, Lydia Cruz, Mark Justiniani, Froilan Calayag, Pedro Garcia, Emmanuel Garibay, Ronald Ventura, Bernardo Pacquing, Jerson Samson, Alfredo Esquillo, and Manuel Ocampo, among others.
Enthusiasm
If an "accomplice" to this stockpiling has to be named, it is Dr. Joven Cuanang, proprietor of Boston gallery (home of the Saling Pusa arts group of Borlongan, Garibay and Justiniani) and Pinto Art Gallery. "He is my adviser and mentor when it comes to art," says Babao.
His deep affinity to the visual arts has also resulted in friendships with the artists he deals with. Malang, Bencab and Ang Kiukok were his wedding godfathers. "I have more friends in the art world than in the media," he says.
Babao is clearly immersed in the art world and waxes enthusiastic about the current state of the Philippine art scene. "So many people are buying art now. Some artists have waiting lists of over 60 buyers each. Imagine how many years they would have to keep on painting to fill the demand!"
He cautions, however, that those who buy art solely for potential financial gains should reassess their objectives. "Investment should be secondary. What is important is that you like what you buy," he says.
Compassion
This July, Babao is mixing all these elements of passion, art, friendship and investments into a palette of noble enterprise. He has parlayed his connections into donating paintings for a fund raising auction where all proceeds will go into building an entire village for Gawad Kalinga in Bagong Silang, Caloocan.
Gawad Kalinga is a movement for nation-building that aims to transform poverty stricken areas with the goal of building 700,000 homes in seven years (2003-2010). Babao's wife Christine sponsored one home last year for a GK village for her birthday and encouraged him to do the same.
He has upped the ante and decided to sponsor an entire village. "We'll be building 25-30 houses and we'll be calling it Art 40 Village," says Babao. The number 40 is holds sentimental value. "I'm turning 40 this year and this is actually my birthday project."
"When I broached the idea to my artist friends a few months ago, I had an overwhelming positive response," says Babao. To date, close to a hundred artists have signed up and he's still getting calls from artists who wish to join the undertaking. The auction will be held on July 20 at Pinto Art Gallery, Antipolo where Babao had his wedding reception.
After the houses are built, Babao plans to invite all the involved artists to paint murals on the facades of the house to inject public art into the community. "Art is not just for appreciation," he says. "I have a lot of passion for it and I want to use it to help those who need it."
For details, call 722-9205. Visit art40.multiply.com to preview paintings up for auction.
Also published online:
http://showbizandstyle.inquirer.net/lifestyle/lifestyle/view/20080623-144190/Julius-Babaos-art-collection
By Walter Ang
June 23, 2008
Philippine Daily Inquirer
The eye-level painting nearest the door by Welbart shows dramatic red curtains oh-so-slightly parted in the middle, revealing the faces of two harlequins in a deep, furtive kiss. High above everything else, with a sole wall dedicated to it, is one of Babao's favorites, Elmer Borlongan's "Bus stop" depicting several would-be passengers in various poses of sleepiness.
These two pieces are an apt prelude for every visitor: yes, there's a lot going on here, this is just the holding area, and you've only seen the tip of the iceberg. A kinetic bust (a sculpture with moving parts) by Gabby Barredo stares at the door, beckoning new arrivals to stay and digest the eclectic exhibit curated by Babao in his home-cum-gallery.
Passion
If there is anyone to "blame" for his obvious passion for visual arts, it is Onib Olmedo. Although Babao wanted to take up fine arts in college, he never thought he would one day be collecting art. But back in the mid-90s, he passed by one of Olmedo's pieces at a mall-based gallery and was smitten.
"It was beautiful. I got goosebumps," he recalls. "I had no idea who the painter was. They told me he was dead already." He was still a starting reporter and blanched at the price, but the love affair had already been sparked. "I told myself that someday, I would buy one of his paintings."
A few years later, he acquired his first Olmedo painting on installment. It wasn't long till he'd amassed a collection that includes the works of Ang Kiukok, Mauro "Malang" Santos, Arturo Luz, Benedicto "Bencab" Cabrera, Jose Goya, Gus Albor, Lydia Cruz, Mark Justiniani, Froilan Calayag, Pedro Garcia, Emmanuel Garibay, Ronald Ventura, Bernardo Pacquing, Jerson Samson, Alfredo Esquillo, and Manuel Ocampo, among others.
Enthusiasm
If an "accomplice" to this stockpiling has to be named, it is Dr. Joven Cuanang, proprietor of Boston gallery (home of the Saling Pusa arts group of Borlongan, Garibay and Justiniani) and Pinto Art Gallery. "He is my adviser and mentor when it comes to art," says Babao.
His deep affinity to the visual arts has also resulted in friendships with the artists he deals with. Malang, Bencab and Ang Kiukok were his wedding godfathers. "I have more friends in the art world than in the media," he says.
Babao is clearly immersed in the art world and waxes enthusiastic about the current state of the Philippine art scene. "So many people are buying art now. Some artists have waiting lists of over 60 buyers each. Imagine how many years they would have to keep on painting to fill the demand!"
He cautions, however, that those who buy art solely for potential financial gains should reassess their objectives. "Investment should be secondary. What is important is that you like what you buy," he says.
Compassion
This July, Babao is mixing all these elements of passion, art, friendship and investments into a palette of noble enterprise. He has parlayed his connections into donating paintings for a fund raising auction where all proceeds will go into building an entire village for Gawad Kalinga in Bagong Silang, Caloocan.
Gawad Kalinga is a movement for nation-building that aims to transform poverty stricken areas with the goal of building 700,000 homes in seven years (2003-2010). Babao's wife Christine sponsored one home last year for a GK village for her birthday and encouraged him to do the same.
He has upped the ante and decided to sponsor an entire village. "We'll be building 25-30 houses and we'll be calling it Art 40 Village," says Babao. The number 40 is holds sentimental value. "I'm turning 40 this year and this is actually my birthday project."
"When I broached the idea to my artist friends a few months ago, I had an overwhelming positive response," says Babao. To date, close to a hundred artists have signed up and he's still getting calls from artists who wish to join the undertaking. The auction will be held on July 20 at Pinto Art Gallery, Antipolo where Babao had his wedding reception.
After the houses are built, Babao plans to invite all the involved artists to paint murals on the facades of the house to inject public art into the community. "Art is not just for appreciation," he says. "I have a lot of passion for it and I want to use it to help those who need it."
For details, call 722-9205. Visit art40.multiply.com to preview paintings up for auction.
Also published online:
http://showbizandstyle.inquirer.net/lifestyle/lifestyle/view/20080623-144190/Julius-Babaos-art-collection
Photo exhibit of Bohol churches' ceiling murals at Ayala Museum
Blessed images on ceiling
By Walter Ang
June 23, 2008
Philippine Daily Inquirer
A flurry of white shingles suspended in mid-air leads visitors' eyes skyward and onward to Ayala Musuem's photo exhibit on the ceiling murals of Bohol churches. "Kisame: Visions of Heaven on Earth" aims to generate greater awareness of the historical and aesthetic significance of these large-scale murals and ceiling paintings.
Kisame is part of the Filipino Heritage Festival's many activities for this year's Filipino Heritage Month (which is held annually in May). "With the corrosion caused by bat droppings, rain water on roof ruts, and subsequent repair and repainting of corroded ceilings, these treasures are in great danger," warns festival director Bambi Harper. "It is high time for Filipinos to have a good look at these living museums, our mementos of the Catholic faith that blossomed through ages."
Out of twenty or so Spanish-era-built churches under the care of the Diocese of Tagbilaran and Diocese of Talibon, twelve boast of painted ceilings in various stages of preservation including those in the parishes of Alburquerque, Baclayon, Cortes, Dauis, Dimiao, Lila, Loay, Loboc, Loon, Maribojoc, Panglao and Tubigon.
Presumably commissioned by the first Filipino Bishop of Cebu, Monsignor Juan Gorordo in the 1920s, several young painters were responsible for these enduring works of art. Two featured artists in this exhibit are Canuto Avila and Raymundo Francia, considered Cebu's Michelangelo.
Francia is credited with painting an estimated 80 percent of Bohol's churches and, despite the lack of formal training, developed a paint mixture that has retained its original brilliance and color through the passage of almost a century.
"This exhibit highlights the church's use of art for the enlightenment of the faithful. Artists worked lovingly, but arduously, to bequeath us these treasures. We must strive in equal measure to show future generations of Filipinos the richness of our church heritage," museum director Maritoni Ortigas says.
Aside from exposure to the elements, circumstances in the past such as whitewashing of ceilings have already erased a number of these sacred visual art works. To address the need to document the extant oeuvre, the ceiling murals were photographed by Atty. Paquito "Jojo" Ochoa, Jr.
Selected shots of whole paintings and close-ups of details were then printed on panels that comprise the display curated by Fr. Milan Ted Torralba, executive secretary of the Permanent Committee for the Cultural Heritage of the Church-Catholic Bishops' Conference of the Philippines. The different images in the display "symbolize the various themes that highlight aspects of divine realities," he says.
Kisame has actually undergone a first incarnation last year. "Back then, it was titled Kisame: Touching Heaven. With the support of the National Commission for Culture and the Arts, we mounted it at St. Peter the Apostle Parish, in Loboc, Bohol," Fr Torralba says.
Afterwards, the exhibit pilgrimaged to different parishes of the Diocese of Tagbilaran. "Some of its parts, now separated from the main body of the exhibit, were installed in a number of parishes," he says. An agreement was eventually established between the festival organizers and Ayala Museum to remount Kisame on a more substantial scale.
Regardless of scale, "a bare ceiling is a reflective of minimalism, or even nihilism. Ceilings with ornaments, ceilings with murals, ceilings with fresco and secco paintings become a medium of different human aspirations," he says. "The artists' images give forms to the longings of the human soul to be able to share, not only in the divinity of the Godhead, but to be immortal, to be eternal, to be like God?in Heaven."
Kisame runs until July 20, 2008. For details, call Ayala Museum at 757-7117 to 21 ext. 28 or Filipino Heritage Office at 892-5865.
Also published online:
http://showbizandstyle.inquirer.net/lifestyle/lifestyle/view/20080623-144187/Blessed-images-on-ceiling
By Walter Ang
June 23, 2008
Philippine Daily Inquirer
Kisame is part of the Filipino Heritage Festival's many activities for this year's Filipino Heritage Month (which is held annually in May). "With the corrosion caused by bat droppings, rain water on roof ruts, and subsequent repair and repainting of corroded ceilings, these treasures are in great danger," warns festival director Bambi Harper. "It is high time for Filipinos to have a good look at these living museums, our mementos of the Catholic faith that blossomed through ages."
Out of twenty or so Spanish-era-built churches under the care of the Diocese of Tagbilaran and Diocese of Talibon, twelve boast of painted ceilings in various stages of preservation including those in the parishes of Alburquerque, Baclayon, Cortes, Dauis, Dimiao, Lila, Loay, Loboc, Loon, Maribojoc, Panglao and Tubigon.
Presumably commissioned by the first Filipino Bishop of Cebu, Monsignor Juan Gorordo in the 1920s, several young painters were responsible for these enduring works of art. Two featured artists in this exhibit are Canuto Avila and Raymundo Francia, considered Cebu's Michelangelo.
Francia is credited with painting an estimated 80 percent of Bohol's churches and, despite the lack of formal training, developed a paint mixture that has retained its original brilliance and color through the passage of almost a century.
"This exhibit highlights the church's use of art for the enlightenment of the faithful. Artists worked lovingly, but arduously, to bequeath us these treasures. We must strive in equal measure to show future generations of Filipinos the richness of our church heritage," museum director Maritoni Ortigas says.
Aside from exposure to the elements, circumstances in the past such as whitewashing of ceilings have already erased a number of these sacred visual art works. To address the need to document the extant oeuvre, the ceiling murals were photographed by Atty. Paquito "Jojo" Ochoa, Jr.
Selected shots of whole paintings and close-ups of details were then printed on panels that comprise the display curated by Fr. Milan Ted Torralba, executive secretary of the Permanent Committee for the Cultural Heritage of the Church-Catholic Bishops' Conference of the Philippines. The different images in the display "symbolize the various themes that highlight aspects of divine realities," he says.
Kisame has actually undergone a first incarnation last year. "Back then, it was titled Kisame: Touching Heaven. With the support of the National Commission for Culture and the Arts, we mounted it at St. Peter the Apostle Parish, in Loboc, Bohol," Fr Torralba says.
Afterwards, the exhibit pilgrimaged to different parishes of the Diocese of Tagbilaran. "Some of its parts, now separated from the main body of the exhibit, were installed in a number of parishes," he says. An agreement was eventually established between the festival organizers and Ayala Museum to remount Kisame on a more substantial scale.
Regardless of scale, "a bare ceiling is a reflective of minimalism, or even nihilism. Ceilings with ornaments, ceilings with murals, ceilings with fresco and secco paintings become a medium of different human aspirations," he says. "The artists' images give forms to the longings of the human soul to be able to share, not only in the divinity of the Godhead, but to be immortal, to be eternal, to be like God?in Heaven."
Kisame runs until July 20, 2008. For details, call Ayala Museum at 757-7117 to 21 ext. 28 or Filipino Heritage Office at 892-5865.
Also published online:
http://showbizandstyle.inquirer.net/lifestyle/lifestyle/view/20080623-144187/Blessed-images-on-ceiling
Stirring up contemporary dance: Wifi Body Contemporary Dance Festival 3
Stirring up contemporary dance
By Walter Ang
June 9, 2008
Philippine Daily Inquirer
It is befitting that Wifi Body Festival 3, an independent contemporary dance festival to be held at the Cultural Center of the Philippines, will take place during the week of Independence Day. This year's main showcase performance revolves around the theme "dance in revolution, revolution in dance," and is a wink and nudge at (but also a respectful bow and salute to) the state of contemporary dance in the country.
Festival director Myra Beltran talks of how, about a decade ago, "independent dance practice in the Philippines necessarily had to be contemporary in approach and aesthetic," and how it "broke away from the regular conceptions and conventions of `formal' dance, that is, classical ballet."
"This growing movement of independent dance, this `revolution' is what this festival celebrates," she says. "This movement has grown through different solo artists and dance groups scattered all over the country. The name of the festival signifies our unity, how we are all connected `wirelessly.'"
Presented by the World Dance Alliance-Philippine Choreographers' Network, the Cultural Center of the Philippines, and the National Commission for Culture and the Arts with support from the Ayala Corporation, the name of the festival also aims to engage the public, especially younger audiences weaned in a digital age. "In this increasingly virtual world, the human body is becoming negated," she says. "Wifi Body will allow everyone to `access' contemporary dance."
Rebellion
As if to truly immerse audiences in the realm of rebellion, two major performances will be situated away from the "traditional" proscenium stage. The "Blackbox Intiative" will feature pieces created for the CCP's intimate studio theater while "Dance-on-site" serves as a venue for choreographers to create pieces specifically for unique spaces in and around the cultural center.
Beltran points out that "Dance changes according to the space or environment you're in. These alternative spaces allow performers to concentrate on the essence of what their piece aims to convey, it allows the audience to share in this experience, and ultimately, it forces everyone to concentrate on the essence of humanity. Both dancers and audiences are enabled to share more of themselves."
UP Dance Company, Chameleon Dance Theatre, Kahayag Community Dance and Theater Company (of South Cotabato) and Dance=Pull (of Bacolod) are the groups who will present in Blackbox while Dance-on-site will showcase pieces to be performed at the main theater's loading dock, main theater lobby and the gift shop at the little theater lobby.
"These places are really `not practical,' out-of-the way and dimly lit. But these are where little stories and transformative experiences can occur," says Beltran.
No boundaries
Meanwhile, the festival's themes are distilled into its main showcase aptly titled, "IndepenDance." It will feature the piece "Indios Bravos" choreographed by Dwight Rodrigazo and performed by Airdance.
"Indios Bravos is a commentary on turn-of-the-century Filipino expatriates who fought for Philippine independence and their connection to present day Filipinos working abroad. Both are united in their struggle, hardships and the glory they bring to the country," explains Beltran. Also featured in IndepenDance will be the work of Ava Villanueva, first prize winner of last year's New Choreographers Competiton.
Further pushing the notion of connectivity between dancers sans borders, the festival will also play host to international dance artists. "They're here to celebrate our independence with us," says Beltran. "For IndepenDance, we'll have Japanese dancer Shigemi Kitamura and Madrid dance group Provisional Danza led by artistic director Carmen Werner and Alejandro Morata."
In addition, Rosita Boisseau, French journalist and dance critic for Le Monde and Telerama, will conduct a seminar on Dance Journalism, touching on topics such as history and evolution of roles and genres in contemporary dance as well as music as an integral part of dance.
Supporting the festival are foreign cultural entities such as the Japan Foundation Manila, Instituto Cervantes Manila, Embajada de España en Filipinas, Ministerio de Cultura-Gobierno de España, and Alliance Française de Manille. "Dance is a universal language," says Beltran. "It really has no barriers."
Homegrown
Even with the foreign participation, the festival is fully aware of its role as the breeding ground of up-and-coming regional choreographers and dancers through its New Choreographers Competition. "The competition has fourteen finalists with contestants from Bacolod, Koronadal City, South Cotabato and General Santos City," says Beltran. "The winner will be recommended to compete at the Yokohama Competition with the support and endorsement of the Japan Foundation Manila."
The competition is exclusively for the solo and duet form. "The solo or duet form most conveys a choreographer's artistic vision, in compact form. The solo can be a channel for engagement, and the duet can inspire us to see how intimately we connect with each other," says Beltran.
"We also want to give opportunities to young talents from various independent groups and school-based groups, so there will be an Emerging Talent Showcase for them," says Beltran. Contemporary Dance Workshops will also be conducted where "anyone of any age, size or shape can join."
To provide a voice for contemporary dance artists, students and teachers, a forum titled "Plenary: Towards a Philippine Contemporary Dance Network" will be held where "Everyone is invited to exchange ideas and map out the next steps in truly creating a national contemporary dance network for a new generation of artists."
For schedules and details, visit www.geocities.com/wifibody. Tickets available at CCP Box Office (832-3704) and all Ticketworld outlets (891-9999).
Also published online:
2008 gets ready for the 4th Virgin Labfest
Take 4 for Virgin Labfest
By Walter Ang
June 9, 2008
Philippine Daily Inquirer
"The Virgin Labfest is a venue for playwrights, directors and actors to bring to life `untried, untested, unpublished and unstaged' one-act plays," explains festival founder Rody Vera. Now on its fourth year, this annual showcase of emerging playwrights has grown organically and now includes a workshop component for high school students who wish to learn more about the craft of playwriting and even a contest for owners of blogs (web logs or online journals).
Kicking off on June 25 at the Cultural Center of the Philippines, the labfest is presented by the Writers Bloc, an independent organization of established and aspiring playwrights headed by Vera, and the CCP's resident theater group Tanghalang Pilipino.
Following the convention of past labfests, "this year, there will be five sets of one-act trilogies where each set deals with a central topic or unifying theme ranging from comedies to political commentaries and gender issues to ghost stories," says Vera.
Heavyweights
In the set "Katotohanan, Katarungan, Kapatiran," first time labfest entrant National Artist for Literature F. Sionil Jose's "Dong-ao" serves as a sequel of sorts to the author's series of novels Pretenders, Tree and Mass. "Dong-ao is a traditional Ilokano funeral ceremony where relatives and friends pay tribute to the deceased. In this short play, Pepe Samson, the lead character in Jose's novel Mass is already dead. Different characters from the three novels visit the wake and speak their mind," Vera explains.
Given that Jose's three novels had already been adapted to for the stage, he will be sharing his thoughts in a forum titled "From Page to Stage; The Novelist in Front of the Footlights."
Noted director and playwright Floy Quintos will also be a first time entrant to the labfest with his "Ang Kalungkutan ng mga Reyna" included in the set "Pagkagahaman. Panlilinlang. Pananampalataya." His play is about "a lady president who wants to be queen and her conversations with hairdresser," says Vera.
Name blind
This year's inclusion of experienced and veteran writers has provided an air of prestige for the other up-and-coming playwrights. "They are honored and excited to be included in the same festival with Jose and Quintos," says Vera. Names, however, are never part of Vera's selection process when he shortlists which plays will be included in the labfest.
This color-blind (or name-blind, in this instance) method has resulted in the inclusion of two foreign playwrights in this year's festival. Japanese Hasehiroichi's "Amoy ng Langit," a ghost story, and Malaysian Koh Jun Eiow's "Ang Dalawa Niyang Libing."
Koh's play is about a Chinese businessman living in Malaysia who converts to Islam in order to fit in but does not actually practice it. "The play tackles the travails of a family caught in between two faiths and a government unable to address the problem that has turned into a national issue," says Vera. "It's a composite of real people because this actually happens in Malaysia. In fact, because it's such a delicate issue, I don't know if it will ever be produced there."
Also for kids
The festival also has one set of plays especially for children. "These were plays commissioned by the Philippine Board on Books for Young People based on published children's stories," explains Vera. The set "Mga premyadong kuwentong pambata," will feature Niel de Mesa's adaptation of "Terengati" by Victoria Añonuevo, Argel Tuazon's adaptation of "Bru-ha-ha-ha-ha-ha, Bru-hi-hi-hi-hi-hi" by Ma. Corazon Remigio, and Job Pagsibigan's adaptation of "Uuwi na Ang Nanay Kong si Darna" by Edgar Samar.
To provide audiences the best chance of catching the shows (given the wide variety and number of productions), each of the five sets is scheduled to be staged four times.
Attendees to the first weekend performances will have a chance to win prizes. "All active bloggers need to do is write a blog (web log or online journal) review about a specific set and post it in their blogs within 48 hours after watching," says Dennis Marasigan, Tanghalang Pilipino's Artistic Director. Winners will be chosen for each set of Labfest plays and receive prizes consisting of gift certificates and other merchandise.
In addition to the main performances, full length plays will be featured in a series of staged readings. The readings will include excerpts from "Savage Stage," an anthology of nine plays spearheaded by Ma-Yi Theater Company?the well lauded Filipino theater company based in New York City led by executive director Jorge Ortoll and artistic director Ralph Peña.
In line with its objective to train young writers and to discover new talents and works, this year's festival has a new component called the Labfest Lab.
"We'll have ten slots for high school students who are interested in theater and playwriting to be mentored throughout the festival by a member of the Writer's Bloc. They will be given complimentary tickets to all the Labfest performances and will have workshops sessions on playwriting with director and playwright Niel de Mesa," Vera says. "At the end of the festival, the students are expected to write short, five or ten minute plays." The Labfest Lab will culminate in a staged reading of their works.
For details on the Virgin Labfest, call 832-1125 loc. 1600 or 832-3661. For details on how to apply for a slot in Labfest Lab, please call Nikki Torres at 832-1125 loc. 1607 or 832-2314 or email drama_ccp@yahoo.com.
Also published online:
http://showbizandstyle.inquirer.net/lifestyle/lifestyle/view/20080609-141529/Take-4-for-Virgin-Labfest
By Walter Ang
June 9, 2008
Philippine Daily Inquirer
Kicking off on June 25 at the Cultural Center of the Philippines, the labfest is presented by the Writers Bloc, an independent organization of established and aspiring playwrights headed by Vera, and the CCP's resident theater group Tanghalang Pilipino.
Following the convention of past labfests, "this year, there will be five sets of one-act trilogies where each set deals with a central topic or unifying theme ranging from comedies to political commentaries and gender issues to ghost stories," says Vera.
Heavyweights
In the set "Katotohanan, Katarungan, Kapatiran," first time labfest entrant National Artist for Literature F. Sionil Jose's "Dong-ao" serves as a sequel of sorts to the author's series of novels Pretenders, Tree and Mass. "Dong-ao is a traditional Ilokano funeral ceremony where relatives and friends pay tribute to the deceased. In this short play, Pepe Samson, the lead character in Jose's novel Mass is already dead. Different characters from the three novels visit the wake and speak their mind," Vera explains.
Given that Jose's three novels had already been adapted to for the stage, he will be sharing his thoughts in a forum titled "From Page to Stage; The Novelist in Front of the Footlights."
Noted director and playwright Floy Quintos will also be a first time entrant to the labfest with his "Ang Kalungkutan ng mga Reyna" included in the set "Pagkagahaman. Panlilinlang. Pananampalataya." His play is about "a lady president who wants to be queen and her conversations with hairdresser," says Vera.
Name blind
This year's inclusion of experienced and veteran writers has provided an air of prestige for the other up-and-coming playwrights. "They are honored and excited to be included in the same festival with Jose and Quintos," says Vera. Names, however, are never part of Vera's selection process when he shortlists which plays will be included in the labfest.
This color-blind (or name-blind, in this instance) method has resulted in the inclusion of two foreign playwrights in this year's festival. Japanese Hasehiroichi's "Amoy ng Langit," a ghost story, and Malaysian Koh Jun Eiow's "Ang Dalawa Niyang Libing."
Koh's play is about a Chinese businessman living in Malaysia who converts to Islam in order to fit in but does not actually practice it. "The play tackles the travails of a family caught in between two faiths and a government unable to address the problem that has turned into a national issue," says Vera. "It's a composite of real people because this actually happens in Malaysia. In fact, because it's such a delicate issue, I don't know if it will ever be produced there."
Also for kids
The festival also has one set of plays especially for children. "These were plays commissioned by the Philippine Board on Books for Young People based on published children's stories," explains Vera. The set "Mga premyadong kuwentong pambata," will feature Niel de Mesa's adaptation of "Terengati" by Victoria Añonuevo, Argel Tuazon's adaptation of "Bru-ha-ha-ha-ha-ha, Bru-hi-hi-hi-hi-hi" by Ma. Corazon Remigio, and Job Pagsibigan's adaptation of "Uuwi na Ang Nanay Kong si Darna" by Edgar Samar.
To provide audiences the best chance of catching the shows (given the wide variety and number of productions), each of the five sets is scheduled to be staged four times.
Attendees to the first weekend performances will have a chance to win prizes. "All active bloggers need to do is write a blog (web log or online journal) review about a specific set and post it in their blogs within 48 hours after watching," says Dennis Marasigan, Tanghalang Pilipino's Artistic Director. Winners will be chosen for each set of Labfest plays and receive prizes consisting of gift certificates and other merchandise.
In addition to the main performances, full length plays will be featured in a series of staged readings. The readings will include excerpts from "Savage Stage," an anthology of nine plays spearheaded by Ma-Yi Theater Company?the well lauded Filipino theater company based in New York City led by executive director Jorge Ortoll and artistic director Ralph Peña.
In line with its objective to train young writers and to discover new talents and works, this year's festival has a new component called the Labfest Lab.
"We'll have ten slots for high school students who are interested in theater and playwriting to be mentored throughout the festival by a member of the Writer's Bloc. They will be given complimentary tickets to all the Labfest performances and will have workshops sessions on playwriting with director and playwright Niel de Mesa," Vera says. "At the end of the festival, the students are expected to write short, five or ten minute plays." The Labfest Lab will culminate in a staged reading of their works.
For details on the Virgin Labfest, call 832-1125 loc. 1600 or 832-3661. For details on how to apply for a slot in Labfest Lab, please call Nikki Torres at 832-1125 loc. 1607 or 832-2314 or email drama_ccp@yahoo.com.
Also published online:
http://showbizandstyle.inquirer.net/lifestyle/lifestyle/view/20080609-141529/Take-4-for-Virgin-Labfest
Lopez Museum offers art conservation services
Art conservation arrives in Manila via the Lopez Musuem, and art collectors should check out what it has to offer.
Return to top form
By Walter Ang
June-August 2008 issue
Metro Home and Entertaining
Furry mice are suspended in mid-crawl across three wooden contraptions with pulleys. No need to worry, the mice are actually just stuffed toys. This humorous installation piece speaks volumes about the vulnerability of art, or anything made by man, for that matter, against the elements. And it is an apt introduction to the Lopez Memorial Musuem's exhibit tackling the very serious matter of art conservation.
"The Sum of Its Parts" features pieces from the museum's collection which have undergone or are slated to undergo conservation. To underscore how fragile art can be, the exhibit shows how Juan Luna's "A group of men pushing the wall" (pencil on papel de marquilla) has been reduced to what looks like pencil striations on a yellowed piece of paper. Fortunately, it has gone through the musuem's conservation laboratory and has been declared "stable."
Husband-and-wife curating team of Claro and Eileen Ramirez aims to share the role of and the processes involved in conservation. "Preserving and promoting cultural heritage is mostly behind the scenes, few museum audiences understand the work involved," Claro says.
Through the works of Felix Resurrecion Hidalgo, Pacita Abad, Nena Saguil and Juvenal Sanso among others, the exhibit creates awareness of the thought and care in the maintenance that must go hand-in-hand with owning and appreciating works of art.
Claudio Bravo's "Portrait of Doña Pacita Moreno," created with pencil and charcoal on paper, is a shining example of the fruits of the museum's conservation labor. One could never have imagined it in its previous state: filled with stains like skin ravaged with disease.
The woman responsible for breathing life back into this work is Maita Reyes, a chemist who specializes in the "security, safety and survival" of art works. Having trained at the Facultedad De Bellas Artes of the Unibersidad Complutense de Madrid and International Center of Conservation, she is the museum's consultant for art conservation.
"The goal of conservation is really to stabilize works of art," Maita says. "Our work involves preventing and arresting deterioration caused by natural and man-made disasters."
While the museum has its array of climate-control systems, parabolic lighting (to prevent direct light shining on the art work), mylar wrapped frames and refracted ultraviolet glass covering, homeowners need not break the bank to protect their treasures as Maita has several tips that are not difficult to comply with.
She cautions that the number one enemy of paintings and prints is light. "Sunlight and strong lighting will fade paintings and once it's faded, it's irreversible," she says. One method of preventive care is to apply a protective coating. "An ultra-violet stable varnish will do."
Molds also pose a serious problem but is easily prevented by ensuring that air circulates in the area where the painting or print is hung. "Stagnant air will allow mold spores to settle and grow," she says. "Allow for some space behind the painting."
Another problem area is usually the frame and backing. Not only does the lignant in wood produce acid, "wood is food for molds!" says Maita emphatically. She appreciates that completely acid free backings or frames can be a bit expensive, so she has no problems with using materials with "reduced or minimal acid." "But these materials can be treated to minimize the effects of acidity."
She even offers a do-it-yourself quick-fix. "Mixing calcium carbonate tablets (which can be bought at any drugstore over-the-counter) with water can create a solution that can be sprayed onto the materials to control or neutralize the acid."
It's best to involve the experts from the moment of acquiring the art work. "Not many people know this, but to attend to the needs of private owners and collectors, the museum provides conservation and restoration services," she says. Of course, an ounce of "preventive conservation" is always better than a pound of laborious, expensive, time-consuming cure.
For details, call the Lopez Memorial Museum at 631-2417 or email pezseum@skyinet.net.
Return to top form
By Walter Ang
June-August 2008 issue
Metro Home and Entertaining
Furry mice are suspended in mid-crawl across three wooden contraptions with pulleys. No need to worry, the mice are actually just stuffed toys. This humorous installation piece speaks volumes about the vulnerability of art, or anything made by man, for that matter, against the elements. And it is an apt introduction to the Lopez Memorial Musuem's exhibit tackling the very serious matter of art conservation.
"The Sum of Its Parts" features pieces from the museum's collection which have undergone or are slated to undergo conservation. To underscore how fragile art can be, the exhibit shows how Juan Luna's "A group of men pushing the wall" (pencil on papel de marquilla) has been reduced to what looks like pencil striations on a yellowed piece of paper. Fortunately, it has gone through the musuem's conservation laboratory and has been declared "stable."
Husband-and-wife curating team of Claro and Eileen Ramirez aims to share the role of and the processes involved in conservation. "Preserving and promoting cultural heritage is mostly behind the scenes, few museum audiences understand the work involved," Claro says.
Through the works of Felix Resurrecion Hidalgo, Pacita Abad, Nena Saguil and Juvenal Sanso among others, the exhibit creates awareness of the thought and care in the maintenance that must go hand-in-hand with owning and appreciating works of art.
Claudio Bravo's "Portrait of Doña Pacita Moreno," created with pencil and charcoal on paper, is a shining example of the fruits of the museum's conservation labor. One could never have imagined it in its previous state: filled with stains like skin ravaged with disease.
The woman responsible for breathing life back into this work is Maita Reyes, a chemist who specializes in the "security, safety and survival" of art works. Having trained at the Facultedad De Bellas Artes of the Unibersidad Complutense de Madrid and International Center of Conservation, she is the museum's consultant for art conservation.
"The goal of conservation is really to stabilize works of art," Maita says. "Our work involves preventing and arresting deterioration caused by natural and man-made disasters."
While the museum has its array of climate-control systems, parabolic lighting (to prevent direct light shining on the art work), mylar wrapped frames and refracted ultraviolet glass covering, homeowners need not break the bank to protect their treasures as Maita has several tips that are not difficult to comply with.
She cautions that the number one enemy of paintings and prints is light. "Sunlight and strong lighting will fade paintings and once it's faded, it's irreversible," she says. One method of preventive care is to apply a protective coating. "An ultra-violet stable varnish will do."
Molds also pose a serious problem but is easily prevented by ensuring that air circulates in the area where the painting or print is hung. "Stagnant air will allow mold spores to settle and grow," she says. "Allow for some space behind the painting."
Another problem area is usually the frame and backing. Not only does the lignant in wood produce acid, "wood is food for molds!" says Maita emphatically. She appreciates that completely acid free backings or frames can be a bit expensive, so she has no problems with using materials with "reduced or minimal acid." "But these materials can be treated to minimize the effects of acidity."
She even offers a do-it-yourself quick-fix. "Mixing calcium carbonate tablets (which can be bought at any drugstore over-the-counter) with water can create a solution that can be sprayed onto the materials to control or neutralize the acid."
It's best to involve the experts from the moment of acquiring the art work. "Not many people know this, but to attend to the needs of private owners and collectors, the museum provides conservation and restoration services," she says. Of course, an ounce of "preventive conservation" is always better than a pound of laborious, expensive, time-consuming cure.
For details, call the Lopez Memorial Museum at 631-2417 or email pezseum@skyinet.net.
Gibi Shoes' Lydia Castro has a sense of detail and diligence
A sense of detail and diligence
By Walter Ang
June-August 2008 issue
Asian Dragon Magazine
Given the stiff competition from China, Gibi Shoes, an all-Filipino shoe enterprise,
has not only survived but also thrived. Walter Ang talks to proprietor Lydia Castro
on how she and her husband did it with
A sense of detail and diligence
The one striking thing you realize after talking to Lydia Castro is the supremely practical way she views life. "Accept your situation in life and do the best you can, otherwise you'll never be happy," she says. This mantra has helped her work together with her husband William in building their shoe company, Gibi Shoes, from a backyard operation to one store in Marikina and, finally, to its present network of outlets all over the country.
"My husband and I started out with just five workers," recalls Lydia. "We would make shoes for the stores along Avenida. Eventually, we decided to come up with our own brand." They borrowed capital from her in-laws and worked to get the business off the ground. "It was not easy. We worked from Sunday to Sunday and the money that we would borrow from my in-laws was always paid back with interest."
Hard work is no stranger to Lydia. Growing up, this eldest daughter of four children was tasked to help out in their father's hardware store during weekends and summer vacations. "I did not receive any salary. I only got free merienda," she laughs.
In a time when women were expected to stay at home and keep house, Lydia was lucky to be immersed in the daily workings of a running a business. "My own mother was a homemaker because that was how society was back then, but I got a chance to learn things," she says. "I developed my sense of being detail-oriented and being diligent."
Starting off with a men's line of shoes, the Castros grew their business to include women's shoes and children's shoes, for which they are now popularly known for. Hotsellers these days include office shoes and nursing shoes. "When operations and profits became stable was when we were able to stop working on Sundays. Then when the children were born, I told my husband that we could stop working on Saturdays to give our family more time," says Lydia.
She points out, however, that just because they no longer clock-in on weekends does not mean they actually get to relax. "We still take turns going to China during weekends to source for raw materials," she shares.
There are no regrets, however. "You have to love what you are doing. I actually took up chemistry for my undergraduate degree. It's just that these days, instead of balancing chemical equations, I now balance the books," smiles Lydia. "Life is what it is, I just had to learn the trade. My business philosophy is very basic: I want to make good, quality leather shoes."
Using that vision as a guide, Lydia had to navigate tough terrain to bring the business to where it is now. "In 1997 we almost gave up the business because the competition was very stiff with cheap imports from China," says Lydia. She realized however that starting from scratch would not be easy.
Aside from that, there was one other galvanizing reason for her to carry on. With her being in charge of the company's finances and human resources, she saw an obligation that could not be ignored. "I could not just let go of my employees. I could not leave them without a means of living. When you have a business, you cannot just think of yourself, you have to help others."
The company stuck it out for a few years and finally got back on its feet. Now it remains one of the very few shoe manufacturers that still do local production. "Aside from occasional imports of trendy shoes, all our shoes are made here with local employees," beams Lydia.
The loyalty of her employees was certainly one of the reasons why they were able to ride through the rough patch. "I'm lucky to have people who are faithful and are skilled. I always try to be sincere and compassionate with my staff. It's not just about the salary you give them. I'm very strict and work is work, but I also give them guidance and they know that I'm here for them if they need to talk to me. It goes both ways," says Lydia.
Lydia has actually given out scholarships to five children of her staff. After completing their course in shoe design at the Philippine Footwear Academy, Lydia absorbed two of them. She was questioned by some of her friends why she didn't try to recoup the money that she had spent on these students by taking in all five of them. She had a very simple answer, "When you help others, you shouldn't expect something in return."
This mother of five kids credits her own father for instilling the values that she hopes to pass on to her own progeny. "I admire my father very much. We were a modest family. He provided for our basic needs. He was very down to earth and had no pretensions in life," she shares.
Her generosity extends to volunteering for civic work such as medical missions. "It's fun!" she says. "I have a philosophy in life, everyday I should have accomplished something at work or have done something good. As you add years to your life, you should also add knowledge to your life. If everyone just lazed about, nothing will happen in the world!"
By Walter Ang
June-August 2008 issue
Asian Dragon Magazine
Given the stiff competition from China, Gibi Shoes, an all-Filipino shoe enterprise,
has not only survived but also thrived. Walter Ang talks to proprietor Lydia Castro
on how she and her husband did it with
A sense of detail and diligence
"My husband and I started out with just five workers," recalls Lydia. "We would make shoes for the stores along Avenida. Eventually, we decided to come up with our own brand." They borrowed capital from her in-laws and worked to get the business off the ground. "It was not easy. We worked from Sunday to Sunday and the money that we would borrow from my in-laws was always paid back with interest."
Hard work is no stranger to Lydia. Growing up, this eldest daughter of four children was tasked to help out in their father's hardware store during weekends and summer vacations. "I did not receive any salary. I only got free merienda," she laughs.
In a time when women were expected to stay at home and keep house, Lydia was lucky to be immersed in the daily workings of a running a business. "My own mother was a homemaker because that was how society was back then, but I got a chance to learn things," she says. "I developed my sense of being detail-oriented and being diligent."
Starting off with a men's line of shoes, the Castros grew their business to include women's shoes and children's shoes, for which they are now popularly known for. Hotsellers these days include office shoes and nursing shoes. "When operations and profits became stable was when we were able to stop working on Sundays. Then when the children were born, I told my husband that we could stop working on Saturdays to give our family more time," says Lydia.
She points out, however, that just because they no longer clock-in on weekends does not mean they actually get to relax. "We still take turns going to China during weekends to source for raw materials," she shares.
There are no regrets, however. "You have to love what you are doing. I actually took up chemistry for my undergraduate degree. It's just that these days, instead of balancing chemical equations, I now balance the books," smiles Lydia. "Life is what it is, I just had to learn the trade. My business philosophy is very basic: I want to make good, quality leather shoes."
Using that vision as a guide, Lydia had to navigate tough terrain to bring the business to where it is now. "In 1997 we almost gave up the business because the competition was very stiff with cheap imports from China," says Lydia. She realized however that starting from scratch would not be easy.
Aside from that, there was one other galvanizing reason for her to carry on. With her being in charge of the company's finances and human resources, she saw an obligation that could not be ignored. "I could not just let go of my employees. I could not leave them without a means of living. When you have a business, you cannot just think of yourself, you have to help others."
The company stuck it out for a few years and finally got back on its feet. Now it remains one of the very few shoe manufacturers that still do local production. "Aside from occasional imports of trendy shoes, all our shoes are made here with local employees," beams Lydia.
The loyalty of her employees was certainly one of the reasons why they were able to ride through the rough patch. "I'm lucky to have people who are faithful and are skilled. I always try to be sincere and compassionate with my staff. It's not just about the salary you give them. I'm very strict and work is work, but I also give them guidance and they know that I'm here for them if they need to talk to me. It goes both ways," says Lydia.
Lydia has actually given out scholarships to five children of her staff. After completing their course in shoe design at the Philippine Footwear Academy, Lydia absorbed two of them. She was questioned by some of her friends why she didn't try to recoup the money that she had spent on these students by taking in all five of them. She had a very simple answer, "When you help others, you shouldn't expect something in return."
This mother of five kids credits her own father for instilling the values that she hopes to pass on to her own progeny. "I admire my father very much. We were a modest family. He provided for our basic needs. He was very down to earth and had no pretensions in life," she shares.
Her generosity extends to volunteering for civic work such as medical missions. "It's fun!" she says. "I have a philosophy in life, everyday I should have accomplished something at work or have done something good. As you add years to your life, you should also add knowledge to your life. If everyone just lazed about, nothing will happen in the world!"
Welcome to Hacienda Escudero, a plantation resort town
Welcome to Hacienda Escudero
By Walter Ang
May 26, 2008
Philippine Daily Inquirer
In 1890, Don Placido Escudero and his wife Dona Claudia Marasigan acquired 415 hectares of land in southern Luzon spread across Laguna and Quezon.
Originally planted in sugar cane, production shifted to coconut in the early 1900s under the management of their only son Arsenio Escudero.
Generations later, the family has opened up their land and is converting it into a "plantation resort town" which they call, what else, Hacienda Escudero.
At the launch of the Hacienda, Arsenio's grandson Placido "Don" Escudero Jr. (know to film aficionados as the production designer of "Oro, Plata, Mata," a movie that had scenes shot at the hacienda) recounts how plans for the development of their land actually started years ago.
"My uncle, Don Conrado "Ado" Escudero, took up agriculture in Cornell [University] and came back to the county to set up the plantation," he says. "At the time when coconuts were under attack from foreign lobbyists for having, as we all now know is not true, bad cholesterol, Ado did not find the support he needed from government."
It served as a catalyst for Ado to return to New York to learn about the hospitality industry. "He realized he wanted to be a hotel man," Don says. "He came back and opened up the plantation to the public with Villa Escudero Resort in 1980." This became an inkling of the how the family would eventually use their land for real estate.
"Back then, people wondered why he wanted to do a Filipino-themed resort. But he really wanted to provide a Filipino destination for Filipinos, it was as simple as that," he says. This strong sense of identity runs in the blood and remains the cornerstone of the Escudero's thrust even with their current undertaking.
Hacienda living
"We have very strong feelings about preserving our heritage and we spoke to a lot of different developers until we finally found our partner in Landco Pacific Corporation," he says. "They share our vision. In an industry where the primary selling proposition is to emulate foreign architecture, we want Hacienda Escudero to celebrate and honor all that is distinctively and genuinely Filipino."
"Villa Escudero serves as the jumping off point from which the rest of Hacienda Escudero will take form," he says. The resort has become known to provide Filipinos and foreigners alike with a taste of the idyllic Filipino way of life. No vehicles are allowed past the parking lot and a carabao-drawn carriage brings visitors to the front desk to check into bamboo cottages thatched with anahaw.
With the rivers Bulakin and Labasin as well as Mounts Banahaw, Malarayat, and San Cristobal surrounding the hacienda, a genteel, unhurried atmosphere is what the Escuderos wish to create. Taking the cue, Aldea del Palmeral, the hacienda's first residential development phase will provide pastoral amenities like an orchard, an herb garden and a fishing lake. "We'll have an agri-tainment center which includes an aviary, butterfly farm, botanical garden and demo farms," he says.
Bucolic
To maintain the bucolic charm of the hacidena, its future residents will have to follow certain guidelines when constructing their homes. "We want to evoke a neo-Commonwealth theme for our residential development," he says. "We want to capture the essence of a period of affluence in the country's history."
It was during this time when the country was being primed for independence and sovereignty that the coconut industry boomed and plantation owners constructed homes that reflected their stature. The Escuderos had their own home designed by architect Antonio Toledo. Don takes pride that theirs is "the second of only two houses that Toledo ever designed because he was really more of a public architect, having designed projects like the Agrifina Circle and the City Hall."
Similar to Toledo's design as well as most other plantation houses in nearby San Pablo City in Laguna that were built in the 1930s, "The houses to be built here must have finials or spires on pitched or sloping roofs with generous overhangs. The floor must be raised at least three to four steps from the ground. There should be front porches or verandas leading to a grand entrance," says Don.
Beyond these parameters, future homeowners and their architects are free to interpret the 'Commonwealth look' as they please. "We are not building a theme park!" he laughs. "We expect completely different looks. We envision stylized versions or modern interpretations of ancestral homes. We're going for the charm of a provincial town with the frills of modern living."
Preservation
But even as he talks of modern conveniences (which will include an 18-hole golf course designed by golfing legend Frankie Minoza, a water park with wakeboarding facilities, and resorts and convention hotels aside from the usual shopping and dining facilities), he points out family and tradition are still the guiding priorities.
"One of the reasons why we've been gradually shifting our resources to developing the land is because we wanted to find a way to provide for all the people who depend on our family for their livelihood. We treat everyone as an extension of our family," he says. With the ongoing development, the Escuderos now employ twice the number of people they had at the height of their coconut production days. "We're proud to keep two or three barangays alive."
One of their personal commitments to preserving the heritage will be the creation of a new "family house" museum. This will be an addition to the family's already existing museum (designed to look like a 16th century Spanish era church) which enjoys a reputation of housing a trove of religious artifacts, silver altars, gilded carrozas, ivory santos, galleon trade era oriental ceramics, costumes, dioramas of Philippine wildlife and ethnography, rare coins, antique furniture and other important pieces from the Spanish era.
"This new museum will contain items that my grandparents collected. They were interested in all sorts of things. My grandmother used to collect insects when she was a teenager so we'll include those. My grandfather, on the other hand, used to drive his truck around buying ornaments and artifacts nobody wanted. People laughed at him, but you'll never find those things anywhere else now," he says.
He points out that the museum will not be a scholarly attempt at cataloging items that would be found in a house at a specific point in time. Instead, "We're recreating a `real' house with things that would have been accumulated by three generations of people living in it," he says. "You'll see a mix of furniture and appliances from the early 1900s to up until before the second world war. You'll have an old player piano right beside a gramophone, things like that. We want to have fun!"
For details on Hacienda Escudero, call 836-5000.
Also published online:
http://showbizandstyle.inquirer.net/lifestyle/lifestyle/view/20080526-138782/Welcome-to-Hacienda-Escudero
By Walter Ang
May 26, 2008
Philippine Daily Inquirer
Originally planted in sugar cane, production shifted to coconut in the early 1900s under the management of their only son Arsenio Escudero.
Generations later, the family has opened up their land and is converting it into a "plantation resort town" which they call, what else, Hacienda Escudero.
At the launch of the Hacienda, Arsenio's grandson Placido "Don" Escudero Jr. (know to film aficionados as the production designer of "Oro, Plata, Mata," a movie that had scenes shot at the hacienda) recounts how plans for the development of their land actually started years ago.
"My uncle, Don Conrado "Ado" Escudero, took up agriculture in Cornell [University] and came back to the county to set up the plantation," he says. "At the time when coconuts were under attack from foreign lobbyists for having, as we all now know is not true, bad cholesterol, Ado did not find the support he needed from government."
It served as a catalyst for Ado to return to New York to learn about the hospitality industry. "He realized he wanted to be a hotel man," Don says. "He came back and opened up the plantation to the public with Villa Escudero Resort in 1980." This became an inkling of the how the family would eventually use their land for real estate.
"Back then, people wondered why he wanted to do a Filipino-themed resort. But he really wanted to provide a Filipino destination for Filipinos, it was as simple as that," he says. This strong sense of identity runs in the blood and remains the cornerstone of the Escudero's thrust even with their current undertaking.
Hacienda living
"We have very strong feelings about preserving our heritage and we spoke to a lot of different developers until we finally found our partner in Landco Pacific Corporation," he says. "They share our vision. In an industry where the primary selling proposition is to emulate foreign architecture, we want Hacienda Escudero to celebrate and honor all that is distinctively and genuinely Filipino."
"Villa Escudero serves as the jumping off point from which the rest of Hacienda Escudero will take form," he says. The resort has become known to provide Filipinos and foreigners alike with a taste of the idyllic Filipino way of life. No vehicles are allowed past the parking lot and a carabao-drawn carriage brings visitors to the front desk to check into bamboo cottages thatched with anahaw.
With the rivers Bulakin and Labasin as well as Mounts Banahaw, Malarayat, and San Cristobal surrounding the hacienda, a genteel, unhurried atmosphere is what the Escuderos wish to create. Taking the cue, Aldea del Palmeral, the hacienda's first residential development phase will provide pastoral amenities like an orchard, an herb garden and a fishing lake. "We'll have an agri-tainment center which includes an aviary, butterfly farm, botanical garden and demo farms," he says.
Bucolic
To maintain the bucolic charm of the hacidena, its future residents will have to follow certain guidelines when constructing their homes. "We want to evoke a neo-Commonwealth theme for our residential development," he says. "We want to capture the essence of a period of affluence in the country's history."
It was during this time when the country was being primed for independence and sovereignty that the coconut industry boomed and plantation owners constructed homes that reflected their stature. The Escuderos had their own home designed by architect Antonio Toledo. Don takes pride that theirs is "the second of only two houses that Toledo ever designed because he was really more of a public architect, having designed projects like the Agrifina Circle and the City Hall."
Similar to Toledo's design as well as most other plantation houses in nearby San Pablo City in Laguna that were built in the 1930s, "The houses to be built here must have finials or spires on pitched or sloping roofs with generous overhangs. The floor must be raised at least three to four steps from the ground. There should be front porches or verandas leading to a grand entrance," says Don.
Beyond these parameters, future homeowners and their architects are free to interpret the 'Commonwealth look' as they please. "We are not building a theme park!" he laughs. "We expect completely different looks. We envision stylized versions or modern interpretations of ancestral homes. We're going for the charm of a provincial town with the frills of modern living."
Preservation
But even as he talks of modern conveniences (which will include an 18-hole golf course designed by golfing legend Frankie Minoza, a water park with wakeboarding facilities, and resorts and convention hotels aside from the usual shopping and dining facilities), he points out family and tradition are still the guiding priorities.
"One of the reasons why we've been gradually shifting our resources to developing the land is because we wanted to find a way to provide for all the people who depend on our family for their livelihood. We treat everyone as an extension of our family," he says. With the ongoing development, the Escuderos now employ twice the number of people they had at the height of their coconut production days. "We're proud to keep two or three barangays alive."
One of their personal commitments to preserving the heritage will be the creation of a new "family house" museum. This will be an addition to the family's already existing museum (designed to look like a 16th century Spanish era church) which enjoys a reputation of housing a trove of religious artifacts, silver altars, gilded carrozas, ivory santos, galleon trade era oriental ceramics, costumes, dioramas of Philippine wildlife and ethnography, rare coins, antique furniture and other important pieces from the Spanish era.
"This new museum will contain items that my grandparents collected. They were interested in all sorts of things. My grandmother used to collect insects when she was a teenager so we'll include those. My grandfather, on the other hand, used to drive his truck around buying ornaments and artifacts nobody wanted. People laughed at him, but you'll never find those things anywhere else now," he says.
He points out that the museum will not be a scholarly attempt at cataloging items that would be found in a house at a specific point in time. Instead, "We're recreating a `real' house with things that would have been accumulated by three generations of people living in it," he says. "You'll see a mix of furniture and appliances from the early 1900s to up until before the second world war. You'll have an old player piano right beside a gramophone, things like that. We want to have fun!"
For details on Hacienda Escudero, call 836-5000.
Also published online:
http://showbizandstyle.inquirer.net/lifestyle/lifestyle/view/20080526-138782/Welcome-to-Hacienda-Escudero
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