Starring Lea Salonga, in the role of "Mommy"

Starring Lea Salonga, in the role of Mommy
By Walter Ang
November-December issue 2011
Moms Today Magazine

Lea Salonga was thrust into international stardom when she landed the lead role of Kim in the musical "Miss Saigon" in West End, London and then on Broadway, USA, winning top awards from both countries. Many years and notable roles later, she's still on top of her game, having recently performed as Grizabella in the musical "Cats" right here in Manila.

As she travelled the globe for her numerous projects, sharing her singing with countless audiences, she found love and got married to Robert Charles Chien. Initially based in the US, Chen was assigned for work in Manila and the couple has been staying here for the past few years.

Nicole Beverly was soon part of their family. While her daughter and husband are priorities for Salonga, it hasn't stopped her from continuing with her career. "Whenever I know I'll be away from home for an extended period of time, I'll bring Nicole with me," she says.

The family has traveled to many different cities together. "I would say that one of my favorite cities would be New York, only because of the variety of activities it offers. There's so much for a kid to do in that city. There are museums, park; you name it, they have it," she says.

Family and food 
Salonga notes, however, that family plays a part in what makes a travel destination desirable. "We have relatives in Los Angeles and other cities. That's what makes it special for Nicole. She gets to play with friends, godparents, cousins."

And of course, there's always the food choices. "We're planning on going to Singapore for my husband's birthday soon. I asked him what he wanted and he said all he wanted to do was eat. Done!" she says laughing.

Salonga and her husband try to be as accommodating as they can for Nicole's birthday wishes as well. "If she wants a tea party, we try to do what we can to make it happen for her," she says.

This is not to say that Salonga spoils her daughter. In fact, her parenting style leans toward encouraging Nicole to be as independent as possible. "When she wants something, we always say, 'Okay, get it yourself.' Of course, there are things she really can't do at her age, say, zipping up the back of her dress, but for the things she can appropriately tackle at her age, we want her to learn to stand on her own."

Childhood 
Salonga started in theater and showbusiness just as other children were just beginning their schooling. At the age of seven, she was cast as one of the children in the musical "The King and I" and eventually headlined the musical "Annie." She also hosted her own television show co-hosted with brother Gerald, who is now an accomplished conductor.

She trained with one of the pioneering English-language theater companies in Manila, Repertory Philippines, under its founder, the late Zeneida Amador. Amador was known to be a strict disciplinarian and treated adults and children equally.

"Training with Rep back then was pretty tough," she says. "Not every kid or parent found it easy to adhere to the way things were run." Given her experiences growing up and having been exposed to different cultures, Salonga strives to use a more balanced approach with Nicole.

"Sometimes we let her do whatever she wants because she can be very stubborn and headstrong if she wants to be," she says laughing. "There's always a little bit of both discipline and being laid back. It's just finding the right proportions."

Balance Salonga repeatedly highlights her desire for Nicole to become "very much her own person." "I want her to grow up asking questions and deciding things for herself. Sometimes it's not enough that I tell her to do something, she'll ask me for a reason. Of course, she's still a little girl, so sometimes I know she's just being makulit and I'll say, `Now hold on there, you're just toying with me now," she says laughing.

Salonga definitely walks the talk. On top of her singing and performing engagements, she also writes a column for a newspaper and maintains a blog (leasalonga.com), both avenues for where she occasionally shares her thoughts on issues in the headlines. No scripts here to follow, these are all her own opinions.

She's written down reasons why she's for the passing of the Reproductive Health Bill as well as why barangays should not meddle in what residents buy in drugstores.

"Yes, I am all for a measure guaranteeing reproductive health services for many of our country's people, especially expectant mothers that need emergency obstetric care in case of a miscarriage or pre-term labor. There have been enough maternal deaths in the country that an RH measure is imperative," she has noted in her blog.

Standards 
Open, frank and earnest, Salonga also recently announced in her column that she's turned forty, proud of where she is and thankful for "the blessing that is my life: great husband, wonderful daughter, fabulous mother, awesome brother ... and a valuable clutch of friends. I have the greatest job in the world and the most fantastic fans. And I've got my health. Right now, I'm the luckiest woman alive."

She says that turning forty has also made her feel that she's much more outspoken now. "At this age, I've lived long enough to be able to say `To hell what other people think!' I follow the dictates of my conscience. This is what I've learned and this is what I believe."

These current issues that have reached public consciousness have reminded parents of the challenges that face the complex task of raising children. Salonga says, "It's difficult to say what dangers are out there, it could be different for every family, for every person, but what I ask myself is `Am I doing right by my child?'"

In the same way that Salonga is not afraid to be vocal about what she feels is wrong in society, she wants Nicole to "question what's going on." There are no double standards for this mother: "I want her to challenge even us, her parents," she says. "I want her to understand why things are the way they are, and not just because other people say things have to be a certain way."

Kicking back 
In the meantime, away from the public eye, Salonga has dolls to play with. "Nicole loves her dolls and makes me play with her," Salonga says.

So far, Nicole has not expressed any interest (yet) of following in her mother's footsteps towards a life in the spotlight. "I don't want to force something on her that she may not like. For me, whatever gifts she has, we will nurture," she says.

Salonga beams when she says that Nicole has shown interest in drawing. "She's more of a visual person. She also likes fashion a lot and makes fashion choices far better than I did at her age," she says with a grin.

Both Salonga and her husband are unabashed video game players, with a whole array of consoles from the Playstation 3 to a recently acquired Kinect wireless controller for their Xbox 360. "Of course there are some games that are for adults, but when the portions are pretty much tame, like riding through the fields or collecting items, we'll let Nicole play."

The family kicks back by having food adventures, whether in restaurants or at home. "We recently had a get together at home and Nicole tried eating duck!" says Salonga, visibly proud that her daughter was open to trying new things.

New 
"Nicole also likes to dance and moves around a lot. She's constantly in motion," she says. Of course, this may be very well a case of `like mother, like daughter.' "I get bored really easily. If I'm on vacation, three days is the most I can go doing nothing," she says with laugh.

Her drive, energy, passion and dedication to her craft has won her accolades, including an award each from former presidents Corazon Aquino and Gloria Macapagal-Arroyo.

Even though she's essayed some of the most coveted roles on stage, there are still few that Salonga would like to tackle, such as Evita Peron in "Evita," Lady of the Lake in "Spamalot," Elphaba in "Wicked," and Diana in "Next to Normal."

"When I wasn't married, I could devote myself to the process of rehearsals, of doing a run," she says.  "It's night after night of devoting your whole being into this singular purpose. While it would be fun, right now, being in a run of a production isn't the biggest on my priorities."

Of course, because Salonga is currently devoting her whole being into the singular purpose of raising her family.

National Artist for Theater Design Salvador “Badong” Bernal dies Oct. 26, 2011 at 66

‘Bravo, Badong!’ Philippine theater pays tribute to National Artist for Theater and Design Salvador Bernal, 66
By Walter Ang
Oct. 31, 2011
Philippine Daily Inquirer

Theater artists and peers paid tribute to National Artist for Theater and Design Salvador “Badong” Bernal who died Oct. 26 at age 66.

The Philippine Theater Actors Guild said it was paying a “final standing ovation… to the master.”

“Philippine theater is now one major pillar less with the demise of Salvador Bernal,” the group said.
“In his art, Bernal brought the Filipino spirit to the stage with his design,” said TAG. “He will always be remembered for his massive scenic pieces, in which the challenge to the actor was always to equal the grandness of the space he created. No acting space was small for Bernal, because for him, that is how theater should be—grand and majestic.

“He was not only a designer; he also played the part of mentor to his juniors. He wanted to leave a legacy, but more than that, he wanted to kindle their passion. Because passion is what he had for the theater. It was always like a marriage, a fusion of the old and the new. He worked with tested materials, employed new design aesthetics, and thus was able to transcend time and differences in culture.

“Bravo Badong!”

Obsessive-compulsive
Dramatist Tony Perez also gave his fond remembrance of the National Artist:
“In the 1990s, when the Cultural Center of the Philippines finally built a design center to service its three theaters, Badong told reporters, ‘We have finally entered the 20th century.’

“He was one of our greatest fashion designers but refused to be known as one. I have the honor of owning a ¾-balloon, witch’s cape—the last piece of clothing that he ever executed for anyone.

“He was also one of our greatest stage directors, computer-graphic artists, and film collectors—he refused to be labelled as any of those, too.

“Whenever he put his best foot forward, it was always as production designer.  Again, I have the honor of having him as production designer for most of my plays, especially my recently completed trilogy ‘Indakan ng mga Puso’ (‘Oktubre…’;  ‘Nobyembre…’; and ‘Disyembre…’)

“He was an obsessive-compulsive, but so are the most disciplined artists all over the world. Stupidity and mediocrity constantly annoyed him. Ironically, the students he frequently scolded should have felt the most flattered: He scolded them only because he felt that they were promising. Always enigmatic, he was selective with friends, but, once he had selected them, he chose only to give to them rather than receive from them.”

Ethical
Theater director Ricky Abad wrote:
“Badong was more than just a designer.  He was an ethical designer. He respected the integrity of stage design:  design was for one play and not for any other. And that design cannot be sloppy or mediocre; it has to pass by high artistic standards; it has to be true to the play’s concept and to the character being played; it has to be nailed, sawn or sewn properly. Otherwise he fumes, in part because of the person’s incapacity to do things well, but more because an improperly done set or costume is a violation of the order demanded by the artistic universe—an aesthetic blasphemy, a creative sacrilege.”

Legacy
“Badong is a very dear friend, a long-time collaborator and my most trusted critic,” said Denisa Reyes, former artistic director of Ballet Philippines. “He was forthright and brutally honest, an incorrigible romantic, but was most generous with his art and criticisms, sometimes to a fault. He had no tolerance for mediocrity, despised the ‘bahala na/pwede na’ attitude in the arts because he had such impeccable taste and was a perfectionist. May his legacy live on.”

Bernal was named National Artist in 2003.  The award citation notes that “sensitive to the budget limitations of local productions, he harnessed the design potential of inexpensive local materials, pioneering or maximizing the use of bamboo, raw abaca and abaca fiber, hemp twine, rattan chain links and gauze cacha. In doing this, he exemplified the versatility of Filipino materials for design and proved that the poverty of a production need not imply a poverty of the imagination.”

Also published online:
http://lifestyle.inquirer.net/20339/bravo-badong

Dulaang UP's "Noli" opera opens on Nov. 16, 2011

Dulaang UP's "Noli" opera opens on Nov. 16, 2011
By Walter Ang
Oct. 25, 2011
Philippine Daily Inquirer

Myramae Meneses as Maria Clara
Dulaang UP will stage "Noli Me Tangere: The Opera" composed by Nat'l Artist for Music Felipe Padilla de Leon with libretto by Nat'l Artist for Visual Arts Guillermo Tolentino.

Directed by DUP Artistic Director Alexander Cortez, the production was originally envisioned to be a grand spectacle.  However, upon review, Cortez realized that the material is "a very intimate type of romantic opera."

"Tolentino provides a very romantic approach to the story based on the novel of Jose Rizal.  Highly political innuendos [in the novel] that are glossed over or not even discussed," says Cortez.

He has decided to use three pianos as accompaniment instead of a full orchestra.  Accompanists are Greg Zuniega, Noel de la Rosa and Jourdan Petalver.  Sound designer is Jethro Joaquin

"Save for three or four big scenes, the scenes are small, very much focused on the characters.  This kind of scaled-down production will show audiences that it's possible to stage opera in a simple manner. What's important is the music, not the grandness of a production."

"When people ask me, 'Why opera?' I always say, 'Why not?'" says Cortez, who's directed Ryan Cayabyab and Fides Cuyuguan Asensio's "Spoliarium" and Lucien Letaba and Bienvenido Lumbera's "Hibik at Himagsik nina Victoria Lactao," among other musicals. "I always advocate original Filipino operas and musicals."

"With this musical, DUP is able to commemorate Rizal's birth sesquicentennial and commemorate in advance de Leon's birth centennial, which will be next year," he says.

Soaring arias
"It's always really about the music," he says.  "Padilla's music is wonderful! It really soars. I believe the best arias are found in this opera. It has iconic kundimans and haunting arias."

Cortez collaborates with Camille Lopez Molina, who handles music supervision and vocal coaching for the cast composed of music veterans and up-and-coming singers.

Elainne Vibal and NAMCYA winner Myramae Meneses alternate as Maria Clara.  Antonio Ferrer and Madrid-based Kuya Manzano (nephew of Repertory Philippines' artistic director Baby Barredo) alternate as Crisostomo Ibarra. Frederick Hipol is Elias.

Cynthia Guico plays Tia Isabel.  Jonathan Velasco, conductor of Ateneo Chamber Singers, played Padre Damaso in the 1987 staging of this opera at the Cultural Center of the Philippines and reprises the same role.  Actors from Dulaang UP complete the cast.

Heritage
Frederick Hipol as Elias
Set and costume designer Gino Gonzales will be using indigenous materials for the set and inabel cloth from Ilocos for the costumes.

"The inabel cloth was donated by Irene Marcos-Araneta," Cortez says.  "We want to showcase these beautiful fabrics that are handwoven on looms.  It's a crime that machine-produced cheesecloth (katsa) is more expensive than inabel! We must put more value on these fabrics."

Other collaborators include lighting designer Jon Jon Villareal, choreographer Dexter Santos, video designer Winter David and props designer John Gaerlan.

"Noli Me Tangere: The Opera" runs Nov 16-Dec 4, 2011 (Wednesday to Friday, 7pm; Saturday and Sunday, 10 am and 3pm) at Wilfrido Guerrero Theater, 2/F Palma Hall, University of the Philippines, Quezon City. Contact 0917-750-0107, 981-8500 local 2449, 926-1349 or 433-7840.

Also published online:

Audie Gemora releases CD of theater songs

Audie Gemora releases CD of theater songs
By Walter Ang
Oct. 25, 2011
Philippine Daily Inquirer

Theater actor and director Audie Gemora has released "Playlist," a music CD where he performs his favorite Broadway tunes.

Busy with running Triumphant People's Evangelistic Theatre Society (Trumpets) and its sister company Stages Productions Specialists (currently co-staging "Peter Pan" with Repertory Philippines), Gemora is also seen on TV as one of the resident judges of TV5's "Talentadong Pinoy."

He won the 2009 Philstage Gawad Buhay! for Outstanding Male Lead Performance in a Musical for his portrayal of the titular role of Repertory Philippines' staging of "Sweeney Todd." He's currently playing Captain Von Trapp in Resorts World Manila's staging of "The Sound of Music."

He won the 2010 Philstage Gawad Buhay! for Best Direction for Repertory Philippines' "Equus," and is slated to direct Rep's 2012 production of "Next Fall," a play about a gay couple where one is devoutly religious while the other is an avowed atheist.

Gemora released a self-titled pop album in the 90s. Earlier this year, Trumpets board member Stella Sison felt that because Gemora's known for his work as an actor in musical theater, he should come out with an album of theater-related songs.

She spearheaded a focus-group discussion on what particular theater songs people might want to hear Gemora sing to come up with a playlist.

"From out of that list I picked the ones I liked. Rony Fortich, who did a fabulous job as musical director, also threw in songs he thought would be good for the compilation," he says.

Jeff Arcilla coached Gemora throughout the recording sessions that lasted several months.

The idea was that the album would contain music similar to "the kind you hear in coffee shops, easy listening, non-intrusive."  He says, "It was tough trying to hold back my full vocal power and take care not to over dramatize the interpretation of the songs. We wanted it very laid back and not taxing to listen to."

Playlist contains 14 tracks of show tunes from Broadway, the West End, and original Filipino musicals such as "Shall We Dance" (The King and I), "If Ever I Would Leave You" (Camelot), "This Is The Moment" (Jekyll and Hyde), "Awit Ni Isagani" (El Filibusterismo), among others.

Vocal group The CompanY joins Gemora in "Luck Be A Lady" (Guys and Dolls) while Repertory Philippines associate artistic director Menchu Lauchengco-Yulo sings the duet "For Good" with Gemora (Wicked).

Playlist is exclusively available in Fully Booked outlets nationwide. Contact, 818-1111 loc. 225 or 209.

Also published online:
http://lifestyle.inquirer.net/19509/audie-gemora-releases-cd-of-theater-songs

Naty Crame Rogers' Philippine Drama Company Sala Theater stages "Portrait of an Artist as Filipino" dinner theater on Oct 22 and 28

Naty Crame Rogers stages "Portrait" dinner theater on Oct 22 and 28
By Walter Ang
Oct. 17, 2011
Philippine Daily Inquirer

(From left) Lala Castillo as Paula,
Naty Crame-Rogers as Candida,
and Lamberto "Bats" Avellana
(son of Lamberto and Daisy Hontiveros-Avellana)
as Tony Javier, during rehearsals.
Natividad "Naty" Crame-Rogers' Philippine Drama Company Sala Theater will perform Nat'l Artist for Literature Nick Joaquin's "Portrait of an Artist as Filipino."

Rogers directs and plays the role of Candida.  Lala Castillo plays Paula.  The play shows how the Marasigan spinster sisters who live inside Intramuros deal with the changes happening in Old Manila prior to the start of World War II, "stubbornly clinging to the genteel though impractical world of Hispanized culture."

The play will be presented as dinner-theater in Ilustrado restaurant in Intramuros.  Audiences can watch the performance while dining on the restaurant's Spanish-Filipino themed-menu: Paella Ilustrado accompanied by Callos Madrilena, Roasted Chicken ala Naranja, and Bonoan Bangus Relleno, among others.

Ilustrado, celebrating its 22nd anniversary, has served as the venue for several of PDCST's productions, recently hosting the group's performance of "Leonor: The love of Jose Rizal," an adaptation of Severino Montano's "The Love of Leonor Rivera," in commemoration of Rizal's birth sesquicentennial this year.

Theater for all
Now 88 years old, Rogers has been creating and teaching theater since training as a college student under theater artist Wilfrido Guerrero.  Her PDCST celebrated its 25th anniversary last year.  It tours productions and also holds performances in Amingtahanan Sala Theater, Roger's own residence in Pasig City, where the living room is transformed into a performance space.

In line with Rogers' thrust on getting as many people interested in theater as possible, and partly to celebrate the La Naval de Manila (held every second Sunday of October), the production's technical dress rehearsal in Ilustrado restaurant on Oct. 21 will be open to audiences.  Audiences can order food while watching the rehearsals.

La Naval lecture
The rehearsal will include a short lecture on the Virgin of La Naval at 3pm.  An event witnessed by characters in the play, the La Naval de Manila procession honors the Virgin of La Naval of Sto. Domingo Church--which used to be located inside Intramuros.

The procession was portrayed in National Artist for Theater and Film Lamberto Avellana's screen adaptation of "Portrait," where Rogers played Paula opposite National Artist for Theater Daisy Hontiveros-Avellana's Candida. Both also essayed the same roles in the stage version that premiered prior to the film, also directed by Lamberto with a script adapted by Daisy for the Avellana couple's Barangay Theater Guild.  This production will use the same script adapted by Daisy Avellana.

"Portrait of an Artist as Filipino" runs Oct. 22 (Sat) and 28 (Fri), 2011. Ticket includes cocktails at 6:00 pm, show at 7:00 pm, dinner at 9:00 pm. Ilustrado Restaurant is at 744 General Luna St., Intramuros, Manila. Contact 527-3674, 527-2345, 0922-823-4981, 0922-823-4983 or reservations@ilustradorestaurant.com.ph. Visit www.ilustradorestaurant.com.ph.

Also published online:
http://lifestyle.inquirer.net/18731/naty-crame-rogers-stages-portrait-dinner-theater-on-oct-22-and-28

Resorts World Manila's "Sound of Music" Oct 15-Dec 30, 2011

"Sound of Music" at Resorts World Manila starts Oct 15
By Walter Ang
Oct. 15, 2011
Philippine Daily Inquirer

Theater leading ladies Cris Villonco and Joanna Ampil will alternate as Maria Rainer in Resorts World Manila's staging of the musical "Sound of Music."

Both will bring to life the role of the earnest and determined postulant nun assigned as a governess to the untamed seven children of stern Navy Captain and widower Georg von Trapp.  Laughter and love blossoms when Maria wins the children (and their father) over with music.

Both have played other "Marias" prior to this production.

Villonco has played lead roles for Repertory Philippines, Dulaang UP and, recently, for Tanghalang Pilipino's "Noli Me Tangere" as Maria Clara.

Ampil has performed internationally, starting her career as Kim in the West End staging of "Miss Saigon" and recently as Maria in Stages Production Specialists' "West Side Story."

Leading men
Audie Gemora, Ed Feist and Jon Joven alternate as the Captain.

Gemora was last seen onstage playing the titular role in Repertory Philippines' "Sweeny Todd."

A former VJ for music channel Myx and theater actor (Bankard's "Diary of Anne Frank" and Actors' Actors' "Mother Tongue"), Feist returns to Manila after having been based in Australia the past few years as lead vocal for Soul Motel band.

Joven has played Thuy in the German staging of Miss Saigon and has credits on Broadway and off-Broadway.  Locally, he's played lead roles for TP such as Orly in "Himala the musical," and Crisostomo Ibarra in "Noli Me Tangere."

Memoir to musical
With music by Richard Rodgers and lyrics by Oscar Hammerstein II, audiences may be more familiar with the 1965 film version starring Julie Andrews ("Princess Diaries") and Christopher Plummer (Pixar's "Up," "Inglourious Basterds"), though the musical premiered on Broadway six years prior.  The musical is based on Maria Augusta von Trapp's memoir "The Story of the Trapp Family Singers."

Since the film's release, songs that were added for the movie, such as "I Have Confidence" and "Something Good," are usually included in revivals.  Previous Manila stagings have been done by Company of Players (1997) and Repertory Philippines (2006).

Big theater
This production will be staged at RWM's 1,500-seater Newport Performing Arts Theater.

Set design is by Mio Infante with video design by television commercial director Paul Soriano.  Video backdrops will be shown via the theater's 30meter by 8meter LED (light emitting diode) screen, touted as the largest in Southeast Asia.  10feet x 14feet LED walls will also be placed at each end of the stage. The screens allows for showing of 3D sceneries.

Cast and collaborators
Theater veteran Pinky Amador and jazz singer Lynn Sherman alternate as the captain's fiancĂ©e Baroness Elsa Schraeder.  Miguel Faustman and Robbie Guevara alternate as von Trapp family friend Max Detweiler.

Pinky Marquez and Sheila Francisco alternate as Mother Abbess. TV and film comedienne Debraliz Valasote plays the von Trapp's housekeeper Frau Schmidt.

Liesl, the eldest of the von Trapp siblings is played by Tanya Manalang and Rachel Coates.  Rolf, Liesl's love interest, is played by former TV child star and current ABS-CBN talent Bryan Homecillo and 2009 Philstage Gawad Buhay! awardee for Best Featured Actor in a Musical ("Sweeny Todd") Marvin Ong.

The production is directed by dinner theater and concert director Roxanne Lapus. Lyn Fabella is vocal director.  Rodel Colmenar conducts the Manila Philharmonic Orchestra.  Choreographer is Terri Aldeguer of the dance duo Aldeguer Sisters.  Lighting design is by John Batalla. Costume design is by fashion designer Francis Libiran.

Discount
Since the theater's inauguration last year, it has hosted concerts of local and foreign artists (Lani Misalucha, Lea Salonga and David Pomeranz, Zsa Zsa Padilla and Basil Valdez, to name a few), beauty pageants, corporate events, and a Vegas-type musical spectacle show "Kaos."  Concerts will still be staged at the theater on days when "Sound of Music" is not running.

Newport Performing Arts Theater is located in Resorts World Manila, which combines hotels, restaurants, gaming facilities, entertainment spots and a luxury mall in one destination across Terminal 3 of the Ninoy Aquino International Airport, beside Villamor Golf Course.

RWM members using their Visa Platinum and Gold credit cards to purchase tickets can avail of up to 25% discount, applied to a maximum of four tickets per card per show, when transacted at RWM Box Office and Ticketworld outlets. RWM members can also use points earned in their membership cards towards purchase of tickets. Membership to RWM is free.

"The Sound of Music" runs Oct 15 to Dec 11, 2011. 8:00PM Wed to Sat with 3:00PM shows on Sat and Sun at Newport Performing Arts Theater, Resorts World Manila, Pasay City. Contact Resorts World Manila Box Office (836-6333) or Ticketworld (891-9999). 

Also published online:
http://lifestyle.inquirer.net/18265/%E2%80%98sound-of-music%E2%80%99-at-resorts-world-manila-starts-oct-15

From stage to page: re/viewing the views of reviewers

This is a shortened version of the paper I prepared for
Tanghalan: Preparatory Consultation and Research on Regional Theater Aesthetics project
(held from late 2009 till early 2010).

It will be presented in this year's
Tanghalin ang Tanghalan: National Conference on Theater Aesthetics
on Sept. 28-29, 2011.

To acquire the full version, for republishing permission and/or citation clarifications,
please contact:
Glecy Atienza
Conference Director
Tanghalin ang Tanghalan: National Conference on Theater Aesthetics (Philippines)
tanghalinangtanghalan@yahoo.com


From stage to page: re/viewing the views of reviewers
By Walter Ang
January 12, 2010

Part of the rationale of the Tanghalan! Preparatory Consultation and Research on Regional Theater Aesthetics project states, "A regular audience would have a feel of the qualities they look for when they watch a theater performance.  However, these qualities have to be processed and integrated into the theater artists' experience so that Philippine theater can be marked and appraised not only from the scholars point of view, but more so, from the theater artists' eye."

From this statement emerged the idea of asking what role audiences actually play in the process of developing or maintaining a particular aesthetic: how they acknowledge, process, accept/reject, and even legitimize a production and the aesthetic it embodies or espouses.

The idea grew to mining the thoughts of theater reviewers who are published in newspapers-the reviewers, in this case, partly representing the points of view of audiences: how they become interested in theater to begin with, what they look for in a production, how they evaluate a production, and what opinions, if any, are formed after watching a production.

Partial view
Charged with the task of reviewing theater productions, theater reviewers hold a unique perspective on the landscape of Philippine theater in that they are able to watch much more productions than the average theater audience (or even the average theater practitioner) and are able to survey the various offerings of different theater groups.

Interview questions were prepared in hopes of having the reviewers themselves reveal their personal workings instead of gleaning it from an analysis of their published works.

Given the conference's objectives and its pioneering efforts, the matters discussed here hope to raise more questions than they answer.  Writers, researchers, academics, and theater practitioners will hopefully be spurred to further develop and refine the ideas that are presented here.

Due to time and resource limitations, only the reviewers of the Philippine Daily Inquirer (PDI) were interviewed.  The reviewers included would have either written or are still currently writing reviews on plays and musicals, excluding music and dance productions, with a minimum of ten published reviews in the Arts and Books subsection of the newspaper's Lifestyle section.

The cast
Amadis Maria Guerrero (b. 1941) started contributing to PDI in December 1991.  He eventually started writing "capsule reviews of plays" that became integrated into his quarterly "report cards" on the performing arts.

Cora Llamas (b. 1966) shares how full-length theater reviews began being published more regularly in the newspaper's Arts and Books subsection, "Around 1999, several leaders of the theater community, including Audie Gemora, Luna Inocian, Rody Vera, and Bart Guingona approached PDI's Lifestyle section editor Thelma San Juan to propose having a regular theater section in PDI with themselves as active columnists."

"I got a call from Luna who said Thelma wanted to have an exploratory meeting with me regarding my doing regular reviewing for PDI. I wrote reviews regularly until around 2005."

It was around the time of Llamas' departure as a contributing writer for PDI when Gibbs Cadiz (b. 1970) observed that, "no one was covering theater anymore. I volunteered for it, and from writing advance features of theater productions, graduated to writing reviews about them."

Foils
To manage the expectations of those who read newspaper theater reviews, it should be noted that reviewing theater productions for a newspaper has certain parameters.

There are format issues such as limited page space, and thus, limited word counts for each article.  There is also the issue of form.  A review is not an academic critique.  While reviewers sometimes touch on theories (performance, literary, etc.), a newspaper is not the venue for that particular kind of discourse.

Nonetheless, with the exclusion of online blog entries written by non-reviewers, it can be argued that this kind of "popular criticism" is one of the closest documented indicators of how and what audiences feel and think.

There are deadlines vis-Ă -vis short performance runs.  Productions usually run for only three to four weekends.  "Which often means when the review comes out, the play's gone," says Cadiz.

"Because of this, I consciously don't try to make my review as some sort of 'consumer guide' but something a bit higher-a discussion of more salient points other than whether the production deserved a thumbs-up, thumbs-down rating," he adds.

It should also be noted that, unlike newspapers in other countries such as the USA that have resident or in-house theater reviewers, Guerrero, Llamas and Cadiz are not full-time staff reporters for PDI.  This kind of set-up presumes that writing reviews may not always be the priority (whether by circumstance or by choice) for these writers.

Cadiz shares another limitation, "The Arts and Books subsection comes out only once a week, and theater has to fight for space with visual arts, the classical performing arts, heritage issues, books, etc.  Theater can't always be front and center of every issue."  Therefore, not every production ever staged can feasibly be reviewed, and reviewed extensively, even if we assume the reviewers and editors would want to.

It should also be noted that most of PDI's theater reviewers are based in Metro Manila and cover mostly Manila-based productions.

Method
Their statements on how they evaluate productions reveal common thought processes.  Unlike average audience members who do not usually or can opt not to do any type of research prior to watching a show, these reviewers make it a point to learn about a production before they watch it.  They use whatever information they are able to gather as a basis to gauge their reactions and to inform their opinions.

Llamas says, "[Even though] I knew some of the basics of theater arts because of my college theater experience and appreciated the devotion that the practitioners pour into their craft, as soon as I started to write, as much as possible, I studied the background of the play I was reviewing-the context, the history, the social significance, the various interpretations over the years.

"Basically I need to know the material, what the play is about.  There were times when some theater companies offered me a copy of the script prior to the review, and that helped.  Second, I'd research on the art form that would interpret that material.  Then, of course, based on the theater groups' own pre-opening press releases, I'd get a sense of what the director wants to achieve with that particular piece.

"And that would be my beginning criterion:  how faithful was the director in executing that piece according to his vision (and not someone else's)?  How was the audience reaction? (If it was a children's play, I'd bring actual kids to the production and see how they reacted.)  How did all the elements come into play to fulfill or negate that vision?  Which contributed to its success, for example, the musicality, the art design?  Which brought it down, for example, miscast actors?"

Cadiz says, "Mostly, I look for an inner logic or consistency-how 'plausible' the material is, and not necessarily only on the realistic, naturalistic, slice-of-life level. Even farces, fantasies, expressionistic plays should operate on inner logic-the truth of what it's trying to say.

"I suppose I operate by instinct when it comes to what works for me-how well does the acting square with the material's requirements?, how is the direction able to bring to life the play?, etc. I always go back to my visceral reaction to it as I am watching the show. That becomes the scaffolding for whatever intellectual fleshing out I would do in my review-why did the play affect me the way it did, what elements helped bring about that which affected me or didn't, etc."

Awareness
Beyond their basic evaluative process, all three reviewers articulate that they are aware of certain elements that influence and inform their ways of thinking and reviewing.

Guerrero points to his age and how it imbues his appreciation of what he sees on stage. "I'm 68 years old and, in some ways, very conservative in taste."

Llamas shares that there was a time when she had thought of attending "some kind of formal class on theater reviewing."  She says, "But what ultimately stopped me was the question of impartiality.  If I were to take up a course on theater criticism from this particular university, and this university happened to have a its own theater company, how much of my learning from their course might influence me later on to give them a more favorable review as opposed to reviewing another theater company whose inclinations may be different?  Or for example, if I took dramatic criticism from a mentor with very intense nationalistic leanings, would not his teachings influence my views when I review a Broadway musical?"

Cadiz has internal safeguards that constantly remind him of the place of local theater in relation to foreign practices and his own state of readiness when watching productions.  He says, "When appraising local works, I am cognizant of several facts: one, we can never approximate the production values of Broadway/West End productions, which means having to consider scaled-down works for what they are, and not in useless comparison with their counterparts in other countries. Two, we don't have extensive tryouts here, unlike abroad where shows are fine-tuned through weeks of out-of-town tryouts and previews before opening night. Here, the economy is much more severe: 2-3 months of rehearsal, 2-3 weekends of performance. Thus, I don't review preview performances, preferring instead to see the production when it has settled into its groove during the run, to give it a better chance. Three, whenever a production strikes me as bad, I make it a point to watch it again-because my negative reaction in the beginning might be attributable to outside factors like fatigue, unpreparedness, etc.

"In short, I am willing to give productions a long leash to prove themselves. I try not to write reviews to feel clever about myself or to bitch and nitpick; I come from a place of friendship, incongruous as that may sound. I am passionate about Philippine theater, and I want it to succeed. Whatever criticism I direct its way is the tough talk of a friend."

From these initial efforts at understanding the material as well as being aware of and analyzing their own reactions, these reviewers note that they extend the reach of their learning and research.  Llamas says, "I touched base with others who had gone ahead of me like Nicanor Tiongson or the late Doreen Fernandez and asked how they did it.  During the interviews with the theater people, I'd try to understand as best as I could how they approached their own craft and how they married their unique vision with that particular piece they were performing."

Cadiz says, "Before my professional stint reviewing theater I had spent about half my lifetime watching plays and musicals from the time I came to Manila City after college. I now view those endless voluntary nights spent theater-going as my preparation for this job. I supplement whatever knowledge I have through assiduous reading, research, familiarizing myself with the material, familiarizing myself with the theater companies behind the productions, doing close observation of the theater scene, etc. In short, never allowing myself to be out of the loop when it comes to this field."

Being
Having seen as many productions as they have (easily at least 150 each) and having been involved in the enterprise of evaluating these productions beyond the level of what a "regular" audience might engage in, how do these reviewers perceive what "Filipino theater" or a "Filipino theater aesthetic" to be?

Guerrero puts it simply, "For me, a play about the Philippines or with Filipino characters, and written by a Filipino, whether in English, Filipino or in a regional language, is Filipino."

Llamas says, "The Filipino style of theater could refer to original material conceptualized and mounted by Filipino theater companies, or Philippine-centric interpretations given to foreign work like the way Rolando Tinio would deconstruct Macbeth, for example.

"That's one view, and chances are, the more Western-centric theater companies would take issue with it because aside from the usual Broadway musicals, there are original musicals in English written by Filipino authors like Trumpets' The Little Mermaid"

Cadiz says, "The 'Filipino' style of theater-I wouldn't know at this point since I haven't had extensive experience watching theater abroad. But I notice that Filipino performances have a very heart-on-sleeve style.  The sentiment is clear and clearly enunciated.  Strong emotions characterize most Pinoy plays I've seen. "

Where do we go from here?
As the Tanghalan! Conference aims to answer the question of what "Filipino theater aesthetic" is (and documenting these answers), these reviewers share their sentiments on the current state of reviewing in the country (in Metro Manila at least) and where they hope it will go.

Guerrero says, "Plays will come and go, a few becoming classics, and critics will come and go, reviewing, analyzing and interpreting each production based on their own perceptions."

Llamas says, "One thing that reviewers can use to augment their discipline is a formal course on dramatic criticism given by an organization that is not affiliated with any theater company in the Philippines.  Another would be scholarships that would give them exposure to the various theater industries in other countries, from Broadway, the West End, to the ASEAN countries.  We have to be able to see what's happening in the greater world to understand and see the place of our own theater community in it.  I'd probably recommend taking courses on dramatic courses outside the country and not just one but probably two-from two alternative schools of thought just to get a balance.

"In the absence of a formal theater course, a theater reviewer would simply have to rely on his own passion, diligence, and professionalism to survive and succeed.  At the same time, though, a theater reviewer's growth would also correlate with that of the community he reviews.  What makes theater exciting to review, at least for me, are the things one learns.  However, if for example, theater company A has been producing the same kind of plays and applying the same kind of interpretation in the past decade, and the only difference being the change in cast members, a theater reviewer would get the sense that he's just writing about the 'same-old' stuff.  And in that scene, the excitement can dissipate, and the growth in terms of learning does not happen."

Cadiz says, "The state of theater reviewing in the Philippines is woefully inadequate and inconsistent, both in terms of quality and regularity of appearance. No tradition of useful criticism so far.  I'd like to see more intelligent, engaged theater criticism to happen in the Philippines, and along with it, increased patronage by a thinking audience responding to such reviews--whether they agree with them or not."

Retrospective trilogy of Tony Perez plays opens Sept 30, 2011

Retrospective trilogy of Tony Perez plays opens Sept 30
By Walter Ang
Sept. 26, 2011
Philippine Daily Inquirer

Tony Perez
Tanghalang Pilipino will stage "Tatlong Tabing: Three Plays by Tony Perez," which includes "Sierra Lakes;" "Bombita;" and "Nobyembre, Noong Akala Ko'y Mahal Kita."

"Perez has spent over two decades eloquently dissecting the Filipino psyche," says TP artistic director Fernando "Nanding" Josef.

"He's an important and prolific playwright in contemporary Philippine drama. His plays deal with adult themes such as intense love, betrayal, separation, compassion, poverty, hunger, marriage, birth, and death."

The plays featured in this trilogy trace the artistic development of Perez as a playwright.

"It was a consensus: three plays from three significant stages in my career as a playwright," says Perez. "'Sierra Lakes' from my early works, 'Bombita' from my first major trilogy of full-length plays dubbed 'Tatlong Paglalakbay;' and 'Nobyembre …' from my second major trilogy of full-length plays dubbed 'Indakan Ng Mga Puso.'"

Cast and collaborators
Cast of "Nobyembre..."
"Sierra Lakes" explores issues among four people caught in a complicated web of love and desire.

"Bombita" is a black comedy which questions the blind obedience and subservience of young rookies in the military.

"Nobyembre …" is a case study of the absence of love in an average, middle-class male in contemporary Philippine society.

"Sierra Lakes" and "Bombita" will be shown in a twinbill.  The twinbill will rotate in showing schedules with "Nobyembre …"

The three plays will feature TP's Actors Company, its pool of actors, both current members and several alumni.  TP subsidizes the training of all AC scholars, apprentices and members in acting, movement, dance, voice, script analysis, improvisation, directing and other related courses.

All three plays share collaborators: Tuxqs Rutaquio as production designer, Dennis Marasigan as lighting designer, and TJ Ramos as sound designer.  However, each play will have its own director: former Actors Company member Tess Jamias (Sierra), former TP artistic director Marasigan (Bombita), and Rutaquio (Nobyembre).

Painter, too
An exhibit of Tony Perez's paintings will also be mounted at the lobby of Tanghalang Aurelio Tolentino (CCP Little Theater), titled "Tony Perez: A Playwright Who Paints."

"They are also chronological and retrospective," says Perez.  "It includes chronological photo-portraits of me by Hedwig de Leon, a professional photographer. I will also include eight original manuscripts to be displayed in glass cases."

UST Publishing House has released several titles under the series "The Collected Works of Tony Perez," which compiles Perez's plays, essays, etc. and will reach 40 volumes.  Among those that have been released, volumes 1 to 4, 7 and 9 contain his plays.

Volume 2 includes "Sierra Lakes," volume 4 has the Tagalog version of "Bombita," and volume 9 has the English translation of "Bombita."

"Tatlong Tabing" runs from Sept. 30-Oct 23, 2011.  "Nobyembre …" runs Sept 30-Oct. 2 and Oct 15-2. The "Sierra Lakes/Bombita" twinbill runs Oct. 7-9 and 14-23. Call ahead to confirm at 0917-750-0107, 0918-959-3949, 218-3791, 832-3661, 832-1125 loc. 162. Rows of seats and entire shows can be bought at discount. Visit www.tanghalangpilipino.org.ph

Also published online:
http://lifestyle.inquirer.net/15715/retrospective-trilogy-of-tony-perez-plays-opens-sept-30

"Peter Pan: A Musical Adventure" opens on Sept. 29, 2011

"Peter Pan: A Musical Adventure" opens on Sept. 29, 2011
By Walter Ang
Sept. 26, 2011
Philippine Daily Inquirer

Sam Concepcion as Peter Pan
The Asian premier of a new musical version of "Peter Pan" will be staged by Repertory Philippines and Stages Production Specialists starting Sept. 29.

Based on J.M. Barrie's book, "Peter Pan: A Musical Adventure" will feature Sam Concepcion in the title role and Michael Williams as Captain Hook.

The story revolves around the boy who refuses to grow up, his visit to the home of the Darling siblings Wendy, Michael and John; and how he takes them to Never Land.  There they have adventures with Tinkerbell the fairy, the Lost Boys, Indian sqaw Tiger Lily and her braves, mermaids, and Captain Hook's pirates.

The musical's book is by Willis Hall; music and lyrics are by award-winning duo George Stiles and Anthony Drewe ("Honk!" and the Disney-Cameron Mackintosh "Mary Poppins").

Co-directors Jaime Del Mundo and Menchu Lauchengco-Yulo have assembled a design team to bring the show to life.

Set design
Set design sketch by Gino Gonzales
The production will be using Flying by Foy flying systems.  The company is based in the US and its technicians will come to Manila to train the cast and crew on how to use and operate its systems.

Set designer Gino Gonzales knew from the get go that flying would be involved.  Since he's designed past productions that have involved flying, such as Ballet Philippines' "Darna," his first consideration was that he couldn't design pieces that were too high.

"Also, the set has to be many different locations," he says.  "From the nursery in the Darling family's home in London to many different places for Never Land's many inhabitants."

Michael Williams as Captain Hook
"Everything has to happen in one space," he says.  Given these parameters, Gonzales has created a "box made of shutters" for the all the action to happen in. He's also "adjusted" the very long length of the Meralco Theater's stage by adding legs (theater term for curtains or set pieces at the sides of a stage) to focus the action towards the center.

"When I studied the musical's script, I noted that there were very many transitions from one scene to another.  The way the music is written makes all the scene shifts very short.  So this kind of set design allows for suggestive props and scenic elements to convey the different locations.  Color will be conveyed through the costumes.  All the scene changes will also be done in front of the audience.  Part of the fun of watching this show is to allow your imagination to supplement what you see onstage."

Costume design
Raven Ong's sketches for pirate costumes
Populating Gonzales' set are the actors who will be dressed in costumes by Raven Ong.  Ong was recruited by Lauchengco-Yulo earlier this year when he did the costumes for Rep's "Shakespeare in Hollywood."

"Both directors were very specific with the look and approach that they want for the costumes," he says. "They gave me their directorial concept, ideas and adjectives for the feel that they want to achieve.  It's important to absorb and have the same vision as theirs.  I then balance off their considerations with the way how I want to attack it as the designer."

Ong relies heavily on research, using reference books he's acquired abroad.  He also watched existing Peter Pan films, both live action and animated.  "I needed to review what had already been done, to see different takes on these characters.  Part of it is to analyze why the designers came up with their particular designs."

Raven Ong's sketches
for Lost Boys costumes
"That's the challenge, how to re-create a classic. Something that you attempt to break but still needs to be acceptable to the audience.  People are familiar with the story, especially the cartoon version, so the costume designs cannot be too unfamiliar either."

Ong has created color-coded costumes for the characters "to make it easier for the audience to recognize characters."

"We are using seven sets of costume suppliers, each focusing on each character groups. One supplier focuses on the Londoner costumes; another on the Lost Boys costumes; another only on Mrs. Darling's Edwardian evening gown; another only on Captain Hook's full Baroque costume, and so on. I did this because each character group has its own feel."

Musical direction is by Jojo Malferrari; he will also conduct the live music for all performances.  Choreography is by Deana Aquino and lighting design is by John Batalla.

"Peter Pan: A Musical Adventure" runs Sept 29-Oct 30, 2011 at Meralco Theater, Ortigas Ave., Pasig City. Rows of seats or entire shows can be bought at discount. Contact 571-6926, 571-4941 or info@repertory.ph. Tickets are also available at Ticketworld at 891-9999 or www.ticketworld.com.ph. Visit www.repertory.ph, subscribe to youtube.com/repertoryphils, and add "Rep Phils" in Facebook.

Also published online:
http://lifestyle.inquirer.net/15785/peter-pan-a-musical-adventure-opens-sept-29

ERRATUM: My apologies, Gonzales did not design for Ballet Philippines' "Darna." The set designer was Boni Juan.

Novy Bereber choreographs for Ballet Philippines' 'Inamorata'

Novy Bereber choreographs for Ballet Philippines' 'Inamorata'
By Walter Ang
September 2011

Novy Bereber choreographs for
Ballet Philippines' "Inamorata"
Former Ballet Philippines choreographer and company member Novy Bereber is returning to choreograph a new piece for the company's production this September.

He will stage "Nanay" for "Inamorata," (Italian for "the beloved") a showcase of "classic and contemporary works about the women we love, presenting the many their facets" with works by different choreographers.

The production is part of BP's 42nd season (2010-2011) dubbed "The Faces of Eve," a celebration of the centennial of International Women's Day.

Other new works are choreographed by BP artistic director Paul Alexander Morales, BP resident choreographer Alden Lugnasin, and former BP artistic director Denisa Reyes.

Also choregraphing are Dance=Pull Dance Company artistic director Dwight Rodrigazo; Hong Kong-based choreographer and 2010 Gawad Buhay winner for Outstanding Choreography ("Shifting Wait") Carlo Pacis; and winner of BP's 2011 Choreographer's Cup, Don Adrian Obviar.

Each one will render a dance sketch of their muse, accompanied by sopranos Rachelle Gerodias and Camille Lopez-Molina, among others.

The show will feature costumes designed by top Filipino fashion designers Rajo Laurel, Lulu Tan Gan, Ito Curata and Jojie Lloren.

Teaching 
Despite the company's name, BP doesn't just focus on classical ballet; its dancers are trained in different forms.  Just last month, it restaged Agnes Locsin's neo-ethnic "Encantada," allowing the old work to be seen by new audiences and to be learned by younger dancers.

This notion of "passing on" is mirrored in Bereber's own revisiting to BP.  With his more than a decade's worth of experience as dancer, choreographer and teacher, he is sharing his exposure with the dancers via a dance style he's developed which he coins "Asian contemporary."

"As with all my pieces, style is dictated by subject matter; style and subject can never be separated. The OFW situation is a contemporary issue; the style of the dance is therefore contemporary. At the same time, this is an Asian issue.  I'm incorporating many gestures and movements from all the Asian genres: from folkloric Filipino traditions to Bollywood, from Thai classical dance to the constantly changing dance genres of Beijing Opera."

Personal
"'Nanay' is about all Filipino mothers who leave their children with their families as overseas workers. It's about the many levels of suffering caused by the OFW experience: the suffering of a mother who has to abandon her children; and the pain of the children."

Bereber's own mother was an OFW and left him to the care of his grandmother.  "This piece has so much emotional resonance for me; the passing earlier this year of my dear grandmother, who brought me up, has made it very emotional for me," he says.

"In addition, my piece is also about the 'nanay' of the mothers-they have to bring their grandchildren up, substituting as their mother.  She is burdened with having to explain to the children why their mother, her own daughter, is not there for them."

Around the world
Ironically, Bereber has not been able to pursue his career in dance without having to leave the country himself.

"I think it's incredibly sad that the enormously skilled and talented dancers produced by the Philippines find it difficult to work locally. They have to work in cruise ships or theme parks abroad.  Having lived and worked in Canada and Australia, I never cease to be amazed by how much support, financial and otherwise, is given to dancers by the government."

Born in Capiz, Bereber started out with Dagyaw dance company in his native Visayas region.  He later joined Ballet Philippines and has since worked in countries all over the world.  He performed in the 2010 Winter Olympics Opening Ceremony in Vancouver, Canada and recently choreographed "Black Swan Apotheosis!" for the 2011 Sydney Mardi Gras.

Even as he dances his way around the world, he still consistently returns to Manila to create works for all the major dance companies including Ballet Manila and Philippines Ballet Theatre.  He's also done work for Dagyaw and contemporary dance company Airdance.

Other works
Hareliquinade
The classic pieces included in the show are from different ballets, all restaged by Victor Ursabia.

"The Dying Swan," choreographed by Mikhail Fokine for ballerina Anna Pavlova, set to the music of Camille Saint-Saens' "Le Cygne."

The comedic love pas de deux from "Harlequinade," to show women's wit and whimsy, choreographed by Marius Petipa with music by Riccardo Drigo.

The bravura pas de deux from "Flames of Paris," a ballet set in the French Revolution, choreographed by Vasily Vainonen with music by Boris Asafiev.

"Inamorata" runs for one weekend only, Sept 23-25, 2011, at Tanghalang Nicanor Abelardo (CCP Main Theater), Cultural Center of the Philippines, Roxas Blvd., Pasay City. Call 551-1003, 345-6601, 832-3704 or Ticketworld 891-9999. Visit balletphilippines.org.

Rizal’s dream life, other Rizaliana at Yuchengco Museum

Rizal’s dream life, other Rizaliana at Yuchengco Museum
By Walter Ang
Sept. 19, 2011
Philippine Daily Inquirer

In the first public forum of its kind, Jose Rizal's astrological birth chart was discussed at the Yuchengco Museum.

Astrologer Resti Santiago created a birth chart for the country's national hero, using an estimated birth time gleaned from researched documents.

Santiago proceeded to show how the planetary positions in Rizal's chart overlaid with the people in his life, his time abroad, and his return to the Philippines.

The talk was part of the museum's series of activities under its "RIZALizing the Future" exhibit, mounted to celebrate the 150th birth anniversary of Jose P. Rizal and the 100th anniversary of the Yuchengco Group of Companies-the holdings company that owns and operates the museum and whose Rizal Commercial Banking Corporation is named after the national hero.

On September 24, dream-work counselor Lucito de Jesus will discuss "Jose Rizal and His Dreams: A Look at the National Hero's Dreams and Their Meanings."

Previous speakers were Inquirer columnist and editor John Nery discussing the influence of Rizal in Southeast Asia; Justice Justo Torres on the Knights of Rizal; and dramatist-scholar Paul Dumol on  "Rizal and Nationhood."

Pop exhibit
To bring Rizal closer range to a general audience, "RIZALizing the Future" uses a wide range of paintings, memorabilia, popular icons, books, illustrations, contemporary artwork, archival photographs, costumes and fashion.

Visitors to the exhibit can explore sections on the different ways Filipinos have paid tribute to Rizal-whether it is through spiritualizing him; honoring him with a monument; institutionalizing an organization in his name; collecting memorabilia with his likeness; portraying him in art, popularizing him in mass culture; branding a campaign of his values; or falling in love with the women in his life.

Notable objects on display include sketches by Rizal; jewelry worn by Rizal's childhood sweetheart Leonor Rivera; art by Team Manila graphic design studio; and banknotes and coins bearing Rizal's image.

Other highlights are a short video looking into Rizal's essay "Filipinas dentro de Cien Años" (The Philippines a Century Hence); and "He Ain't Perfect," a special gallery drawing attention to Rizal's strengths and weaknesses.

The exhibit caps off with an installation featuring a circular, walking area of meditation. Visitors are encouraged to walk around a floating garden, and ponder on excerpts from Rizal's letters, novel and poems reflecting his values.

Events
The  museum also has "Nights of Rizal" events lined up.

Upcoming events include Rizal chill-out tapas nights; fundraising dinners; performances of excerpts from the musical "Noli Me Tangere" by Tanghalang Pilipino; book launches and other collaborative events with embassies of countries Rizal set foot on; historical storytelling and lectures; and a fashion show of contemporary apparel inspired by Rizal.

All talks are free with museum admission and begin at 3 p.m. "RIZALizing the Future" runs until Oct 29 at Yuchengco Museum, RCBC Plaza Bldg., Ayala Ave. cor. Gil Puyat Ave. (formerly Buendia), Makati; Monday-Saturday, 10 a.m.-6 p.m. Call 8891234, e-mail info@yuchengcomuseum.org or visit www.yuchengcomuseum.org.

Also published online:
http://lifestyle.inquirer.net/14731/rizal%e2%80%99s-dream-life-other-rizaliana-at-yuchengco-museum

REVIEW: Theaterbatoring DUP's "Titus Andronicus"

thoughts on dup's "titus andronicus"
by walter ang
sept. 18, 2011
theaterbator.blogspot.com
http://theaterbator.blogspot.com/2011/09/theaterbatoring-dups-titus-andronicus.html 

the bucoy-rutaquio adaptation/staging of "titus andronicus" is brilliant.

in its announcements, the show is described thus: "titus is now a hitman named carding and the play is set 'two weeks before the elections, where political chaos and religious frenzy intertwine in a world where politics, showbiz and a town feast drown the people in murky violence.'" its staging follows through, and then some.

with the production's layers upon layers of meaning, symbol, metaphor and sass, it's able to interweave quintessential pinoy ethos/pathos/bathos into shakespeare's text/plot in a way that works amazingly well. the production creates theater that is, with its staging choices, exciting and rousing, and, ultimately, theater that is, with its recontextualization of the source material and metaphors, astute, poignant and meaningful.

familiar and unfamiliar
bucoy's adaptation choices are clever and thoughtful.  they show a keen eye and accurate finger on the pulse of current filipino society's many ills and a sharp understanding of the inner workings of pinoy humor.

her provocative use of politics and its related shenanigans (dynasties, deception, distraction, delusion, all around debauchery and devolution, etc.) as the milieu and satirical use of showbusiness and local community pageantry resonate forcefully.

feudalism, impunity, corruption, violence, death resulting from several possible iterations (assassinations, murders, executions, etc.): the production forces your brain to loop into itself as it recognizes all this violence that real life desensitizes--the violence is reframed as it unfolds onstage, becoming strikingly (re)familiar.

half of your brain is amazed at how well these "local" and "modern" themes/scenarios fit so well into such an old text/plot; the other half of your brain is appalled at how much of these "fictive" themes/scenarios hew so closely to real life and how, apparently, human nature hasn't/doesn't change at all.

(and when you realize that this play's original setting is set in ancient rome prior to its fall and how this modernized version fits so well into its plot, you wonder what it tells us about our own country.)

merciless cutting
bucoy's imbibed the spirit of the play's numerous dismemberments and mercilessly cut shakepeare's text.

her large risks have paid off handsomely. her bold reshaping of the second act, reconfiguring the nurse's revelation of chua/aaron's affair/baby (semi-combining it with the whistleblowing/public shaming that titus does to saturninus), and finding a new way to get clarissa/lavinia's sons to carding/titus's home, is genius.

(though, i have to point out: her omission of the behanding of carding/titus asks interesting questions on why she chose to remove it.  that incident would have cast colorful symbolic shadows on carding's occupation as a hitman and, of course, it denies the audience that iconic scene of him putting his severed hand in salve/lavinia's tongueless mouth.)

laughter and horror
rutaquio has tasked most of the characters to react to the violence around them with such deadpan casualness that it layers an eerie feeling to the proceedings. onlookers immediately text each other about a shooting, deaths are not met with grief but instant alibis to cover up the guilty parties--violence as part of everyday life, so common that it's a source of entertainment or nuisance, rather than something that should be causing grief and horror.

a consciously deliberate preemptive strike against its own awareness of how excessive violence can turn absurdly ridiculous, the production achieves a delicate balance between delivering violent scenes and evoking dark humor. before your defense mechanisms can kick in with nervous laughter at the horrors onstage, the production cuts you off with its manipulative punchlines.

in one of her adapator's conceits, bucoy expands/transforms shakespeare's clown into a clown of death (instead of an angel of death). this creepy clown who comes, with his funky dance moves, to collect the souls of the victims, innocent or not.

there are also tv variety shows/game shows music interludes as scenes change, transforming these otherwise harmless happy tunes into creepy ominous tones.

this curious mix, these humor devices that build on this gruesome carnival that bucoy and rutaquio have created, makes the scenes that much darker, that much more real, that much more disturbing.

visual attacks
rutaquio also designed the set with a sly visual metaphor: a row of lamps staring at the audience, evoking disembodied breasts (or mute cyclops eyes, or both), that soon transform into string lights that punctuate scenes, a reminder of the carnivalesque world we have been thrown into/are trapped in.

animal-print blouses for tamora/clarissa symbolize, of course, of the wild and brutal animalism running through her veins.

the effects team does effective work with blood spurting and spraying liberally throughout the show, with cooking pots smoking menacingly. john batalla's dark lighting adds dread, though, as is his usual style, is sometimes so dark we can hardly see the actors' faces.

not just decorative, the use of video shorts works well and ties in with the goings on: it's a shrewd way to let us into the absurdities in this microcosm: from the prologue close up shots of meat being butchered, the opening video of a news report of a massacre scene that introduces armando/saturninus in a clown costume, to a climactic clip that's used as a blackmailing tool, and the concluding cautionary speech.

(and placing the screen on top of the audience is an interesting choice that works, obliterating the usual problems with projections getting washed out in a battle with stage lights.)

leeroy new's realistic-looking butchered pigs (you can almost smell the rancid meat) add a wonderful heft and visceralness to a crucial scene. from a symbolic/metaphorical viewpoint, those pigs are, in many ways, the whole point of this staging: kababuyan ng bayan.

intense suspense
the violence is the thing. and staging violence is always tenuous, what with the risk of it devolving into melodrama or camp, or both. there is none of that here.

the killings are cold, unflinching and brutal. and there is a wonderfully gruesome death-by-remote-control scene in the second act (which i think is the best murder scene onstage i have ever seen, at par with another death scene also crafted by bucoy--how does she come up with these ideas? she's like the stephen king/clive barker of filipino playwrights).

bucoy and rutaquio have pulled off a staging coup in their crafting of the mutilation scene of salve/lavinia. the actors' intensity combined with timing, black-outs, and a loud, roaring prop provokes intense menacing suspense and a frightening, thrilling wallop that ends the first act.

ensemble 
the actors navigate this complicated script/plot/adaptation/staging with aplomb. they are not swallowed by the complexity; instead, they give it its nuanced life and hurtle it inexorably to its conclusion.

hilarious are paolo cabanero as potty-mouth villain armando/bassianus and paolo o'hara as an almost endearingly charming chua/aaron.

nicco manalo and cris pasturan bring their usual powerful cackling electricity to their roles. they alternate as clown and nomer/demetrius. in the performance i saw, manalo played the clown and pasturan played nomer/demetrius, both are funny, creepy and intense.

shamaine centenera-buencamino plays clarissa/lavinia with a seriousness that adds a realistic gravitas to the character; you believe that this person exists in real life. [if i get a chance to catch alternate mailes kanapi, i will add my thoughts here.]

poignant
pockets of humanity attempt to break out in this relentless parade of gore: watch out for a sincere declaration of love staged together, in sharp contrast, to a marriage of convenience.

another conceit that bucoy adds is a dialogue between carding/titus and his son ryan/lucius where father contemplates the finer points of revenge to his son, using the cooking of dinuguan as metaphor.

it's easy to see the thought behind the construction of this scene: it's a poetic marker and foreshadowing of action, it's a poignant (if amoral) turning point for carding/titus, it's the audience's chance to peek into the insides of carding's/titus' mind.

unfortunately in the show that i caught, bembol roco buckled in his lines and failed to provide the cold intensity needed to make this potentially powerful scene fly.

the mystery
there are no attempts at lyricism in bucoy's translation (in relation to rhyming verses and iambic pentameters), because the poetry lies in her spot-on rhythms of the coarseness in her characters' vocabulary for its adapted setting.

so, i wonder, who decided to drop the originally proposed translated title of "tinarantadong asintado" when it fits so well for this staging and provides an apt introduction to the arching filipino flair that overflows from the work? (and in any case, isn't this the translator's prerogative?) bring it back.

another mystery is, why does one get so hungry after watching this show?  when there is this much onstage display of pigs and talk of dinuguan, what else is there to do after the show but order lechon paksiw for dinner? enjoy digesting this show. kekeke.

Crafting plays about Rizal and Shakespeare

Crafting plays about Rizal and Shakespeare
By Walter Ang
Sept. 12, 2011
Philippine Daily Inquirer

Ron Capinding
Theatergoers are familiar with Ronan "Ron" Capinding as an actor.  He's been in productions for Tanghalang Ateneo (Iago in "Othello"), Dulaang UP (Mary Stuart) and Virgin Labfest (Suor Clara).

What they may not know is that he's also a playwright.  Capinding has devised two productions that aim to make two different "classic" figures and their work more accessible to younger audiences: Philippine Educational Theater Association's "William" and Tanghalang Ateneo's "Para Los Jovenes: Mga Kuwentong Pangkabataan ng Nakatatandang Rizal."

Rap, hip-hop
Capinding is no stranger to Shakespeare's work as he's played lead characters from Romeo to Shylock.  For Peta's 44th season opener, he uses this experience to craft a play that uses rap, hip-hop and fliptop to introduce the Bard's immortal characters to young audiences.

"William" (referencing Shakespeare's name) is about a group of high school students who are forced to study the Bard and later realize the beauty of his works while discovering themselves through his characters.

"Rap is one of the closest simulation of delivered poetry," he says.  "Fliptop, a fiery debate in rap, is the modern version of Balagtasan (verse duels), and it's very popular with teenagers, as revealed by the hits in You Tube."

"One of the main objectives of the play is to present how these Filipino-speaking youngsters reconcile with Shakespeare's English.  It also touches on themes of adolescence, parents' unconditional love, and friendship. It advocates a love for reading and appreciating literature - Shakespeare or otherwise."

Video games, mixed martial arts
For his "home" theater group, Tanghalang Ateneo, he's written (in a similar vein to Wiliam) about a group of college students who start off complaining about having had to study Rizal's novels Noli Me Tangere and El Filibusterismo in high school, which they contend are not for young readers.

They then present four of Rizal's children's stories and execute them "in forms that appeal to the young of today like game shows, talk shows, reality shows, mixed martial arts, anime, video games, sexy scenes, violent scenes, musical a la-Glee, etc."

The title Capinding has coined is deliberate in its contradictory stance of using a foreign language to describe "stories (that are supposed to be accessible by and) for the youth" and serves as an overview of how his play questions preconceived notions of Rizal's stories.

"I'll be staging the stories in a way that aims to disturb and provoke teenagers and young adults.  Hopefully, the styles of presentation will most likely rouse audience's appreciation for Rizal. And, also, their guilt of needing to be babied."

Eschewing labels
Because of his long-term involvement with TA (where he is resident director, actor, translator, choreographer and workshop instructor), Capinding has had more experience in translation of classic plays.  He notes that his work in translation has helped him "significantly in understanding how the classic and celebrated plays work."

He's written several one-act plays that have been performed in-campus, though not yet staged commercially/professionally.  He has devised the scripts, in both English and Filipino, of "Recoged Esta Voz (Tipunin Itong Taghoy)," a play that used Miguel Hernandez's poems, and "Sepharad: Voces de Exilio," a play inspired by the novel by Antonio Munoz Molina.

"I've always been a 'deviser'--devised plays being ones that owe most of their lines to other previously existing texts; scripts that need to cite many sources," he says.

"Devising is more in the realm of directing, when a director uses a non-play text to come up with something dramatic and worth watching. The director can use and translate into performance the text of a telephone directory, a cook book or a lab report, and, by his capacity to bring out the irony, organic unity, dramatic arch in the performance of these texts, he produces a play."

"But this doesn't mean that the authors of those non-play texts have accidentally and unwittingly become playwrights or play devisers.  Those who intend to write plays for directors to stage, whether they use existing sources or just their intuition, are playwrights."

Process
"I just write plays.  I bring out things that I've gathered through experiences, conversations, studying, and/or research. With my experience as an actor, I see and hear the characters as I am writing them.  I also know what lines roll well in the tongue.  With my experience as a teacher, I am very conscious of my audience.  I know what line or picture or action will move them, make them laugh, make them think.

"I usually write my thoughts randomly until I feel irritated by the mess and organize them into cohesive scenes.  Then I set a whole day or night to complete a first draft.  Then I'll read it again and again, put improvements here and there, as long as I am allowed to.  I think I can forever improve a play; it's only the deadline that makes me stop.

"I always print hard copies so I can write notes in the margins, underline things, encircle parts, transfer portions with arrows, revise word choices, anytime, anywhere. Then I print the revised version, and the process goes on.  I love 'interacting' with hard copies."

For both these plays, Capinding added a step to his usual writing process: testing it on his own children.  "The stories I used for 'Para Los Jovenes' are stories that my kids loved.  My 11-year old daughter loved 'William' when she read it but my seven year old son still would rather play with his toy cars."

Peta's "William" runs until Sept 25, 2011 at Peta Theater Center, 5 Eymard Drive, New Manila, Quezon City. Contact 725-6244 or 410-0821, 0917-5765400 or petatheater@gmail.com. 

Tanghalang Ateneo's "Para Los Jovenes" runs Sept 21-24, 2011 at the 3rd floor of Gonzaga Hall, Ateneo de Manila University, Quezon City. Contact 0927-752-2027.

Also published online:

New and different ways to illuminate the home

New and different ways to illuminate the home
By Walter Ang
Sept. 7, 2011
Philippine Daily Inquirer

"There is nothing more special than a well-lit home," said Rico Gonzales, CEO and country manager of Philips Philippines. "Lighting adds drama and beauty; it can change the entire feel of your home."

To provide more choices in lighting design for Filipino home owners, Gonzales led the launch of a new range of home lighting solutions from Philips Lighting and Electronics.

The company's new collections combine energy-efficient lighting technology with designs that appeal to different lifestyles and can be used to create different moods and atmospheres.

"Through 'Philips Home Lighting Solutions Made Simple' showrooms in different home supplies stores like Wilcon Filinvest, you can shop in realistic home environments and be easily guided through different options. We aim to enhance Filipinos' lives with light.  We want to help you see your homes in a new light."

Tips
If given the opportunity to create a room's lighting plan from scratch, ensure plenty of electrical outlets in each room to prevent future need for unsightly and accident-causing extension cords.

Place wall switches at the entrance of each room for accessibility and group them together in a general switch for easy operation of all of the room's lights from one place.

When selecting lighting fixtures, note that functions can be divided into general, task and accent.

General lighting allows for even illumination throughout the home. Task lighting is essential for specific tasks like reading or cooking.

Accent lighting, usually three times brighter than the room's general lighting, draws attention to prized possessions like paintings or a showcase.

Aside from functional purposes, light can also be used to affect intangibles inside a home. Dining rooms and bedrooms can be equipped with dimmers or colored lights for creating different moods.

Wall-mounted lamps that throw beams of light onto the ceiling can create an illusion of expanse, making a narrow corridor feel wider.

Set the mood
The EcoMoods line uses T5 fluorescent lamps and consumes 20-percent less energy than conventional T12 lamps.  The EcoMoods floor light has an integrated dimmer for flexibility in setting different ambiences, while the EcoMoods ceiling light has special color filters such as white, red or blue.

The Ledino line features energy-efficient indoor lighting options: ceiling, pendant, spot, wall and desk lights. This line uses light emitting diodes (LED), providing gentle, natural lighting comparable with a typical 40-watt halogen light bulb, yet consuming only 7.5 watts, therefore saving 80 percent of energy consumption. The minimum lifespan of Philips Ledino is at least 20 years.

The LivingColors lamp can be used to shine colored light onto a wall or corner of a room. It has a built-in dimmer and can produce up to 16 million colors with the use of a remote control.

"It puts endless colors at your fingertips through its touch-sensitive color wheel, personalizing your immediate surroundings in any color you want, when you want, and as often as you want," Gonzales said.  The LivingColors lamp comes in a sculptural semi-spherical case in four colors: copper-gold, silver, glossy black and glossy white.

Decorative
A room's visual motifs, such as shapes, colors and textures, can be tied together or complimented by decorative lighting.

The Roomstylers line has fixtures and free-standing units in coordinated sets of ceiling, floor, table and wall lights, all using energy-saving CFL lamps.

Its Decorative category features solid, geometric lines with a sleek industrial feel. Its Classic category has warm colors (rust, brushed bronze, gold), soft silhouettes and ornamental patterns.

The Kidsplace line uses non-toxic materials that are safe for children and comes in a variety of whimsical and colorful designs such as sunbursts, flowers, caterpillars, honeybees, airplanes and rocketships. One model features tiny mice propped out of the holes of a Swiss cheese lamp cover.

This line comes with child-specific features, including switches that are easily accessible and operated by little hands, construction that withstands rough handling, high insulation, no small removable parts, and well-secured covers.

Waterproof
Outdoor lights can be used for both security (illuminating the perimeter of the home) or for atmosphere (creating pools of light in the garden, perhaps spotlighting a water feature such as a fountain).

The OuterStylers line is designed to endure all weather conditions. Most varieties use powder-coated technology to ensure that paint does not corrode when exposed to weather elements.

The Aquafit bathroom collection is specifically made for the dampest rooms in the house.  The line strictly follows safety standards of water resistance.

The line includes wall-mounted lighting that illuminates the face evenly and provides crisp, glare-free, virtually shadowless light suited for delicate tasks such as shaving and applying makeup.

"There are also fixtures for indirect lighting to soften the ambiance for the times you want a relaxing soak in a hot bath tub," he said.

Also published online:
http://lifestyle.inquirer.net/12625/new-and-different-ways-to-illuminate-the-home