Meet Rep's 'Agnes of God' and her 'two boyfriends'

19-year-old Rebecca Coates headlines the intriguing play of science vs faith, along with Pinky Amador and Menchu Lauchengco-Yulo
By WALTER ANG
February 10, 2017
Philippine Daily Inquirer

Rebecca Coates
From Facebook. Photo by Shutterheads.

Repertory Philippines' second production for its 50th anniversary is John Pielmeier's "Agnes of God."

A psychiatrist (played by Menchu Lauchengco-Yulo) clashes with a mother superior (Pinky Amador) over novice nun Agnes--whether she gave birth by virgin conception or if she's mentally blocking the truth.

Rep first staged the play in 1983 with Pinky as Agnes and Rep co-founders Zeneida "Bibot" Amador as the mother superior and Baby Barredo as the psychiatrist.

This time, 19 year old Rebecca Coates has been cast as Agnes.

When she found out who she'd be acting with, "I came the closest thing there could be to a human explosion," said Coates. "I was so excited. But it's also very intimidating to work with your idols."

But, after meeting the two veteran actresses, Coates discovered that "their incredible talent and experience come with equal amounts of kindness. They're so accommodating and fun. I know I'll learn tons just being in the same room."

Pinky Amador and Zeneida Amador in 1983 staging.
Photo from Repertory Phils.

Shocking screams

Rebecca Coates as Agnes.
Photo from Repertory Phils.

Coates debuted professionally in Resorts World Manila's "The Sound of Music" and has been in Rep's "Alice in Wonderland," "Snow White" and "The Secret Garden."

Inquirer theater reviewer Vincen Yu praised her work as the alternate Dani in The Sandbox Collective's "Dani Girl" as "wondrous."

She shocked her mother when she auditioned for "Agnes." Coates had to send in an audition video as she was abroad at the time. "I chose the part where there's a lot of screaming and my mom rushed in freaking out!"

A freshman taking up Speech and Language Pathology at De La Salle Health Sciences Institute, Coates said her classes have helped her understand the mental health aspects of her character.

"I've written a paper dealing with the psychological factors. I needed a paper for a class, so I killed two birds with one stone."

"My path in college is all about research, research, research. As rehabilitation professionals, we're also required to observe the behavior of others to the point of understanding them fully. We're taught that it's important to be empathetic above anything else-a trait shared by actors."

Pinky Amador and Baby Barredo in 1983 staging.
Photo from Repertory Phils.

Two boyfriends

Pinky Amador, Rebecca Coates
and Menchu Lauchengo-Yulo.
Photo from Repertory Phils.

As for mining the character's faith, Coates needn't look too far. Her middle name is Faith, "which is a great reminder to always lift things up to God. 

"My faith keeps me up and running. I always say 'Jesus take the wheel' before I step on stage. It holds true offstage, throughout my life."

"Agnes is the deepest, most multilayered character I've yet encountered. I'm still trying to wrap my head around the incredible script. It's going to be a fun challenge landing on the truth of it all," she added.

Coates considers school and theater her "two boyfriends, always vying for my attention.

"One minute I'm applying makeup, performing and getting flowers. Next, I'm at an HIV seminar, or a truck of cadavers is blocking my way to class. I love the contrast. It keeps things really interesting."

Her extra time is spent with family and journaling. "It started when I was 12 as a way to pass the time but now I intend to continue for as long as possible. I'm not necessarily the best writer, but it's a great way to release and psychoanalyze myself."

And like any young adult, she also indulges in retail therapy. "I'm particular with the notebooks and pens I use but they don't have to be any particular brand. If you leave me at a bookstore long enough, I'll probably emerge with a handful of new things I definitely don't need! I love finding a good, smooth pen or notebook for cheap and I could talk about it all day."

Repertory Philippines' "Agnes of God" runs Feb. 17-March 12, Onstage Theater, Greenbelt 1 Mall, Makati. Tickets: Ticketworld.com.ph. Details: Fb.com/RepertoryPhilippines.



Inquirer.net link:
http://lifestyle.inquirer.net/254074/meet-reps-agnes-god-two-boyfriends/

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Fil-Am playwright stages work on WWII roundup of Japanese Americans

By WALTER ANG
February 10, 2017
Inquirer.net
http://usa.inquirer.net/1505/fil-playwright-stages-work-wwii-roundup-japanese-americans

Jeffrey Lo

BERKELEY, California - Filipino American playwright and director Jeffrey Lo is busy these days.

He just finished directing a play. Another play he directed last year was just nominated for "Best Production" by San Francisco Bay Area Theatre Critics Circle. He has also co-written a new play that's opening in a few weeks.

"I live in the South Bay Area and do most of my work along the peninsula. When I work in San Francisco, Berkeley or Oakland, there's a bit of driving, but I have good music and good podcasts to accompany me on the road," he says.

Lo is preparing to premiere a play he co-wrote with Adrienne Walters about the Japanese-American internment camps of World War II, when the US government summarily detained Japanese Americans in concentration camps on suspicion that they were supporters of imperial Japan.

"Beneath the Tall Tree" is about Tetsuo Fujikawa, who buries a family heirloom before being forced out of his Palo Alto home, and his granddaughter, Cass, who decides to unearth the item.

Lo became involved with this production last year when TheaterFirst artistic director Jon Tracy approached him with an idea for a play dealing with a Bay Area actress' family history with the internment camps.

"Although I'm not of Japanese American heritage, I've always felt a strong connection to this horrific tragedy and continue to be baffled by the how little the American people actually know about this event," he says.

"My pre-existing interest in the project and subject matter was magnified when I found out the local actress I would be collaborating with was my good friend Adrienne Walters."

Collaboration
This is Lo's first time to co-write a play. His recent play "Writing Fragments Home" was a finalist for the 2016 Bay Area Playwright's Conference and a semi-finalist for the 2016 O'Neill Playwright's Conference.

Lo found the process challenging since he's used to writing "being a very solitary act."

"When I'm writing by myself, in many ways, I only have to answer to myself. While working on 'Beneath the Tall Tree,' I had a partner who had more ownership of the project than I did. Being that this piece is loosely based on her family story, I wanted to work with great care to respect both Adrienne's vision for the project and the spirit that her family's history fills within the play."

The endeavor proved enlightening. "It was good for me. I learned new ways to communicate during the creative process."

Directing

Lo at rehearsals for "Uncle Vanya."

Prior to this production, Lo had just finished directing David Henry Hwang's "Yellow Face" for Los Altos Stage Company, a satire where a white actor is cast in an Asian role. Lo has said that Hwang's play explores "the messiness of race in America and the danger of approaching it with absolute rules."

A play he directed last year was recently nominated for Best Production by the San Francisco Bay Area Theatre Critics Circle: Anton Chekhov's "Uncle Vanya" with a new translation by Dave Sikula for The Pear Theatre in early 2016.

The 41st Annual Excellence in Theatre Awards for 2016 will be presented on March 27, 2017 at the Victoria Theatre.

"I try not to get too caught up in reviews and awards," he says. "It'd be a tough life for an artist to live and die by the recognition of others. But regardless of this, it's definitely nice to get the recognition. I'm humbled by it. I'm also proud that it was nominated for Best Production because that team, as a whole, put together a piece I was very proud of."

How does he slip in and out of his two roles as playwright and director? "I've been shifting between writing and directing from the very beginning of my theater career so it's become second nature to me," says this alumnus of the UC Irvine Drama Department.

"The writer part of my brain tends to inform my directing and vice versa. When I'm directing a play I always lead with the characters and the story. When I'm writing, I always have in the back of my mind how one can tangibly pull off what I'm writing. I can't turn it off - for better or for worse!"

"Beneath the Tall Tree" runs Feb. 27-Mar. 25 at Live Oak Theatre, 1301 Shattuck Ave., Berkeley, CA. Details: TheatreFirst.com. Visit JeffreyWritesAPlay.com.

Read a previous interview with Jeffrey Lo here.

Heartache and 'kilig' in Bindlestiff Studio’s Feb. show

By WALTER ANG
Feb. 1, 2017
Inquirer.net
http://usa.inquirer.net/1336/heartache-kilig-bindlestiff-studios-feb-show

Juan Berumen and Jonah Pavon
play boyfriends in
"IDWYT (I Don't Want You To)."
Photos by Paciano Triunfo

SAN FRANCISCO - Filipino American theater group Bindlestiff Studio will stage "The Love Edition" (TLE), a collection of original short plays about love, at its theater on 6th Street from Feb. 9 to 25.

The production will be mounted as a variety show mixing comedy and drama while aiming to capture the complexities of "love, heartache, and the weirdness in between."

Producers Melanie Elvena and Laura Priscilla Paule explain that this year's theme, "Time After Time," spotlights melodrama throughout the ages.

Both grew up watching the Filipino drama anthology "Maalaala Mo Kaya" with their grandmothers.

"It's a TV show that takes real-life stories and totally sensationalizes them," says Paule. "But they're so compelling and relatable.you realize that life itself is also full of melodrama."

"Tales of the star-crossed and lovelorn have captivated generations of audiences across the world through soap operas, teleseryes, telenovelas and the like," says Elvena. "We're hoping that audiences will be just as captivated by the plays TLE will showcase, and reflect on their own experiences."

Plays

Manny Cabrera and Lauren Garcia
play best friends in "Love Is a Verb." 

Local Filipino American theater artists make up a majority of the acting and directing pool for the show.

Fil-Am playwrights wrote three out of the seven 10-minute plays chosen this year out of close to 200 submissions. (A call for submissions was announced late last year.)

"Love Is a Verb" by Marygrace Burns is about best friends Ika and Wesley lamting their respective ex-lovers, reminiscing about missed opportunities, and hoping for future love.

Marissa Martinez wrote "Be Your Own OTP." In the fanfiction world, a "One True Pairing" is one's favorite combination of fictional characters to pair together into the perfect couple. In the real world, for a fan like Kathy, it might mean something else entirely.

Conrad Panganiban wrote "Our Last Dance," a play about former lovers Harper and Noah in their first encounter since they broke up, with their new partners in-tow.

"Praying for Love" by Emmanuel Romero is about Mandy and Marty's realization of how much things will change after they get married.

The other plays are: "IDWYT (I Don't Want You To)" by George Smart; "The Cowboy and the Crow" by Alison Crane, and "The Beauty and Rodrigo" by Sonya Gray Redi.

Silly to cynical

Producers Melanie Elvena and Laura Paule.

Elvena and Paule have both been involved in previous installments of TLE, either backstage or onstage.

For this year's installment, Paule says, "We have a fantastic diversity of plays from silly ensemble comedies to cynical relationship dramas. We even have plays with a touch of magical realism. Each play will be differet from the last."

She adds that audiences will have their senses fully engaged. "The show will welcome them to the stage with a lovely visual installation created by Sarita Ocon that will float above the stage. There will be live music that will play through parts of the show.

Elvena says audiences can expect to have a charming and familiar experience, all the while "filled with that very emotional feeling of 'kilig.'"

As an additional prologue to the show, the lobby will feature an installation by artist Robin Birdd. "It recreates a moment in time when you're at grandma's house watching telenovelas. We invite audiences to experience how Birdd challenges the fictional aspects associated with soap opera culture," Elvena says.

READ about "The Love Edition 2016" here.

"The Love Edition 2017: Time After Time" runs Feb. 9-25, 2017 at Bindlestiff Studio, 185 6th St., cor. Howard St., San Francisco. Tickets: TLE2017.bpt.me. Details: BindleStiffStudio.org or Fb.com/BindlestiffStudio.

'Janus Silang': From young adult novel to manga piece-and, now, stage play

Edgar Samar's folklore-infused work debuts as a Tanghalang Ateneo production this February

By WALTER ANG

January 27, 2017

Philippine Daily Inquirer

Earvin Estioco plays Janus Silang.
Photo by Hikaru Murakami

Just like a video game character that comes to life in different versions across different consoles and devices, Edgar Samar's creation, "Si Janus Silang at ang Tiyanak ng Tabon," has been finding new lives in different adaptations.

The story of teenager Janus Silang, who encounters supernatural creatures as he tries to solve the mystery of why players of an online game have died simultaneously, was published as a young adult novel by Adarna House.

Adarna House's imprint Anino Comics then published a graphic novel adaptation illustrated manga-style by Inquirer's To Be You section contributing artist Natasha Ringor. Samar has also been in meetings with ABS-CBN for a television adaptation.

In February, Tanghalang Ateneo will stage Guelan Luarca's play adaptation, under Charles Yee's direction (He recently directed "Ang Sugilanon ni Epefania" for last year's Virgin Labfest).

Character study
"I'm excited. Nakakatuwa...that other people see how my stories have potential outside of their original form, the novel," says Samar.

Tanghalang Ateneo's artistic director Glenn Mas has asked permission to have the book adapted. He enjoyed the book and felt it would translate well into other mediums like film and theater.

"Janus is a great character study and very easy to root for," says Mas. "He has a painful coming-of-age story, a difficult rite of passage into adulthood."

He also praised the inclusion of Philippine folklore and legends in the story.

Samar has another book that's been adapted for stage. His children's story, "Uuwi na ang Nanay kong si Darna," was adapted into a play by Job Pagsibigan for the 2008 Virgin Labfest.

For "Janus Silang," he gave Tanghalang Ateneo free rein. "I only check the script to catch any possible contradictions to the canon."

Reimagined entities

Edgar Samar.
Photo by Roxanne Cuacoy

Samar's canon, which includes elements like online player-avatars and reimagined Filipino mythological entities, will be envisioned for the stage by Gwyn Guanzon (set design), Mitoy Sta. Ana (costume design), Toni Muñoz (music and sound design) and Meliton Roxas (lighting design).

Samar--who used to play "Command and Conquer: Red Alert" on a desktop when he was in high school, and these days plays "Clash Royale" on his smartphone--has produced a mythos for Janus Silang that already encompasses two other books (so far), "Si Janus Silang at ang Labanang Manananggal-Mambabarang" and "Si Janus Silang at ang Pitumpu't Pitong Pusong," which he's editing. (An excerpt from the third book was published in Inquirer's Super section last year.)

If he could be any of the creatures from the world of Janus Silang, he chooses the Manananggal.

"In the story, they're creations of the Tiyanak. But they don't remain subservient. They choose to do what they think is right. They are not blindly loyal.

"Kailangan natin ng mga manananggal ngayong panahong ito na kayang manindigan para sa makatarungan."

"Si Janus Silang at ang Tiyanak ng Tabon" runs Feb. 1-25, Rizal Mini Theater, Ateneo de Manila University, Quezon City.  Tickets: 0916-314-5475 or Ticketworld.com.ph. Details: Fb.com/TanghalangAteneo.



Inquirer.net link:
http://lifestyle.inquirer.net/252323/janus-silang-young-adult-novel-manga-piece-now-stage-play

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What helps Carla Guevara-Laforteza ease into sleep after a show

By WALTER ANG
Jan. 14, 2016
Philippine Daily Inquirer

Carla Guevara-Laforteza

Ephesus Teatron is staging a one-weekend run of the Broadway musical comedy "Once Upon a Mattress," an adaptation of Hans Christian Andersen's fairy tale "The Princess and the Pea."

Carla Guevara-Laforteza plays lead character Princess Winnifred the Woebegone, a role played by Sarah Jessica Parker in the Broadway revival in the '90s.

The musical, which originally starred Carol Burnett, has music by Mary Rodgers, lyrics by Marshall Barer, and book by Barer, Jay Thompson and Dean Fuller.

A 2005 TV adaptation starred "New Girl's" Zooey Deschanel and "Glee's" Matthew Morrison in featured roles.

While Guevara-Laforteza plays a character whose sensitivity is tested using a pea placed under many mattresses, her own sleeping kryptonite is music.

"It's either the TV is on or there should be silence, but no music because I tend to hum or sing along," she says.

Calming down

Yanah Laurel and Hans Eckstein

Most of her theater engagements end around 11 p.m., and the earliest she arrives home is half-past midnight, sometimes later.

"A large amount of energy is required when I do shows, so it takes a really long while before I can calm down and relax. Sleeping is usually out of the question until around 4 or 5 a.m."

Recently, Guevara-Laforteza has been been in Repertory Philippines' "Hansel and Gretel," Philippine Educational Theater Association's "Rak of Aegis" and "3 Stars and A Sun," and Atlantis Theatrical Entertainment Group's "The Bridges of Madison County."

During the schoolyear, this mother of three has to wake up at (or stay awake until) 5 a.m. to prepare her children for school.

"I go to bed (or back to bed) as soon as they're out the door at 6:30 a.m. Only then can I enjoy my bed until around 11 a.m. Unless I have a 10:30 a.m. show, which means my call time is at 8 a.m.!" she says, laughing.

Skin cleansing

From left: Carla Guevara-Laforteza,
Niño Alejandro (Prince Dauntless the Drab),
Emeline Guinid (Queen Aggravain) and
Raymund Concepcion (King Sextimus the Silent).

Makeup removal after a show is always done at the venue. "I use Shiseido's Senka Perfect Liquid. It's a super deep, nondrying cleanser that removes every trace of makeup on my face. It's only available in Malaysia, Singapore or Japan so I hoard them.

"For stubborn eyeliner and mascara, I use good old baby oil or Pond's Cold Cream on a  cotton bud. At home, after showering, I use Nora Dela Rosa liquid cleanser, toner and a couple of medicated creams and moisturizers to keep acne and other blemishes at bay."

When she performs in countries where the climate is dry, she uses Creme de la Mer to lock moisture in.

Her rituals before bed include saying nightly prayers with her youngest child, setting the alarm on her iPhone, then having a Facetime session with her husband, Godfrey Laforteza (who's based in Cebu as executive chef of Crimson Resort in Mactan).

For the occasional midnight snack, she indulges in toasted bread smeared with Marby peanut butter. "It's the best! It tastes like Chocnut! Downed with a glass of iced fresh milk."

Cast also includes Niño Alejandro as Prince Dauntless the Drab, Yanah Laurel and Jill Ita-as as Lady Larken, Hans Eckstein and Chino Veguillas as Sir Harry. Cara Barredo alternates as Princess Winnifred.

Directed by Steven Conde with musical direction by Teatron's founding artistic director Sweet Samaniego-Buchanan. Choreography by Stephen Viñas, set and costume design by Kayla Teodoro, lighting design by Joseph Matheu.

"Once Upon a Mattress" Jan. 20-22, Tanghalang Yaman Lahi, 7th floor, Emilio Aguinaldo College Sports and Cultural Center, Gen. Luna St., Paco, Manila. Tickets: Ticketworld.com.ph. Details: Fb.com/EphesusTeatron.



Inquirer.net link:
http://lifestyle.inquirer.net/250521/helps-carla-guevara-laforteza-ease-sleep-show

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Who is the goody-two-shoes, tattletale and troublemaker among Cherie Gil, Roselyn Perez, Michael Williams?

They play squabbling siblings in Rep's 80th season opener, 'Vanya and Sonia and Masha and Spike'
By WALTER ANG
Jan. 7, 2016
Philippine Daily Inquirer

(Published under title: What childhood was like for Cherie Gil, Roselyn Perez, Michael Williams)

Note: The print version of this story mentions that this production is Rep's 50th-season opener. It's the 50th year of Rep, and its 80th season. The online version reflects this correction.

Top, from left: Cherie Gil, Michael Williams, Roselyn Perez.
Below: Joaquin Valdes

Repertory Philippines' first production for its 80th season is the comedy "Vanya and Sonia and Masha and Spike," about three siblings who deal with the possibility of their house being sold off.

Written by Christopher Durang, it won the 2013 Tony Award for Best Play.

It will be directed by Bart Guingona, whose recent credits include "Almost, Maine" and "The Normal Heart," for which he won the 2015 Philstage Gawad Buhay for Outstanding Direction.

Playing the siblings are Cherie Gil (Masha, the dramatic sibling), Roselyn Perez (Sonia, the resentful sister) and Michael Williams (Vanya, the peacekeeper brother).

Joaquin Valdes, Naths Everett and Mica Pineda round out the cast.

Set design is by Miguel Faustman, lighting design by John Batalia, costume design by Zenaida Celdran-Dalao, and sound design by Carlos Pacheco.

Tattletale

Gil, who returns to the Rep stage after playing the Baroness in "The Sound of Music" in 2006, is the youngest of three siblings.

"If we include the rest of halfs and steps, we are six all in all, which makes me fall right in the middle somewhat," she says.

Asked if they were the sibling who got into trouble, the one who would lead the others into trouble or the goody two shoes while growing up, here are their responses:

Gil, whose recent credits include "Full Gallop," and "Arbol de Fuego," says, "All of the above? (Laughs.) I could also be the tattletale sometimes."

Perez: "I am in the middle of two brothers. I don't remember getting my siblings into trouble but I'd get myself into trouble!"

Williams: "I am the youngest of seven kids, five boys and two sisters. I got into my fair share of trouble although I believe that I was the good one!" (Laughs.)

Young and free

Gil's fond memories of her siblings include visiting their mother's ancestral home in Pampanga during Holy Week.

"We were adventurers, running in the sugar fields, riding carabaos and horses, swimming in the river, climbing trees, watching the penitensya procession, running to other people's homes to play pool.

"We would sit on the old tall window ledge of our house and sing songs to the Aetas and children-holding a mini-concert just for them.

"I always tagged along with my brothers. Being the youngest, I was called saling pusa. Those were the days when we were young and free with no qualms and worries in the world. Best days of my life!" she says.

Huge playground

Perez, who was recently in "33 Variations" and "The Normal Heart," spent summers with her siblings exploring Baguio.

"My grandfather was a Supreme Court justice and my mother worked for him. We all loved the Supreme Court compound, it was like a huge playground for us. We were always climbing or running, we loved to slide down the hill on discarded plywood.

"There's no place in Baguio we didn't conquer because my father's hobby was photography and he took us everywhere to get his fabulous photos."

Williams, whose recent credits include "Bituing Walang Ningning" and "Dirty Old Musical," recalls, "My brother and I would replace the telephone handset with that of the toy phone. Then we'd hide from our minder. She'd panic if she couldn't find us and would call the police. But she ended up using the toy phone.

"We would be dying of laughter. Of course, we got punished for it. And it wasn't my idea! (Laughs.)"

All three in trouble

Which one is most likely to get all three into trouble if you were siblings in real life?

Perez: "I would have to say Michael. His troubles would become mine."

Williams: "Clearly, it would be Cherie."

Gil: "This is hard to admit, but yeah, I guess I'd have to agree with Michael. (Laughs.)" -

"Vanya and Sonia and Masha and Spike" runs Jan. 20-Feb. 12, Onstage Theater, Greenbelt 1 Mall, Makati City. Tickets: Ticketworld.com.ph. Details: Fb.com/RepertoryPhilippines.



Inquirer.net link:
http://lifestyle.inquirer.net/249822/childhood-like-cherie-gil-roselyn-perez-michael-williams

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The Menchu Quick Change Chronicles

The Menchu Quick Change Chronicles
Dec. 13, 2016

The cast of Resorts World Manila's Full House Theater staging of "Annie" created a series of backstage videos featuring Menchu Yulo-Lauchengco's stage exit for her quick change called "The Menchu Quick Change Chronicles."

Here is a compilation of all the videos from Caisa Borromeo's Facebook account. Enjoy!

Episode 1: The Virus



Episode 2: The Finish Line



Episode 3: The Walking Dead



Episode 4: What is everyone running away from?



Episode 5: The Matador



Episode 6: This is SPARTAAAA



Episode 7: At the stroke of midnight



Episode 8: The Hostage



Special episode: The Annie-quin Challenge



Episode 10 (Mid-Season Finale): The Menchu Lauchengco-Yulo Winter Collection



Mid-Season Break



Episode 12: Ang ProbinsyAnnie



Episode 13: Menchu's Revenge



Finale: HanniGans and Ships


"Annie" runs until Dec. 25 at Newport Performing Arts Theater, Resorts World Manila, Paranaque City. Tickets: Ticketworld.com.ph. Details: RWManila.com.

How TJ Ramos crafted the soundscape for 'Mabining Mandirigma'

How TJ Ramos crafted the soundscape for 'Mabining Mandirigma'
and won a Philstage Gawad Buhay for it
By WALTER ANG
Dec. 10, 2016
Philippine Daily Inquirer

TJ Ramos

Tanghalang Pilipino's "Mabining Mandirigma," a musical about Apolinario Mabini, a leader during the Philippine revolution against Spain, is currently on its third rerun.

First staged last year, the production won 12 awards from Philstage Gawad Buhay, including Outstanding Musical (directed by Cris Millado), Script (Nicanor Tiongson), Musical Direction (Joed Balsamo) and Choreography (Denisa Reyes).

Mabini is played by Liesl Batucan (the role was originated by Delphine Buencamino). TP's Actors Company, its resident pool of actors, fills out the rest of the cast (Outstanding Ensemble).

Its set (Toym Imao) and costume design (James Reyes), using steampunk as the visual reference, also won top honors. Steampunk blends 1800s aesthetics (e.g. British Victorian era or American Wild West era) and steam-powered machinery with futuristic touches.

Another winner was the sound design by TJ Ramos.

"The steampunk sound references industrial elements that work using steam-metals clanging, gears ticking, etc. Majority of the sound design and even the music arrangement [for 'Mabining Mandirigma'] was based on that idea," says Ramos.

He crafted the musical's sound "personality" by watching and listening to movies like "The League of Extraordinary Gentlemen" and "Back to the Future 3."

Aural elements

Scene from Mabining Mandirigma.
Photo by Kurt Copon

What exactly is sound design? "It's the overall aural elements of a production," he says. And a sound designer? "Think of it as being the director for the 'sounds.'"

"Whether for a musical, dance or play, aside from creating music and sound effects for the scenes, you also consider the space. Where is the sound coming from? Offstage? Behind a set piece? The audience area? It adds another dimension to the sound narrative of the production."

Ramos says this is why sound designers also work on the sound equipment's setup such as microphones' and speakers' positions on stage and around the theater.

"Sound designers manipulate all these elements to create a holistic aural experience based on what's needed by the script and the staging."

Designing sounds
Ramos begins work on a show by listing down the sound effects as he reads the script. He then makes studies or samples.

"Then it's constant correspondence with the director, the actors, the stage manager," he says. "Theater is a collaborative process. Aside from my own ideas, I absorb suggestions from everyone involved."

In addition to his library of sound effects, he says, "I sometimes get royalty-free sound effects from the internet. For specific sound effects, I create and record them."

He fine-tunes the sound units as he attends rehearsals: "Once we enter the theater for technical week, that's when I execute the sound system set-up."

Baptism of fire 
Ramos didn't even know what sound designing was when he was studying music production at De La Salle-College of Saint Benilde.

In his senior year, he got composer Joed Balsamo as his on-the-job-training adviser. Ramos recalls: "He asked me to do the music and sound cues of the Virgin Labfest. Little did I know that I was supposed to create music and sound effect cues for all 15 plays all at the same time!"

After his baptism of fire, Ramos credits sound designer Jethro Joaquin for mentoring him further: "He'd let me design some of his cues. Eventually, he gave me my own productions to design."

Ramos has gone on to win Outstanding Sound Design nods from Philstage Gawad Buhay for other shows such as "Encantada," "Stageshow" and "Der Kaufmann."

"Mabining Mandirigma" runs until Dec. 18 at Tanghalang Aurelio Tolentino, Cultural Center of the Philippines. Tickets: Ticketworld.com.ph. Details: Fb.com/TanghalangPilipino.




Inquirer.net link:
http://lifestyle.inquirer.net/246990/tj-ramos-crafted-soundscape-mabining-mandirigma

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Ela Lisondra: Swinging from London's 'Miss Saigon' to Manila's 'Christmas Carol'

In BGC, an open-air 'A Christmas Carol' starting tonight
Ela Lisondra: Swinging from London's 'Miss Saigon' to Manila's 'Christmas Carol'
By WALTER ANG
Dec. 3, 2016
Philippine Daily Inquirer

Ela Lisondra.
Photo by Hugh Maynard

9 Works Theatrical's "A Christmas Carol"--the classic story of stingy Ebenezer Scrooge and how he changes for the better after being visited by three Christmas ghosts--opens tonight and runs until Dec. 25 at Globe Iconic Store, Bonifacio High Street Amphitheater, Bonifacio Global PCity (BGC), Taguig.

That's the same open-air space where 9 Works presented the punk-rock musical "American Idiot" as a live concert experience several months ago, in collaboration with Globe.

This version of "A Christmas Carol" features the music of Alan Menken ("Beauty and the Beast," "The Little Mermaid," "Little Shop of Horrors," "Pocahontas," "Hercules," "Tangled") and lyrics by Lynn Ahrens ("Once on This Island," "Anastasia").

Playing the Ghost of Christmas Future is Ela Lisondra, who is marking her first Christmas back in the Philippines after eight years of performing in various productions around the world, most recently in "Miss Saigon" in London.

What is she most looking forward to this holiday season? "The hamonado," she says. "Kidding aside, it's being with my family."

"I missed the feeling of a strong family bond. Pinoys are very family-oriented. In other countries, Christmas is more of a celebration, a reason to get fat and to buy and give presents. For us, being in a big Catholic country, we don't forget the real reason behind the season."

Female swing

Miguel Fastuman as Scrooge

Lisondra was also part of "American Idiot." Before that, she spent the past two years playing Miss Everyone Else in "Miss Saigon"--that is, she was one of the production's two female swings, someone who takes the place of absentees.

She had to learn 10 female roles, Gigi's (the role originated by Isay Alvarez) ensemble bits, and even a few male roles. She had to be ready to do any one of them (or several) on any given show.

"Nobody understands how terrifying it is to get a few hours' notice that you'll be on for another role. You think to yourself, 'Shoot! What does she do again?'" she says.

"I had to remember that role's lines, harmony, costumes, props, hairstyle, entrances and exits, the quick [costume] changes and who the dresser was. Backstage, where do I sit? Onstage, who is my GI and where is my spotlight? What's my back story for this particular role?"

Boot camp

Note from Jon Jon Briones, who played The Engineer.

"It was really difficult in the beginning and the pressure was high." Once she'd gotten used to it, Lisondra made it fun for herself by ensuring she had different artistic choices and background stories for each of the roles. "That's what kept it challenging and exciting." 

With actors taking vacation leaves and getting injured or sick, swings are always on. She once covered five people in one show.

Prior to "Miss Saigon," she honed her chops as a performer in Disneyland Paris and Hong Kong Disneyland in shows like "Mulan," "The Lion King" and "High School Musical: Live!" Lisondra says these experiences, plus the "Miss Saigon" boot camp of sorts, has only made her hungry for more.

"Being a late bloomer, I still need to learn and experience more theater. Being home in the Philippines gives me that opportunity. Performing in my home country feels good."

In "A Christmas Carol," she will be working with Miguel Faustmann as Scrooge, Raul Montesa as Bob Cratchit, Norby David as the Ghost of Christmas Past, Franz Imperial as the Ghost of Christmas Present, and Rocco Buser and Dewayde Dizon as Tiny Tim.

Robbie Guevara directs, with Daniel Bartolome as musical director. Onyl Torres is assistant director, Daniel Bartolome is musical director. PJ Rebullida and Yek Barlongay, choreographers; Mio Infante, set designer; Martin Esteva, lighting designer; Ian Cartalaba, costume supervisor; Myrene Santos, hair and makeup designer; Jaime Godinez and Rards Corpus, sound designers; Chuck Ledesma, sound effects designer; GA Fallarme, video designer. 

Now that she's back, "I'm happy to break the chain of working on Christmas day," says Lisondra. "Wait, no, I'm working pala on Christmas this year!"

Tickets: 0917-554-5560, Ticketworld.com.ph. Details: Fb.com/9WorksTheatrical.



Inquirer.net link:
http://lifestyle.inquirer.net/246182/bgc-open-air-christmas-carol-starting-tonight

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'Mula sa Buwan' is a heartbreaking indie-alternative Pinoy 'Cyrano de Bergerac' musical

'Mula sa Buwan' is a heartbreaking indie-alternative Pinoy 'Cyrano de Bergerac' musical 
'Mula sa Buwan': 'Cyrano de Bergerac' transposed to 'sarsuwela'-era PH
By WALTER ANG
Nov. 25, 2016
Philippine Daily Inquirer

KL Dizon as Roxanne, Nicco Manalo as Cyrano,
Edward Benosa as Christian.
Photo by Gerald Gloton. 

Does a boy with a big nose have a chance at love? Black Box Productions' staging of the musical "Mula sa Buwan" will show audiences the possibilities.

The idea to stage a Filipino adaptation of the play "Cyrano de Bergerac" came to book writer and director Pat Valera while he was exploring ways to break rules--the rules of traditional Filipino theater genres, that is.

After doing dramaturgy and assistant direction for Dulaang Unibersidad ng Pilipinas' komedya "Orosman at Zafira" and sarsuwela "Ang Kiri," he wanted to challenge himself.

"How can I further the sarsuwela and make it relevant and refreshing for today's youth?" he asked himself.

He chose a theme close to the hearts of the young--"love, ideals and a world based on a play that broke my heart!"

Indie-alternative music
Then came the music. "Being immersed in Original Pilipino Music and surrounded by great artists and musicians, I thought, why not an indie-alternative-sarsuwela that would rock out the kundiman and harana?"

(Valera, incidentally, is the producer of the annual Summer Siren Music Festival in Crystal Beach, Zambales.)

The first version of the musical, "Cyrano: Isang Sarsuwela," premiered in 2010, staged by Dulaang Roc. Inquirer Theater section editor Gibbs Cadiz praised the work, especially the songs, which were "one of the show's strongest elements-raucous, eloquent and melodic. ready to bolt the orbit of Filipino musical theater and rock primetime radio."

For this restaging, Valera and composer William Manzano have reworked and tweaked the material. Manzano's other composing credits include "Rizal X," "Maxie the Musicale" and "Macho Dancer."

Young and idealistic
In French playwright Edmond Rostand's play, Cyrano (insecure about his nose) writes love letters for Christian (insecure about his lack of wit) to Roxane, the woman they both love.

It was required reading for Valera at Ateneo High School. Students were also required to watch the high school theater group Dulaang Sibol's staging.

"The story struck a chord. I left the theater in tears. The young and idealistic me gravitated to Cyrano because he's the perfect mirror for the pimply, misunderstood teen: ugly guy, poetry used by another, the girl lost, unloved by the ever-changing world-but amidst everything, remains true to his virtues until the very end. He's the proverbial me-against-the-world figure," he recalls.

Valera's playwriting/adaptation credits include "Sepang Loca," "Lulu," "Information for Foreigners" and "Mga Lobo Tulad ng Buwan." His one-act play "Gawani's First Dance" won a Palanca Award this year.

Nostalgia
He resets the story to 1940s Manila, a time of young cadets and colegialas. His adaptation choices don't just tie in to nostalgia, they also commemorate history. He was inspired by the Hunters ROTC, a guerilla group during the Japanese occupation composed of young cadets.

"Manila then was the Paris of the East. Our country was on the brink of independence. The characters in 'Mula sa Buwan' aren't seasoned soldiers but young college students initially oblivious to the impending war. But when it does come, they're forced to grow up."

"The musical also speaks about the ravages of war, our unsung heroes and how we deny history as we all rush to forget the pain in order to survive and move on."

Nicco Manalo and Boo Gabunada will alternate as Cyrano, KL Dizon plays Roxane, while Fred Lo and Edward Benosa alternate as Christian.

Lyrics by Valera and Manzano, musical direction by TJ Ramos, musical arrangement by Dana Marquez. Set design by Ohm David, lighting design by Meliton Roxas, choreography by JM Cabling. 

"Mula sa Buwan" runs Dec. 2-4, Irwin Theater, Ateneo de Manila University, Quezon City. Tickets: Ticketworld.com.ph. Details: Fb.com/MulaSaBuwan.




Inquirer.net link:
http://lifestyle.inquirer.net/245286/mula-sa-buwan-cyrano-de-bergerac-transposed-sarsuwela-era-ph

After Belarus and Taiwan, 'Sintang Dalisay'--a Filipino 'Romeo and Juliet'-- to play in Vietnam

After Belarus and Taiwan, 'Sintang Dalisay' to play in Vietnam
Kalil Almonte reprises Romeo in this Filipino 'Romeo and Juliet' that moves to the Sama-Badjao dance 'igal'
By WALTER ANG
Nov. 12, 2016
Philippine Daily Inquirer

Tasha Tañada and Kalil Almonte

Even when Kalil Almonte is rehearsing or acting in productions, he still works out for at least an hour and a half every day.

"My body feels lazy when I don't have rehearsals," he says.

However, a role he's reprising provided a challenge.

"For the first few rehearsals, my body had to get used to the choreography again," he notes. "My muscles felt heavy and there was no grace at all! There are also fight scenes, so it's really physical. My body hurt after each rehearsal."

He's playing Rashiddin (Romeo) in Tanghalang Ateneo's "Sintang Dalisay," an adaptation of Shakespeare's "Romeo and Juliet," which will be the Philippine entry to the Third International Experimental Theater Festival in Vietnam this month.

Directed by Ricky Abad, this adaptation is set in a fictional southern Philippine location and incorporates igal, a traditional dance of the Sama-Badjao people, as the movement motif.

Abad and playwright Guelan Luarca converted G.D. Roke's awit (metrical romance poem) "Ang Sintang Dalisay ni Julieta at Romeo," which itself adapted Shakespeare's play into a stage version by supplementing it with Rolando Tinio's translation of the play.

The adaptation premiered in 2011 and has toured Belarus and Taiwan.

Different view 
"I last did the role two years ago in Taiwan and it's been three years since we showed to a Philippine audience, so I am excited to do it again," says Almonte.

He's been busy doing other roles in plays such as "Fluid" and "Games People Play." This year alone, his credits include "Bait" for Virgin Labfest, "Tribes" for Red Turnip, and "Loyalist Redux" for Never Again: Voices of Martial Law.

"A drama professor once told me that when you reread a book at another point in your life, you'll be affected differently, that it speaks to you differently. I understand that more now as I return to the role. Many things have happened in my personal life that the Romeo speaking about defiance, love  and commitment now is so different from the Romeo back then," he says.

And, perhaps, a little more circumspect about matters of love, this time around. "All of us in the cast have different boyfriends and girlfriends now since the 2011 premiere. Everyone broke up," he says, laughing.

Simple regimen

Almonte in "Fluid."

How does he keep in shape for the demands of the stage, especially the dramatic, highly stylized and choreographed part of Rashiddin?

"My regimen is simple. I just lift weights and use whatever machines or equipment are available in the gym," he says. "I actually work out more intensely when I have productions."

He eats rice for brunch; none for the rest of the day. "As much as possible, brown rice. If it's not available, then only a half-cup of white rice. Rice talaga nagpapalaki ng tiyan," he notes.

Audiences will have a chance to see Almonte's reinterpretation of the character when "Sintang Dalisay" starts its homecoming run in Quezon City this December.

Meanwhile, he's happy to be reunited with the cast: "There's nothing else like being with longtime friends again."

Tasha Tañada plays Jamilla (Juliet); the cast also includes Gel Basa, Charles Yee, Joe-nel Garcia and Cindy Lopez. Edu Abraham (musical director), Dan Liamco and Jayson Gildore are the accompanying musicians.

"Sintang Dalisay" has set and costume design by the late National Artist Salvador Bernal, lighting design by Meliton Roxas, choreography by Matthew Santamaria. The igal master teachers who trained the cast include Calsum Telso, Dalino Kamamihare, Nur Pergon, Abdul Hailaya, Al-Shadat Mohammad, Basar Jalaidi and Munir Jawadil.

"Sintang Dalisay" runs Nov. 15, Rạp Đại Nam (Đại Nam Theater), Hanoi, Vietnam; Dec. 9-11, Rizal Mini-Theater, Ateneo de Manila University, Quezon City. Tickets: 0917-843-1400. Details: Fb.com/TanghalangAteneo.



Inquirer.net link:
http://lifestyle.inquirer.net/243549/after-belarus-and-taiwan-sintang-dalisay-to-play-in-vietnam

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It's playwright Liza Magtoto's season in the sun at Peta

It's playwright Liza Magtoto's season in the sun at Peta
She has three plays back-to-back-to-back; "The Tempest Reimagined" is up next
By WALTER ANG
Nov. 4, 2016

Philippine Daily Inquirer

Liza Magtoto.
Photos by Jojit Lorenzo

Philippine Educational Theater Association (Peta) just wrapped its two-year run of "Rak of Aegis," a jukebox musical with songs by rock band Aegis sewn together with a story by playwright Liza Magtoto.

Consolidating different aspects of Filipinos' lives, she captured the zeitgeist of Pinoy life in the early 2010s: celebrating love (romantic and familial) amidst the rise of social media and natural disasters.

Audiences will see more of Magtoto's work since she dominates Peta's 49th season (aside from "Rak," she's adapting Shakespeare's "The Tempest" into a contemporary Filipino setting) and she's opening the 50th season (as librettist for next year's restaging of "Care Divas," a musical about male Filipino workers in Israel who moonlight as singing drag queens).

"Nagkataon lang," she says. "I'm so grateful that Peta has nurtured me and, in some way, I hope I'm giving back. I'm quite honored and humbled at the same time because, as we all know, these plays become complete only because of the collaboration with the director, musical director, ensemble, production staff."

"It's an honor to take part in keeping Peta alive in showcasing the form and content that we've done in the past years," she adds.

Scared, then fired up

Magical spirit Ariel, played by Gab Pangilinan
(with alternates Gio Gahol, Neomi Gonzales and Ian Segarra),
and deformed savage Caliban, played by John Moran.
Sets and costumes designed by Marsha Roddy,
lighting design by Tsuguo Izumi,
sound design by Teresa Barrozo.

Magtoto first encountered Peta when its efforts mirrored the zeitgeist of an earlier time period.

"I was especially moved by Peta's plays during the martial law years. The feeling of community was so palpable. The way audiences cheered and clapped felt, for that singular moment, like we were liberated from repression."

Inspired by Jo in "Little Women," she thought she'd become a fictionist. "Writing plays felt scary. It took a long time before I got into it."

Norbs Portales plays Jaime,
a created character for this adaptation:
a fisherman from Leyte who tells
the story of "The Tempest,"
the setting of which, for this production,
is set on a Philippine island
that survived Typhoon Yolanda.

Growing up, her father took her and sister Bing to Repertory Philippines shows. "Then Bing would take me to Peta plays since she'd been in their workshops."

While taking up Philippine Studies at the University of the Philippines, "I enjoyed plays like 'Iskolar ng Bayan' and the seditious plays of the 1900s."

That exposure to theater "made me see the immediacy of the medium, the impact it has on the audience, and that we can show something we can't in mainstream media. It fired me up to go into theater.

"I felt I had so much I wanted to say, to mirror life's ironies which I wanted to laugh at, to hopefully make people think."

She's been with Peta since the '80s, doing backstage work, then acting, then playwriting. "The late Charley de la Paz established the playwright's group Writer's Bloc and tried to make me attend sessions. I was always unavailable. After he died, I pledged to attend until I finally had the courage to have my play read."

Great challenge

CB Garrucho plays Prospero.
She will play the character as male.

Scores of plays and awards later (like last year's Philstage Gawad Buhay for Outstanding Libretto for "Rak"), there's no resting on her laurels.

She is discussing possible edits to "Care Divas" with director Maribel Legarda (Peta's artistic director).

For "Tempest," she's working with director Nona Shepphard (artistic director of London's Royal Academy of Dramatic Art) to incorporate interviews she's done with survivors of Supertyphoon Yolanda in Leyte.

"Some characters may speak in modern English; some scenes will be in Filipino. It's a great challenge to put these languages together, yet connecting them poetically with something as seemingly prosaic as disaster risk reduction in the Philippines."

"The Tempest Reimagined," Nov. 11-Dec. 4, Peta-Phinma Theater, Peta Theater Center, Quezon City. Tickets: 725-6244, Ticketworld.com.ph. Details: Fb.com/PetaTheater.



Inquirer.net link:
http://lifestyle.inquirer.net/242871/its-playwright-liza-magtotos-season-in-the-sun-at-peta

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Is this a ghost I see before me? Theater artists share their ghost stories

Yegads! Is this a ghost I see before me?
Theater artists share their ghost stories
By WALTER ANG
Oct. 29, 2016
Philippine Daily Inquirer

Photo from homesteadtheatre.files.wordpress.com

When a theater goes dark for the night, a stagehand leaves a lighted lamp on stage. No one knows why anymore, but some oldtimers say it is to keep ghosts away. Others say it lights the stage for the ghosts to play. Whichever theory one adheres to, most people agree: "A great theater is haunted."

So said multi-awarded American director and playwright Emily Mann. For some Halloween fun, here are encounters with stage ghosts and haunted theaters by theater artists.

Adriana Agcaoili, actress, Gantimpala Theater and Dulaang UP. 
When I was a freshman at the University of the Philippines, I was told that one of the theaters had a resident spirit named Marita and that she usually made her presence felt backstage left, especially when a female character was maltreated on stage.

I was doing stage management for a show and I was assigned at backstage left. When Tess Dumpit started weeping after her character was humiliated, a lower-pitched female voice started groaning and sobbing along with her-from backstage left!

My hair stood on end. I thought I was imagining that unearthly sound. But my companions whispered, "Who's making fun of your leading lady backstage?"

They had heard it, too! My wide eyes told my answer. I had goosebumps till the end of that show.

Roeder Camañag, artistic director, Artist Playground.
In that same venue (UP's Guerrero Theater), I was supposed to slap my co-actress, Jean Judith Javier- but a hand stopped my arm. I was frightened because I realized both of Jean's hands were on her navel.

My costume bracelet fell off my arm in the opposite direction of the slap. Later on, an audience member said he saw the bracelet move up my arm and thought it was a special effect. Marita doesn't like it when women are hurt on stage!

Oliver Usison, actor, Repertory Philippines.
During a workshop, Rep's resident sound engineer was fixing the speaker cables in the orchestra pit underneath the stage. Kids were running all over the place. He saw a girl standing with her back turned towards him. He thought she was being naughty, as students were not allowed in the pit.

He called out to her. She slowly faced him with a very angry look on her face. He immediately realized she wasn't one of the students. He ran as fast as he could out of the theater.

Aries Alcayaga, stage manager, Philippine Educational Theater Association.
When we were rehearsing this play, the cast started getting injuries every day. One actor noticed that a small chair on the stage had been missing for a few days. Another actor pointed out that the chair was for our "munting audience."

We looked for the chair and returned it. We also had a priest bless the stage and we left some food for the little guests. After that, the actors stopped getting injured.

Jonathan Tadioan, actor, Tanghalang Pilipino.
One of our crew members arrived early for our call time. While he was in the restroom, he heard knocking on the door of the cubicle he was using. When he glanced down, he saw a very hairy foot.

Topper Fabregas, actor/director/cofounder, Red Turnip.
Actress [and Red Turnip cofounder] Cris Villonco is as white as a ghost. Does that count?

Inquirer.net link:
http://lifestyle.inquirer.net/242189/yegads-is-this-a-ghost-i-see-before-me

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Homegrown son Joaquin Valdes takes over Trumpets Playshop

Homegrown son Joaquin Valdes takes over Trumpets Playshop
By WALTER ANG
Oct. 22, 2016
Philippine Daily Inquirer

Joaquin Valdes

Joaquin Valdes was only 13 years old when he first performed in Triumphant People's Evangelistic Theater Society's (Trumpets) "The Lion, The Witch, and The Wardrobe."

He then started taking several years' worth of summer workshops with Playshop, Trumpets' theater training arm.

He didn't just study, though. With other stage credits already under his belt (debuting professionally as a chorus member in Repertory Philippines' "Evita" and then playing the lead in "Pinocchio"), he was tasked to teach classes at Playshop starting at age 14.

"I just really wanted to extend the high I'd get from a show and keep filling my system with as much theater education as I could," he said.

And now at 32, it's his turn to steward a new generation of future professional performers.

Valdes is the new executive director for Playshop, and of Playhouse, its newly formed youth theater group composed of workshop alumni.

Mentor, apprentice
Aside from forays into directing films, fitness coaching  and coproducing the "One Night Stand" series of monthly cabarets featuring theater performers, Valdes has always stayed connected to theater.

His credits include Atlantis Productions' "Spring Awakening," 9 Works Theatrical's "The Last Five Years" and, most recently, ABS-CBN Events-Cornerstone's "Ako Si Josephine." He received the Philstage Gawad Buhay Best Featured Actor for his work in Actors' Actors Inc.'s "Red."

It was veteran actor Audie Gemora, founder of Trumpets and Playshop, who sought Valdes out.

"He and I have developed a mentor-apprentice relationship. He's always believed that the next generation has great ideas," said Valdes.

"He asked me to bring in some of my expertise from working in advertising, film and digital content, giving my two cents on where the product should go and how it should address a new generation and new market."

"Extending the mission of Trumpets, Playhouse will stage productions for children and families. Focusing on original Filipino creativity, the group aims to bring a brand new experience with values to audiences."

First show

Cast of "Always Upon A Time"

For its inaugural production, Playhouse will stage "Always Upon A Time," a musical where brothers Tommy and Danny, neglected by their busy father, find a book of stories that their mother used to read them to sleep with.

The tales will be brought to life via puppets designed by Make It Happen Workshop, which also handles set and costume design. Inspired by book pages, the puppets will have the look and feel of paper sculptures, and the set design will evoke pop-up books. Lighting design is by Joseph Matheu.

The show's title is from a song used in one of Trumpets' first musicals, "Fables and Parables," written by Freddie Santos and composed by Lito Villareal.

In "Always Upon a Time," Lorenz Martinez plays the father, while the brothers will be played by a rotating cast that includes Andee Achacoso, Daniel Drilon, Gabo Tiongson and Teddy Velasco.

Also in the cast are Chimmi Kohchet-Chua, Anton Posadas and Guido Gatmaytan, all of whom played leads in Trumpets' musical "Bluebird of Happiness" in 2013.

The show is written and directed by Steven Conde, with Vince Lim as composer and musical director, and lyrics by Conde, Lim and Valdes.

"Always Upon A Time" runs Oct. 29-30, Romulo Auditorium, RCBC Plaza, Makati. Tickets: 0917-5864177, Ticketworld.com.ph. Visit Fb.com/TrumpetsPlayshopPlayhouse. For Playshop workshop schedules, call 9014364.

Inquirer.net link:
http://lifestyle.inquirer.net/241368/homegrown-son-joaquin-valdes-takes-over-trumpets-playshop/



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Carlon Matobato is lone Filipino in multinational 'Mahabharata'

Carlon Matobato is lone Filipino in multinational 'Mahabharata'
By WALTER ANG
Oct. 15, 2016
Philippine Daily Inquirer

Carlon Matobato as Krishna
Photo by Hiroshi Koike

"Nganga ako," Carlon Matobato says, when he saw a movement-led staging of "Mahabharata" last year at the Peta Theater Center.

"The performers were so strong and their lines were so clean. I was excited and scared."

Scared because he'd soon be part of the show's next installment. He had auditioned for Japanese director Hiroshi Koike and won the slot as this year's only Filipino in the multinational cast.

Hiroshi Koike Bridge Project's "Mahabharata" began in 2013. Chapters are created annually in a different Asian country; it's intended to conclude with a full-length staging in 2020.

Last year's "Part 2.5" included Manila in its performance tour. This year, Matobato worked with performers from different countries for "Part 3," which was recently staged in Indonesia.

The ancient Indian epic deals with two warring branches of the Bharata dynasty battling for the throne of Hastinapura.

(Dulaang Unibersidad ng Pilipinas staged the musical adaptation "Ang Nawalang Kapatid" in 2014, written by Floy Quintos and composed by Ceejay Javier.)

Different dances
Matobato played the roles of the Hindu god Krishna and the warrior Karna.

The production combines different Asian dance forms and recruits performers with backgrounds in all manner of dance (traditional, ballet, contemporary) and movement (circus) so they can contribute to the process.

Rehearsals had started without Matobato, as he was still acting in Philippine Educational Theater Association's "Rak of Aegis." But, with his dance experience and skills, it wasn't too hard to catch up.

"Malaki ang utang na loob ko kay National Artist for Dance Ramon Obusan. He was my mentor, he honed me in Philippine dances. I knew my knowledge of these forms would become useful one day."

Matobato knows more than 70 kinds of Philippine traditional dances.

"Hiroshi wanted a Filipino actor-dancer-singer who also knew martial arts," he says. It just so happens he knows Indonesian aduk-aduk, Brazilian capoeira, Chinese wushu and tai chi, and, of course, Philippine kuntao. But who's counting?

Matobato started performing when he was a student at Lyceum of the Philippines University. "I was part of our college theater group Tanghalang Batingaw and I also joined the dance troupe.

"That's also when I joined Ramon Obusan Folkloric Group. Theater and dance converged at the same time in my life."

Theater and dance, together

He started choreographing while he was part of Tanghalang Pilipino's pool of resident actors, "while learning from respected theater gurus."

Matabato then joined Jay Cruz's Dancing Wounded group. "Jay was my second mentor, teaching me a deeper understanding of dance."

He's been with Peta since 2005, performing, choreographing, teaching-and collecting awards for his efforts, such as Philstage Gawad Buhay Best Choreography nods for "Ismail at Isabel" and "Care Divas."

Productions he's choreographed or acted in include "D' Wonder Twins of Boac," "Lola Basyang," "Zsazsa Zaturnnah Ze Muzikal" and "Katy!"

This wasn't his first international production, but it was particularly challenging. Prompted partly by a complex piece of costume, he had to "completely master the performance space, even with eyes closed."

"The masks made me see very little. I had to dance, sing and act without seeing much of my surroundings. I hoped I wouldn't bump into my castmates!"

"I ignored the calluses and wounds on my feet. The roles were wonderful but not easy. I put a lot of heart into it. I usually cried during rehearsals because I was so moved. It was important that I played these roles well."

Visit kikh.com/english.

Inquirer.net link:
http://lifestyle.inquirer.net/240610/carlon-matobato-is-lone-filipino-in-multinational-mahabharata

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