Staged readings of play on immigrant Filipino boy and his wrestling fantasies in LA libraries

By WALTER ANG
April 20, 2017
Inquirer.net
http://usa.inquirer.net/3068/staged-readings-filipino-wrestling-fantasy-play-slated-la-libraries

LOS ANGELES - A play about a young Filipino immigrant and his wrestling fantasies will have free staged readings in different Los Angeles libraries in May.

Victor Maog (left) and Randy Reyes from the 2016 world premiere
by Mu Performing Arts in Minneapolis/St. Paul, Minnesota. 

Victor Maog's "Tot: The Untold, Yet Spectacular Story of (a Filipino) Hulk Hogan" follows Tot as he leaves Martial Law-era Philippines and reunites with his parents in San Francisco after a decade of separation. He copes with loneliness in his new surroundings by imagining wrestling scenarios.

The play will be presented by theater group Artists at Play (AAP) at Los Angeles Public Library branches Mar Vista (May 8), West Los Angeles (May 13), and Malabar (May 18).

The staged-readings of "Tot" are part of the library's "LA Made" program, a cultural series featuring free music, dance, theater, and discussions with local entertainers at libraries throughout the city.

Director is Rodney To, who's worked with AAP on "Ching Chong Chinaman" (choreographer) and "Edith Can Shoot Things and Hit Them" (actor).

His recent directing credits include "Mutt: Let's All Talk About Race!" for East West Players and the "Pun Plip Pridays" series under "Kababayan Today with G Tongi" on cable channel LA18. TV acting credits include "Parks and Recreation," "Rosewood," "Wilfred" and the forthcoming "Redliners" on NBC.

Reuben Uy plays Tot. The rest of the cast includes Brendan Bradley, Ramon De Ocampo, Golda Inquito, Reuben Uy, Anne Yatco and Sandy Yu.

Deep emotion

In addition to Maog and To, AAP cofounding artistic leader Marie-Reine Velez and producer Nicholas Pilapil are also Filipino Americans. (Pilapil's play "Before and After" had a staged-reading at The Fountain Theatre in early April.)

From left, top: Brendan Bradley, Ramon De Ocampo, Golda Inquito.
Bottom: Reuben Uy, Anne Yatco and Sandy Yu. Far right: Rodney To.

Velez says, "I was struck by how the play's funny without being a parody, showcases deep emotion without being melodramatic, and all sprinkled with fun theatrical and meta-theatrical elements."

"I was delighted when I read the play because it gives us a fully human story of immigration through a child's perspective, a child who doesn't fully understand the reality of the 'American Dream,' as well as the circumstances and hardships of moving from one country and culture to another."

AAP has previously staged full productions or staged readings of works by Fil-Am playwrights such as A. Rey Pamatmat ("Edith Can Shoot ."), Michael Golamco ("Cowboy Versus Samurai"), Nathan Ramos ("As We Babble On"), and Boni Alvarez ("Marabella").

Fine-tuning

Maog says, "Stories that humanize immigrants and the complexity of the USA are more needed now the ever. Some of them need a new lease on life, whiles others are escaping certain death."

Cast at first table read.

Born in the Philippines and raised in the San Francisco Bay Area, Maog is currently artistic director of Second Generation (2g) Productions, an Asian American theater company in New York, and a show director for Walt Disney Company.

"Tot" was commissioned and had its world premiere last year by Mu Performing Arts, an Asian American theater group in Minneapolis, Minnesota. It was directed by Mu's artistic director Randy Reyes (who also played the lead role).

Local reviews of that staging noted that the play's "themes ... resonate deeply as America's presidential election becomes a referendum on the demonization of immigrants" (City Pages); and that it is "emotionally striking" (Aisle Say Twin Cities) and "emotionally rewarding" (TalkinBroadway.com).

"The world premiere in Minneapolis last year was an extraordinary opportunity. While it was a very positive experience, I've taken time to digest some of the audience reactions and feedback and will continue to fine-tune, clarify, and deepen this little-big play," Maog says.

"I'm always hesitant to jump back into the ring with the play because it takes so much out of me, but I'm wearing a helmet and other protective gear and hope no bones break."

Developing

Velez and fellow AAP co-founding artistic leader Julia Cho first met Maog at the 2014 Consortium of Asian American Theatres and Artists.

Artists at Play cofounding artistic leader
Marie-Reine Velez (left), and member Nicholas Pilapil

"We all immediately hit it off," Velez says. "We shared our experiences working in theater and the different challenges for Asian American theater in New York and Los Angeles."

Maog had informed Velez of his plans of refining his play. This spurred Velez to include the "Tot" in AAP's staged readings series, which includes play development and workshopping for playwrights.

"The readings offer us opportunities to work and collaborate with writers, directors, and actors in a more casual setting than our mainstage productions, and this setting felt like the right fit to have our first collaboration with Victor.

"We are very much looking forward to diving deep into this play and sharing it with audiences around Los Angeles," she says.

Visit ArtistsatplayLA.blogspot.com or Fb.com/ArtistsAtPlay.

Exhibition to launch first directory of Filipino-American artists

By WALTER ANG
April 19, 2017
Inquirer.net
http://usa.inquirer.net/2959/exhibition-launch-first-directory-fil-artists

WASHINGTON, DC - A directory of Filipino-American visual artists will be launched on May 13 at Was Gallery with a month-long exhibition.

"Meta Mapa (Chicken Coop)," lightjet print by Yumi Roth.

The Fil/Am Artist Directory features 22 artists from across the United States and Canada and includes artwork, artist biographical information and interviews.

Artist Janna Añonuevo Langholz conceived the project in 2015. "I started the directory because I was surprised by the absence of Filipino artists in the art history canon and in contemporary art news," she says.

Janna Anoñuevo Langholz

She'd been taking a master's degree in photography at Southern Methodist University in Texas that year. "In graduate school, I had difficulty finding information about other Filipino and Fil-Am artists."

Langholz, whose mother hails from Laguna, also wanted to provide a way for Fil-Am artists to connect with each other. "As well as a resource for students, educators, and curators to find information about the diaspora of Filipino artists in the United States."

Promote and support

The directory is available in print and ebook editions and was completely funded from an online crowdfunding campaign that Langholz opened last year.

Proceeds from this edition will fund future issues and related exhibitions and activities.

Filipino American Artist Directory, 2017 issue

Langholz intends to "promote and support Fil/Am visual artists across the United States, especially those in underrepresented regions including the Midwest and South."

Born, raised and based in St. Louis, Missouri, Langholz received her bachelor in fine arts from Truman State University. Her recent exhibits include "Resistance" in San Francisco, "Into the Wilderness" in Portland, and "Burnt Rice" in Hilo, Hawaii.

"They Will Seek Peace," 
acrylic on canvas board by Ulysses Duterte.

In addition to Langholz herself, featured artists include Adrian Alarilla, Kimberley Acebo Arteche, Katrina Bella, Joella Cabalu, Isabel Cuenca, Rea Lynn de Guzman, Ulysses Duterte, Jana Ercilla, Alvin Pagdanganan Gregorio, Isabel Manalo, Matt Manalo, Cyril Maza, Lorna Maza, Maryrose Cobarrubias Mendoza, Ged Merino, Kim Miranda, Kimo Nelson, Carlo Ricafort, Yumi Janairo Roth, Jean Vengua, and Pamela Ybanez.

Meaningful exhibition

Langholz also set up FilAmArtistDirectory.com to "serve as a living archive for the directory as it grows and changes on a day-to-day basis."

To craft the directory's content, she worked with artist/arts writer Isabel Manalo and poet/writer Eileen Tabios. "They're both fantastic, respected artists and writers, and have provided a lot of support for the project."

Isabel Manalo (left) and Eileen Tabios.

Both are still involved with the directory's related activities. Tabios is the editor of the website's written-works section while Manalo proposed the launch exhibition and is co-curating it with Langholz.

Titled "De(Centered)," the exhibition features works by most of the artists included in the directory. Three artists featured in the exhibition will be included in the next issue of the directory: Daniel Ballesteros, Maia Cruz Palileo and Melanie Gritzka del Villar.

"Still Life with Banana Catsup," 
oil on canvas over panel by Maia Cruz Palileo.

"The title comes from the idea of redefining 'center' when many of us immigrated from or still have strong ties to the Philippines. The artists included in the exhibition are located throughout the United States, on both coasts and in the Midwest. I think these artists all show a connection to both the Philippines and the US in their work and the attempt to remain centered in both places."

The location of the exhibition is also part of its context. "As the US capital, Washington, DC is undoubtedly a meaningful and charged place to host an event.

"Our history as Filipino Americans is often forgotten, and bringing our work to the center of US government will be a reminder of our presence and relationship with this country," says Langholz.

"Fil/Am Artist Directory" book launch is 6pm, May 13. "De(Centered)" exhibition runs May 13-June 16. Both at Was Gallery, Westwood Center II, 5110 Ridgefield Rd., Bethesda, Maryland. Visit FilAmArtistDirectory.com.

Filipino food and mythological creatures in Toronto kids’ play ‘Kaldero’

By WALTER ANG
April 13, 2017
Inquirer.net
http://usa.inquirer.net/2841/filipino-food-kapre-tiyanak-etc-toronto-kids-play-kaldero

TORONTO, Ontario -- "Kaldero," a unique children's play will go on tour starting April 26 and throughout May to celebrate Asian Heritage Month.

Isabel Kanaan (left) and Richard Mojica in "Kaldero."

Staged by Carlos Bulosan Theatre, "It's a fun, fast moving show that celebrates the richness of Filipino culture through music, dance and shadow play. It's relatable and accessible to everyone!" says the group's artistic director Leon Aureus.

This play was specifically developed for young audiences "to celebrate culture and family, to encourage youth to honor their roots and to find their inner strength."

Land of Mahiwaga

In the play, Caleb refuses to eat Filipino food because he's afraid the kids at school will make fun of him.

His hunger triggers a magic kaldero (cooking pot) to pull him into the mysterious land of Mahiwaga, home of fantastic creatures like the trickster tree ogre Kapre and its band of duwende (elf goblins).

Caleb's sister Cassandra and their grandmother search for him, facing the flying sea serpent Bakunawa and other hurdles.

Written and directed by Aureus, the production features music using Filipino instruments such as kulintang (knobbed gongs) and uses shadow projections designed by Paul Limgenco, Aaron Ong and Joy San.

Isabel Kanaan and Richard Mojica play Cassandra and Caleb, respectively. Belinda Rona Corpuz and Alia Rasul round out the cast.

Aversion to affection

Similar to his character, Mojica grew up avoiding certain Filipino dishes. "The list is almost endless: okra; pusit adobo (squid adobo); papaitan (beef offal and bile soup)," he says.

"All foods that were iffy to me as a child but now are very much a part of my diet. The one that comes to mind the most would be dinuguan (pork blood stew), which is now my favorite to eat and cook."

Having been born and raised in Toronto's Thornhill suburb, Mojica didn't have much access to Filipino mythology growing up. But working on this play has given him a newfound appreciation for it.

"I love it. For me, as a storyteller, there is universality to our myths. Creation stories, horrible monsters and the playful pranks of tricksters are motifs that repeat across cultures and centuries."

Mythic monsters

Born and raised in Manila, Kanaan was scared of the Filipino monster tiyanak when she was a child. "The juxtaposition of having an innocent baby and it being an evil demon terrifies me," she says.

Now, Kanaan loves how Filipino supernatural characters are being introduced to Canadian audiences by the play.

"I think the supernatural is trending nowadays, so it's good to show people that it's not all just vampires and werewolves, but also creatures from different cultures.

"I think this allows the characters to be more three dimensional and even relatable at times," she says.

Laughter, pride

The play runs approximately 45 minutes and usually includes a talk-back session after the show. CBT can also provide a study guide to support further learning.

The play premiered last year to appreciative audiences. Mojica notes that children "respond instantly because they understand the elements of the story on a subconscious level. It's rewarding and fun."

Kanaan adds, "It's great hearing them laugh and relate to specifically Filipino references in the play like adobo.

"After the show, we'd hear children speak in Tagalog and they'd teach the words to their classmates. The play gives them a sense of Filipino pride and that's one of CBT's goals.

"No matter where we are in the world, we should be proud of who we are and where we came from. I'm glad this play inspires children to embrace who they are and show off their roots," she says.

Shows are scheduled for Holy Spirit School (April 26), St. Isaac Jogues Catholic School (April 27), St. Antoine Daniel Separate School (May 12), Dante Alighieri Academy-Beatrice Campus (May 13), St. Rene Goupil Separate School (May 15) and St. Maria Goretti Catholic School (May 16).

The production is available for touring and can be booked for schools and other special events.

Visit CarlosBulosan.com or Fb.com/CarlosBulosanTheatre.

READ about Carlos Bulosan Theatre's other works here.

UP College of Music’s 'Putri Anak' reimagines the 'komedya'

By WALTER ANG
April 8, 2017
Philippine Daily Inquirer

University of the Philippines College of Music is staging "Putri Anak," a new komedya about a celestial maiden who, while attempting to reunite with her sisters, helps two arrogant warriors battle the sun-eating sea serpent Bakunawa.

Ela Lisondra (right) plays Putri Anak.

The production is part of the college's centennial celebration dubbed "Sandaang Taon ng Himig at Tinig: Pagpupugay ng UP Kolehiyo ng Musika," and is coproduced by the UP Center for International Studies.

Directed by Jina Umali, the play has a libretto by Enrique Villasis and Christian "Juan Ekis" Vallez.

The story is based on the Celestial/Sky/Star Maiden tales found across Asia and the Philippines, where the main maiden's wings are hidden from her by a man. Variations include Luzon's Gaygayoma, Kamdali/Kadmali and Taraw versions; the Visayas' Makaya version; and Mindanao's Maiden of the Buhong Sky, Putli Intan (Princess Diamond), and Putri Anak (Princess Child).

Playing Putri Anak is Ela Lisondra, who was in the 2014-2016 West End revival of "Miss Saigon" and 9 Works Theatrical's "A Christmas Carol" and "American Idiot."

Alex Dagalea plays Rajah Sulaymon, Jude Servilla plays Sultan Magnaye, and the UP Dance Company rounds out the cast. (Servilla is Eat Bulaga's Birit Baby 2009 Grand Champion.)

Evolving the komedya

The music is by Verne dela Peña, chair of the college's musicology department. Academic and artistic exploration spurred the college's decision to produce this new komedya, partly to explore ways of evolving the genre.

Alex Dagalea (left) as Rajah Sulaymon and Jude Servilla as Magnaye.

Komedya, derived from the Spanish word comedia (drama), is commonly known as moro-moro from its use by Spanish colonizers as an evangelizing tool, where Christians were portrayed overcoming villainized Muslim Moors (moro).

This adaptation uses indigenous lore for its setting, omits the religious bigotry and  "celebrates Asian culture, heritage and artistic expression."

Some elements of the "classic" komedya are retained such as the sing-song delivery (diccio or dicho) of lines written in verse, and the story having romance and battle dances (batalya).

One innovation is the inclusion of singing, with music direction by Mary Katherine Trangco. "It's absent in the traditional form. We're also blending Southeast Asian theater practices, dances and musical styles," says Dela Peña.

The fight choreography by Jeremy dela Cruz incorporates arnis, sagayan (Maguindanao and Maranao war dance), pencak silat-a martial art common to Southeast Asia-and Javanese court dance.

Hybrid music

Dela Peña builds on the komedya's European-Asian hybridity. "The music is grounded on this hybrid nature but shifts the weight more toward the Southeast Asian sound.

"The music borrows heavily from Maguindanao and Kalinga rhythms layered under Southeast
Asian modal tonalities and framed in punctuative and cyclic structures typical in the region."

"My goal is to approach a pan-Southeast Asian popular, folk singing and melodic style."

To this end, he has assembled a gong and drum ensemble typical of Southeast Asian practice, such as Indonesia's gamelan, Brunei's gulingtangan, Thailand's piphat, etc. Music will be performed by UP Tugtugang Musika Asyatika.

"However, I've retained traces of the traditional komedya brass band sonority by including woodwinds (flute, clarinet, saxophone) and military drums (snare and bass drum). I've also added a bandurria (plucked lute) to reference lowland folk traditions." Music will be performed by UP Tugtugang Musika Asyatika.

Completing the ensemble is a chorus of celestial maidens led by the seer Kadunong. "The use of the chorus as the celestials and the conductor as diviner may be seen as a statement on the spiritual role of music in society," says Dela Peña.

"Putri Anak" has choreography by Angela Baguilat and Jeremy dela Cruz, set design by Mark Legaspi, costume design by Darwin Desoacido and lighting design by Shax Siasoco.

"Putri Anak" runs 3 p.m., and 8 p.m., April 9, Tanghalang Aurelio Tolentino, Cultural Center of the Philippines. Tickets: Ticketworld.com.ph. Details: Fb.com/UPCollegeofMusic.



Inquirer.net link:
http://lifestyle.inquirer.net/259401/college-musics-putri-anak-reimagines-komedya

Clipping

'Ulam (Main Dish)' film on Filipino-American chefs to screen at LA Times Food Bowl

By WALTER ANG
April 8, 2017
Inquirer.net
http://usa.inquirer.net/2731/ulam-film-fil-chefs-food-scene-screen-la-times-food-bowl

LOS ANGELES -- "Ulam (Main Dish)," a documentary featuring Filipino American chefs and restaurateurs by filmmaker Alexandra Cuerdo, will have its first preview screening on May 20 at Million Dollar Theatre.

ULAM from Alexandra Cuerdo on Vimeo.

The screening is part of the Los Angeles Times' Food Bowl, a month-long food festival "celebrating LA's dynamic and influential food scene while promoting awareness about food waste and hunger."

The documentary follows the rise of the Filipino food movement via the chefs crossing over to the center of the American table, said Cuerdo in a statement.

The film includes interviews with Los Angeles' Alvin Cailan (Egglsut, Unit 120, Amboy); spouses Johneric Concordia and Christine Araquel-Concordia (The Park's Finest); Andre Guerrero (The Oinkster, Maximiliano, The Little Bear, Ramen Room); Charles Olalia (Rice Bar); siblings Chase and Chad Valencia (Lasa); New York's Nicole Ponseca and Miguel Trinidad (Maharlika, Jeepney); and spouses Romy Dorotan and Amy Besa (Purple Yam).

They discuss their personal stories of getting into cooking, opening their own restaurants and the historical and current contexts of Filipino cuisine in the United States.

"All these chefs are incredible," says Cuerdo, who was born and raised in Orange County, California. "I'm their number one, biggest fan. It's been such a pleasure to tell their stories and taste their food-which is absolutely amazing.

"I wish I'd been able to go to restaurants like theirs growing up, which didn't exist when I was a kid. I'm excited that a new generation of kids will be able to eat at these places," Cuerdo adds.

Army of two

Cuerdo wrote and directed the documentary while John Floresca handled cinematography. Both served as producers as well.

Alexandra Cuerdo

"We are an army of two," she says. "From the beginning to the end, this has been an entirely independent project. The crew is often just us two.

"In the documentary world and the indie world, you're often faced with situations that challenge you to be more creative. You can't ever just throw money at the problem, because you don't have any money! You have to think smarter.

"That said, we've had help from dozens of talented filmmakers who've donated equipment, time, love and energy."

Runs in the family

Cuerdo grew up with film and Filipino cuisine in her veins.

"I would watch my mom, my lola and my ninang cook. All these incredible, strong women in my life made incredible, strong food."

Poster for documentary film "Ulam (Main Dish)"

So it's no surprise when Cuerdo confesses to an obsession with cooking, which she does every day. "I like making Filipino food, American food, California food. It's really relaxing for me to cook. It's a small creative act. For me, it's better than therapy."

Her father, Rey, is "a huge film buff. He used to watch movies growing up on a pineapple farm in the Philippines with the kids of American G.I.s. I continued that tradition and watched a lot of movies growing up."

Rey Cuerdo is the third producer of "Ulam." He'd worked as a film studio executive and began film producing in the early 2000s. His most recent film credit is Ramona Diaz's documentary "Motherland," about Jose Fabella Memorial Hospital, a maternity hospital in Manila. Other credits include "Small Voices," "Crying Ladies" and "Zombadings."

"Ulam" was sparked by conversations between daughter and father. "He and his friend Paul Puzon had been meaning to do a Filipino food documentary but, for various reasons, it never got off the ground.

Do it

The idea stuck with her. "I've always wanted to tell stories that reflect my identity, and being Filipino American is a huge part of that."

A love for food, film, storytelling and her Filipino American identity: the ingredients for her documentary were just waiting to for her to get cooking.

"Get off your ass and do it!" were the marching orders from one of her film school heroes, Fil-Am cinematographer Matty Libatique ("Iron Man," "Iron Man 2," "Black Swan").

While working on a project together, Libatique asked if she'd ever had Filipino food in New York. Cuerdo, who took up film at UCLA, said no but mentioned she'd been interested in documenting Filipino food.

"He said, 'Well, then go!' I met with John Floresca to pitch the idea. That's where it started, in a Filipino restaurant in New York."

Favorite ulam

The ulam that Cuerdo remembers fondly from her childhood-in no particular order, she stresses-includes her grandmother's kare-kare (stewed meat with peanut sauce).

"I'd use my spoon and fork to make perfect little bites. I'd put eggplant at the bottom, then nestle string beans and rice into a little pile on the spoon with a dab of bagoong (fermented shrimp paste).

"My mom would accuse me of playing with my food. And I was! But it was because I wanted to make it last longer."

Another favorite is Mom's sinigang (soured soup). "She prefers salmon in it now, because it's healthier."

"My ninang Ama makes the best desserts and pastries. I've always wanted to learn to make pan de sal (bread rolls) with her."

"Every Christmas we have lechon (roasted whole pig). Then, for months after, we'd have lechon paksiw (sour-stewed leftover lechon), which I love even if my whole family would get sick of it."

The premiere of "Ulam" is presented by Amboy restaurant and Grand Central Market. The screening includes a panel discussion with Cuerdo and chefs from the film. Filipino food pop-ups (one-time dining events) will follow at Grand Central Market.

"Ulam" preview screening on May 20 at Million Dollar Theatre, 307 S Broadway, Los Angeles. Trailer and tickets for the preview screening at UlamTheMovie.com.

Parangal Dance to perform in SF, Hawaii, Italy

By WALTER ANG
April 4, 2017
Inquirer.net
http://usa.inquirer.net/2628/parangal-dance-perform-sf-hawaii-italy-premiere-new-works

SAN FRANCISCO -- San Francisco-based Parangal Dance Company will perform in San Francisco, Hawaii and Italy this year, the Filipino folk dance group announced.

Scene from "Pahampangon."
Photo by William Lee

In April it will perform in Hawaii during the Merrie Monarch Festival at the Edith Kanaka'ole Tennis Stadium (April 19). It will then have performances at Hilo Daijingu Hall (April 20) and at Kalani Resort (April 22).

In addition to performing its current repertoire of dance pieces, the group will premiere several new works.

"Binanog," a courtship dance featuring choreography that mimics the movements of the Philippine eagle, and "Pahampangon," a healing ritual, are from the Panay Bukidnon people from the Visayas region in the Philippines.

The new works will be performed again in June at the annual San Francisco Ethnic Dance Festival; final dates and venues will be announced later in the year.

Then it's off to Italy from July 25 to Aug. 7, where the group will dance repertoire favorites at the Latium World Folkloric Festival.

Parangal is Tagalog for "tribute," and the group pays tribute to Filipino dance heritage by helping to preserve and promote it.

Founding artistic director Eric Solano says, "Our mission is to create global awareness of the indigenous practices of ethnic groups in different parts of the Philippine archipelago."

Direct from the masters

The company's ethos is to research and learn their choreography directly from masters or experts from different ethnic groups across different regions in the Philippines.

Eric Solano (right) and dancers
from Parangal Dance Company
during field research with Caballero family.

For the new Panay Bukidnon pieces, Solano and nine of his dancers traveled to the Philippines last year to learn the choreography from the Caballero family, whose members include Rosita, a binukot or women who master their people's traditions such as oral poetry, music, embroidery, etc.

"It's important to immerse and learn from them. Not many traditions and dances from Panay are showcased in many, if not most, dance groups. We need to learn, preserve and educate."

Plight of lumad

At the group's Hawaii performances, Solano will premiere a new piece, "Padayon," which he choreographed and was spurred by the ongoing problems faced by several indigenous groups in Mindanao.

Scene from "Binanog."
Photo by William Lee

"It's to showcase the plight of indigenous peoples in Mindanao, also known as lumad, such as the Ata Manobo, the Talaingod, the Mandaya.

"They have been displaced due to harassment, ancestral domain claims and attacks or killings of their leaders and elders due to resistance to environmental plunder."

"Padayon" will be performed again in San Francisco in June.

Support

Parangal's current repertoire includes choreography and pieces from the Gaddang (also spelled Ga'dang) and Kalinga groups in Luzon; the Tagbanua in Palawan; and the Maguindanao, Maranao, Subanen, T'boli, Talaandig, Tausug (also spelled Ta'u Sug) and Yakan from Mindanao.

Parangal Dance Company.
Photo by William Lee

The dancers' different attires are likewise made by the ethnic groups and acquired by Parangal as part of its support for the communities it learns from.

While the full company numbers around 50 dancers, a more streamlined contingent will be traveling to the performances abroad.

Touring with the dancers are dance director Ritchel Tan and dance masters Marlon Dumlao, Rachel Perey and Major Julian, who also doubles as music director.

The group usually performs to chants, songs and music made by instruments indigenous to the Southeast Asian region such as kulintang (horizontally laid knobbed gongs), gandingan and agong (hanging gongs), sarunay and gangsa (metal xylophones), and tongatong (percussion bamboo poles).

For details on upcoming shows or on how to book the group for performances, visit Parangal.org or Fb.com/Parangal.

Filipino-American playwright Boni Alvarez brings aswang to Los Angeles

By WALTER ANG
March 30, 2017
Inquirer.net
http://usa.inquirer.net/2491/fil-playwright-boni-alvarez-brings-aswang-los-angeles

LOS ANGELES -- Boni Alvarez's recent play, "Bloodletting," the plot of which includes the Filipino supernatural entity aswang, proved popular enough with audiences to warrant an extension.

Boni Alvaez.
Photo by Mike Palma/M Palma Photography.

Premiered in October last year and scheduled to originally close in November, the play was extended until January of this year.

"The production was well-received. It surprised me a little," Alvarez admits, believing that it resonated with theatergoers because "there are many points of entry for the audience."

Directed by Jon Lawrence Rivera for Playwright's Arena, the play is about two siblings who travel to the Philippines to spread their father's ashes when the sister discovers her latent powers.

"There were people who loved the mythology, people who are fans of witches of all cultures.  Most of the audience accessed the play through the brother-sister relationship.  Some people loved the 'foreign-ness' of the play, an escape to a remote locale they know nothing about."

Inner monster

Over the past few years, Alvarez has been steadily crafting plays that connect, combine and collide elements from the two countries that have shaped who he is.

For this play, he drew on childhood memories. His parents are from Antique province in the Philippines, a region believed to be a nexus for supernatural creatures.

"I've always been fascinated by aswang," he says. "Especially because we only heard about them when we were behaving badly.  My parents would threaten that the aswang would get me if I wasn't good."

Curiosity won over fear. As a child he pondered, "What did the aswang look like, sound like, move like?"

During a visit to the Philippines when he was four years old, his family actually introduced him to an aswang who lived across the street from his grandmother's home.

He said in a previous interview that the introduction was a courtesy, "So that she wouldn't curse me or what not. She seemed like a normal woman, just another person in the village."

In the play, he uses the mythology "as the inner monster of the main character, that her human behavior is an extension of her inner self."

Acting to writing

Alvarez entered theater as an actor first before he shifted to playwriting.

Scene from "Bloodletting."
Photo by Playwright's Arena.

"In the seventh grade, I saw an audition notice for the Palo Alto Children's Theater. The play was 'Rumplestiltskin' and I was cast as Hilard, Master of the Household.  I loved the experience and continued performing in more and more plays."

He went on to study theater at Sarah Lawrence College. "I did some plays in New York and went to the American Repertory Theatre Institute at Harvard University for an MFA in Acting."

"After grad school, I went back to New York, but my hopes fizzled out. I had an agent, I was part of Actors Equity, but I wasn't getting very many auditions."

He'd taken several playwriting classes in college and remembered a professor telling him that he had a lot of potential as a playwright.

"I moved back home with my parents, took some more playwriting classes and, after a few years, went to the University of Southern California for an MFA in Dramatic Writing."

Filipino stories

Now based in Los Angeles, Alvarez has been adding Filipino American stories to the fabric of the US stage.

And while having been born and raised in the San Francisco Bay Area in East Palo Alto himself, he's incorporated immigration as a plot element in some of his works.

To wit: "America Adjacent," where pregnant women from the Philippines attempt to give birth in LA so that their children will have US citizenship; "The Special Education of Miss Lorna Cambonga," an immigrant Filipina schoolteacher who leaves her son in the Philippines to teach in LA; "Dallas Non-Stop," where a call-center agent in the Philippines tries to score a US visa.

Outside of LA, his plays have been produced or developed in New York, Phoenix, Philadelphia, and at the Oregon Shakespeare Festival.

As for acting, he actually had to step in during the run of "Bloodletting" when an actor became unavailable. "Audiences were very kind about my performance. It's been surreal, jumping back into acting after over a decade. But the experience has been eye opening and I'm excited about exploring acting again, especially with all of the opportunities that didn't exist fifteen years ago."

Process and new works

"I write every day," Alvarez says of his process. "It can be as much as thirty pages or as few as two."
He qualifies that "writing" can mean the many different things that need to be done in order for actual writing to happen. "Sometimes it's revision or research. Right now, I'm working on a play set in the Philippines during WWII so there's a lot of research involved.

"Sometimes, it's reading a novel that might inform the world of my play. Sometimes, it's something as simple as brainstorming character names or thinking about a play's title."

For the rest of this year, adaptations are also in the works. In June, Alvarez's play "Nicky," a modern adaptation of Anton Chekhov's "Ivanov," will be staged by Coeurage Theatre Company.

"I've made Nicky's wife, Anna, a Filipina. In Chekhov's original, Anna is Jewish and Ivanov turns her culture against her in a very mean and unfair way. I wanted to explore what it's like for a Filipino immigrant to find herself in the middle of another group of immigrants, in this case, a Russian family."

In September, his play "Fixed" will be staged by Echo Theater Company. An adaptation of Pedro Calderon's "The Physician of His Own Honor," Alvarez reconfigures the story to feature ladyboy masseuses who work at the House of Malacañang Massage in LA's historic Filipinotown. A forbidden love affair soon catches the attention of the city's hottest political family.

And if any theater groups are interested, he says, "One day, I would love to have my plays performed in the Philippines."

To contact Boni Alvarez, visit Fb.co/boni.alvarez.94.

PARC Manila is San Juan's new performance venue

By WALTER ANG
March 25, 2017
Philippine Daily Inquirer

"Pinagtawanan ako," says Wilmer Guido of his father's reaction when he announced his plan of building a theater. "He thought I was joking."

Architectural perspective of what PARC Manila will look like.

Guido founded and runs Performing Arts and Recreation Center (PARC) Manila, a repurposed office compound along a side street in San Juan that's now a space for intimate performances.

"The venue's aim is to provide opportunities for artists, to increase performing arts' impact on the youth and to cultivate a culturally competent society," he says.

His father's LED-billboards business was expanding and the 1,600-square-meter compound was about to be sold off. Guido requested that the building and lot be leased to him instead so he could transform it into an arts venue.

"It took a long time for me to convince my father, he's a businessman after all," he says.

This 24-year-old advertising management graduate from De La Salle University put his tuition to good use by making a feasibility study, conducting focus group discussions and crafting a business plan.

Market study

Guido's findings show potential in filling the seats. "There are a number of schools in the area and we are in a family-friendly neighborhood."

Wilmer Guido

He notes that SM City Sta. Mesa, Greenhills Shopping Center, Araneta Center and Robinsons Magnolia are all one jeepney ride away.

With his father's blessing, Guido established a foundation to run the venue. Some of the office spaces have already been converted for dance classes (jazz, contemporary, urban, movement meditation, etc.) and theater productions usually seating 200.

Recent shows include Egg Theater Company's "Moliere PMS" and Twin Bill Theater's "My Name is Asher Lev."

The space is open for all manner of performances such as music, improv acts, spoken word, etc. It's also available to rent for photo shoots, corporate events, even parties.

Opportunity

A classically trained pianist, Guido never had plans of becoming a venue manager. "I just saw an opportunity for it and took action."

His former piano teacher Raul Sunico, current president of the Cultural Center of the Philippines, is a trustee of the foundation.

Guido always keeps his father's practical advice in mind. He established his co-founders as part of the business team, finance director Samsam Santiago and marketing director Issay Nodalo, before recruiting artistic staff.

"We're still new. We're finding our ground and focusing on financial stability," he says. Revenue needs to be generated not  just to maintain the space, but also to build towards PARC Manila's intended final incarnation.

Guido has hired WTA Architecture and Design Studio and plans to eventually construct a two-story black box theater with an adjoining coffee shop.

While parking is limited for now, there are plans to break down the compound's posterior wall to allow access to the parking building behind it.

PARC Manila also wants to be a good neighbor by giving back to the community. Guido usually requests performing groups to have at least one show for free for public school students. The foundation also offers dance scholarships to public school students from the vicinity.

"Things are slowly taking off. It's still difficult. I have a lot of sleepless nights, but my hope and love for our local performing arts keep the fuel burning," he says.

PARC Manila will host workshops starting April 1 by theater companies Twin Bill and Scenius Pro on acting for adults, teens, children and backstage disciplines such as lighting design and stage management. Crammers Collective will also hold classes on using improvisational acting methods in teaching.

Call 0942-281-6920. PARC Manila is at 494 Lt. Artiaga St., San Juan.
Details: TheParcFoundation.ph or Fb.com/ParcFoundationPH.



Inquirer.net link:
http://lifestyle.inquirer.net/258138/summer-theater-workshops-start-april-1-san-juans-new-performance-venue

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Giannina Ocampo is in Rep's comedy 'In the Next room (or The Vibrator Play)'

By WALTER ANG
March 18, 2017
Philippine Daily Inquirer

Giannina Ocampo and Joshua Spafford.
Photos by JC Inocian

During the 1880s, Jose Rizal was studying to be doctor in Europe. Meanwhile, in the USA, doctors were using vibrators to treat women for hysteria (trivia: the word is derived from the Greek word for uterus, hystera).

Repertory Philippines' next play, Sarah Ruhl's comedy "In the Next Room (or The Vibrator Play)," touches on this (touchy) subject matter.

Giannina Ocampo plays Catherine Givings, who is intrigued by the medical technology her doctor husband uses to treat anxious women and men.

Other women characters in the play are portrayed by Tami Monsod, Caisa Borromeo and Cara Barredo. Joshua Spafford, Hans Eckstein and Jef Flores round out the cast directed by Chris Millado, who will also direct Rep's year-ender musical "Hair."

Infectious

Ocampo's excited to breathe life into her character. "Catherine's a woman on the verge of finding herself and discovering what's truly important to her. Her candor and innocence are so infectious and pure that you just begin to root for her and her relationships."

She adds, "Catherine has an insatiable curiosity for life and love. She's also unafraid to speak her mind and challenge norms. For women to speak up so candidly during that time was quite ludicrous."

To prepare for the role, she's been reading books and watching films set in the 1880s. "I want to get into that headspace so I can understand the setting better."

Her reading list includes titles that inspired Ruhl to write this play: "The Technology of Orgasm" by Rachel Maines and "Parallel Lives: Five Victorian Marriages" by Phyllis Rose.

Devices and de-stressing

While the characters in this play rely on a medical device for anxiety relief, Ocampo herself is not a gadget-junkie.

Giannina Ocampo and Joshua Spafford

"There really aren't any devices that I can't live without," she says. "But it's much easier when I do have my cellphone, to keep in touch with people, to listen to music, to read online and because, well, it's a necessity these days. And my laptop, to do work and to browse the net."

As for stress, it was actually after she got burned out in her corporate job that she shifted to acting. Since debuting with Rep's Children Theater, she's gone on to act for Red Turnip Theater ("Time Stand Still"), Philippine Educational Theater Association ("3 Stars & A Sun"), and Atlantis Theatrical Entertainment Group ("Jersey Boys"), among others.

These days, her go-to solution for relaxation is traveling. "I travel a lot. I work hard to travel, actually. I go to the beach as often as I can. The sea, sand and waves all relaxes me and just calms my soul."

When work keeps her in the city, there are still other options. "I run and do barre3 (an exercise regimen that incorporate ballet barre, pilates and yoga). I spend time with my husband, my family and friends. Through all of that, there's always good music, good food and good conversation. Those are the three essentials."

The show has set design by Mio Infante, costume design by Bonsai Cielo and lighting design by Katsch Catoy.

"In the Next Room (or The Vibrator Play)" runs Mar. 24-Apr. 23 at Onstage Theater, Greenbelt 1 Mall, Makati. Tickets: Ticketworld.com.ph. Details: Fb.com/RepertoryPhilippines.



Inquirer.net link:
http://lifestyle.inquirer.net/257561/vibrators-victorian-era-reps-latest-comedy/

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Devin Ilaw: A Pinoy Thuy in the new 'Miss Saigon' on Broadway

By WALTER ANG
March 18, 2017
Philippine Daily Inquirer

Devin Ilaw
Photo from Instagram.com/hellothereimdev

Sharing the stage with Rachelle Ann Go and Jon Jon Briones on Broadway for this year's revival of "Miss Saigon" are Filipino-Americans Eva Noblezada, Lianah Sta. Ana and Devin Ilaw.

In the story, where Vietnamese orphan Kim falls in love with and is abandoned by an American soldier during the final days of the American occupation in the 1970s, Go will play Gigi and Briones will play the Engineer.

Both are from the Philippines though Briones is now based in Los Angeles. Go will move to London later this year to act in "Hamilton" on the West End.

Playing the titular character Kim are Noblezada (born in San Diego to a Filipino father and Mexican mother) and Sta. Ana (born in New Jersey to Filipino parents).

(Go, Briones and Noblezada previously played the same roles in the 2014-2016 West End revival.)

While all four are making their Broadway debuts, their co-actor Devin Ilaw has already performed on the Great White Way as Montparnasse and Marius in "Les Miserables."

Jersey boy

Ilaw will be playing Thuy, Kim's betrothed cousin and one of the musical's antagonists.

He previously played the same part in the 2010 Toronto revival. He's acted in various productions across the US, including Song Liling in "M. Butterfly" and Lun Tha in "The King and I."

Born in New Jersey to Filipino parents, Ilaw grew up immersed in music. His mother plays the piano, is a church music director and was in a rock band; his younger brother sings, is an award-winning percussionist and plays over 20 instruments.

Piano playing

Ilaw himself began playing piano at seven and also went on to win awards. "My grandmother was my first piano teacher. I'm also a pretty good violinist and can play basic chords on the guitar. I'd love to get better at the guitar and teach myself the ukulele at some point."

Rachelle Ann Go and Devin Ilaw.
Photo from Instagram.com/gorachelleann

An offshoot of his piano playing, he started listening to show tunes ("My favorites were 'Les Miserables,' 'Miss Saigon,' and 'Jekyll and Hyde.'") and would practice belting out the songs.

"In 8th grade, I entered the school talent show and sang 'Confrontation' from 'Jekyll & Hyde,' and the rest is history!"

He went on to complete a BFA in Acting and Music Theater (with honors) from Carnegie Mellon University. (Same school of Zachary Quinto, Josh Gad, Ming Na Wen, Renée Elise Goldsberry, etc.)

Pinoy food

Though Ilaw's never been to the Philippines ("I'm dying to go. Hopefully soon!"), he grew up with its cuisine. "My mom is an amazing cook. I love Filipino food! My favorites are pancit palabok, menudo, mechado, pancit bihon, afritada, bicol express and sotanghon."

He's inherited her skills. "I can make a good adobo, both chicken and pork, and sinigang. I'm getting pretty good at making lumpiang shanghai."

He always jokes that the reason he spends so much time at the gym is so that he can eat anything and everything he wants.

Ilaw works out at least five times a week, usually starting with 20 minutes of cardio, either spinning or treadmill, then an hour on specific muscle groups. "My favorite day at the gym is chest day, and my least favorite is legs."

He also tries to attend a SoulCycle class every Saturday morning taught by Fil-Am castmate Robert Pendilla.

Ilaw's favorite word in Tagalog is 'mabuhay' and he says it's how he approaches every day: to live a good life with friends and loved ones.

"Miss Saigon" features music by Claude-Michel Schönberg with lyrics by Richard Maltby Jr., adapted from the original French lyrics by Boublil. This Broadway revival is scheduled to end in January 2018. A US tour will follow.

"Miss Saigon" previews ongoing, opens March 23, Broadway Theatre, 1681 Broadway, New York. Tickets: SaigonBroadway.com.



Inquirer.net link:
http://lifestyle.inquirer.net/257557/devin-ilaw-pinoy-thuy-new-miss-saigon-broadway/

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Filipino-Americans lead in Seattle staging of 'Here Lies Love'

By WALTER ANG
March 15, 2017
Inquirer.net
http://usa.inquirer.net/2169/fil-ams-lead-seattle-staging-lies-love

Jaygee Macapugay

SEATTLE - Filipino-American actors take lead roles in "Here Lies Love," a musical about the life of Imelda Marcos, at Seattle Repertory Theatre starting April 7.

Set in a disco where audiences stand and move around with the actors, the show opened off-Broadway in 2013 and won the Village Voice Obie award for music (David Byrne and Norman "Fatboy Slim" Cook) and lyrics (Byrne).

Jaygee Macapugay reprises her role as Imelda. New York Times praised her performance in the 2014-2015 run as "devastating . adds an extra dash of molten steel that makes this Imelda a red-hot chiller."

She says, "The music is so much fun. The songs are a truncated anthology of Imelda's life up until the People Power Revolution. It seemed as if her life had its own soundtrack. David was fascinated by Imelda installing a disco ball in one of her New York City residences.

"He was fascinated with the idea of how extremely powerful people live in their own bubble."

Reprising their roles from the first two runs are Conrad Ricamora ("How to Get Away With Murder") as Benigno "Ninoy" Aquino, and Melody Butiu  ("Rizzoli and Isles") as Estrella Cumpas, Imelda's nanny.

Manila-based recording artist Mark Bautista reprises his role as Ferdinand Marcos, which he first played in the 2014 staging at the Royal National Theatre in London.

Costume design

Cebu-born, New York-based Clint Ramos designed the costumes, for which he won the 2014 Lucille Lortel award. Critics have lauded his work for "Here Lies Love" as "vast and fabulous" (New York Times), "[providing] beautiful symmetry" (The Hollywood Reporter), and "top-notch" (New York Magazine).

Ramos won a Tony award last year for his work on the play "Eclipsed," starring Lupita Nyong'o. ("Eclipsed" is playing in San Francisco until March 19.)

Jaygee Macapugay and Melody Butiu both recently had their Broadway debuts: Macapugay in Andrew Lloyd Webber's "School of Rock" and Butiu in "Dr. Zhivago."

Martial law

Both also have personal family histories tied to the Marcos dictatorship. Their respective parents left the Philippines because of Martial Law; Butiu's parents even had to leave her elder brother behind in the first few years of their stay in the US.

Macapugay had played Imelda previously in another musical, "Imelda," for Pan Asian Repertory Theatre in 2009. "Both are completely different shows. Therefore, my character execution was also completely different, even if I was playing the same character."

She notes that while it's important to consider physicality and speech patterns in any role, "It's equally important to marry those ideas with the dictates of the show's text, music and choreography."

When crafting characters for the stage, "I start with my own opinions on the character, however, the final 'product' is always a collaboration with the creative team.  That collaboration is one of the many reasons I love theater."

Context

Both actresses researched to prepare for their roles, from reading books and news articles to interviewing people who'd spent time with the Marcoses.

Melody Butiu with her father

Macapugay considers Ramona Diaz' 2003 documentary Imelda as a great resource. "Seeing and hearing Imelda discuss in her own words her personal account of her rise to power and her overall life philosophy was fascinating and extremely helpful in creating the character."

Butiu is re-reading The Untold Story of Imelda Marcos by Carmen Navarro-Pedrosa. "It has the most detailed account of my character, Estrella Cumpas."

"My friend and co-star Conrad Ricamora shared a quote by Ninoy Aquino that really resonates with me regarding the biggest message of the show: 'We should not depend on one man; we should depend on all of us. All of us are expendable in the cause for freedom and therefore I say stand up now and be a leader, and when all of us are leaders, we will expedite the cause of freedom.'"

Representation

Butiu has been involved with this musical since it was still in its concept-album phase in 2005. Her work in the 2013 staging prompted New York Times to praise her "rich voice" and to contend that she should've been nominated for a Tony.

Butiu says she hardly saw any Filipino stories on TV and in the movies when she was growing up. "And certainly not in theater. To have the opportunity to tell Filipino stories on stage is a chance to delve into my family's history with my art.

"It's awesome to know that Filipinos in the audience can see their perspectives being shared, but also that others can see the universality in our experiences. Filipino stories are human stories."

Seattle

Both are enjoying their return to Seattle.

Though born in New York, Butiu was raised in Washington state and lived in a Seattle suburb for a while. "This is my first show in Seattle after not living here for many years. I can't wait to spend time at the Museum of Pop Culture, also known as MoPOP, the Chihuly Garden and Glass, as well as finding some great hiking trails."

Born and raised in Chicago, Macapugay has performed in Seattle before. "I'm looking forward to eating all the fresh seafood at Pike Place Market, including raw oysters, which are my favorite. In my first week here, I've already eaten sushi three times! I'm looking forward to eating at Pike Place Chowder, Elliott's Oyster House, and Blueacre Seafood."

Past Filipino cast

The original cast included Jose Llana as Ferdinand Marcos. Llana is currently playing the King of Siam in the US touring production of "The King and I" (Pittsburgh, Boston and Fort Meyers in April 2017.)

The 2014 West End cast included Natalie Mendoza ("Spider-Man: Turn Off the Dark" on Broadway) as Imelda and London-based Gia Macuja-Atchison ("Lion King" on West End), sister of Manila-based ballerina Lisa Macuja, as Estrella.

Directed by Alex Timbers, set design by David Korins ("Hamilton"), choreography by Annie-B Parson, lighting design by Justin Townsend, sound design by M. L. Dogg and Cody Spencer, and projection design by Peter Nigrini. Seattle Repertory Theatre's artistic director is Braden Abraham.

READ about Clint Ramos' 2016 Tony Award here.

READ about Jose Llana's work on "The King and I" here.

READ about Gia Macuja-Atchison's work on "Here Lies Love" here.

"Here Lies Love" runs Apr. 7-May 28 at Seattle Repertory Theatre, Seattle Center, 155 Mercer St, Seattle. Tickets: SeattleRep.org.

Nonon Padilla directs ‘Makbet’

By WALTER ANG
March 11, 2017
Philippine Daily Inquirer

Irma Adlawan

There's plenty of love amidst the murder and mayhem in William Shakespeare's "Macbeth," a play about an army general prophesied to ascend the throne and, upon the prodding of his wife, kills the people in his way to speed up the process.

The love of theater artists who are collaborating with each other once again, that is.

Nonon Padilla, Irma Adlawan and George de Jesus III all used to be part of Tanghalang Pilipino (TP). Padilla was founding artistic director and the latter two were resident actors. Gino Gonzales designed sets and costumes for TP, while Shoko Matsumoto designed lighting for the group.

The quintet is reuniting for a staging of Rolando Tinio's translation of the play, presented by De La Salle-College of Saint Benilde's Arts and Culture Cluster.

De Jesus is playing the titular character, with Adlawan tackling Lady Macbeth; students and faculty fill the rest of the cast.

Interpretations

"Superficially, 'Macbeth' may be about serial murders and obsessions with bloodlines," says Padilla. "But on reflection, 'Macbeth' isn't just about tyranny and ambition. Its central drama is the murder of the soul. It's the reenactment of the fall of Man from the Garden of Eden. The tragedy played out is Macbeth's discovery of the impossibility of eliminating the spirit or the soul."

George de Jesus III

Audiences will just have to watch to see how Padilla will execute his directorial approach. As for the two actors and the two designers working with him, their common refrain is that crafting a new production with Padilla doesn't require much explaining.

"We don't need to talk too much. Just a few words and we understand each other. We're like a family now," says Matsumoto, who now shuttles back and forth between Manila and Taipei. She recently designed the lights for "Next to Normal" for Atlantis Productions.

Joy, thrill

"Working with Nonon is always a joy," says Adlawan. "I have learned a lot from this man. He is partly responsible for what I am as an actress."

Adlawan received a Philstage Gawad Buhay for Outstanding Lead Female Performance for her work in TP's "Mga Buhay na Apoy" last year.

She expresses joy at working with De Jesus again, partly because they didn't have too many partnered scenes back when they were with TP. "I've known George since the '90s. I'm happy to be working with someone who knows the 'language' Nonon uses."

De Jesus seconds the motion. "Since we were both trained by him, his directions come at us fluidly. There's an inherent understanding and an energy that's hard to explain," he says.

"It's always a thrill to work with Nonon because he makes his actors' brains go on overdrive. It's so exciting to see his vision and work come together and to realize what you can do to contribute to that vision.

"His direction is quite challenging, as he asked us to look at the spiritual nature of Macbeth's tragedy, something that goes deeper than the usual ruthless ambition that Macbeth is known for.

"I just hope I can pull it off," he adds, laughing.

"Makbet" runs March 22-April  1 at Black Box Theater, 6/F  De La Salle-College of Saint Benilde School of Design and Arts, 950 P. Ocampo St. (formerly Vito Cruz), Manila. Tickes: Ticketworld.com.ph.



Inquirer.net link:
http://lifestyle.inquirer.net/256838/makbet-way-nonon-padilla-way-comes

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How Teresa Barrozo is designing the soundscape for Red Turnip’s ‘The Nether’

By WALTER ANG
March 4, 2017
Philippine Daily Inquirer

Standing, from left: TJ Trinidad, Jenny Jamora,
Bernardo Bernardo and Bojie Pascua.
Seated, from left: Ana Abad Santos and Alba Testa.
Photo by Jojit Lorenzo

Red Turnip Theater's latest production, opening on March 10, is "The Nether," a sci-fi crime drama written by Jennifer Haley that tackles the complicated results of blurring the virtual and the real.

The play is set in the near future where a detective interrogates the creator of a virtual reality area in the "Nether"--the evolved version of the internet--that caters to pedophiles.

Directed by Ana Abad Santos, the cast includes Jenny Jamora, Alba Berenguer-Testa, Junyka Santarin, TJ Trinidad, Bernardo Bernardo and Bodjie Pascua.

Acclaimed work

Teresa Barrozo, an award-winning composer and sound designer whose work has been hailed in films such as Brillante Mendoza's "Kinatay" and in theater productions such as Peta's "Bona," Tanghalang Ateneo's "Middle Finger" and Repertory Philippines' "Next Fall," is handling the sound design.

Teresa Barrozo

For a play that deals with unsettling scenarios, her approach is to "explore the broad spectrum of emotions relating to fear: doubt, suspicion, terror, horror, panic, etc. Then I have to find the closest sounds that would best trigger these feelings," she says.

"Sound can be subjective. Listeners sense fear differently. One might sense danger from a loud and angry thunderclap. Another might feel uneasy as a low rumble creeps in. Some might feel disturbed with a sweet and gentle lullaby, while others might panic with the mere absence of sound."

She points out that "fear, danger and suspense can be heard, seen, felt and imagined. If done in proper context with the right mix of all the other theatrical elements such as music, lights, costumes, set design, acting, etc., it would be interesting to tell this disturbing story."

Heartbreak

Though she'd always wanted to try her hand at musicals, Barrozo began her career as a composer for film.

"My heart got broken by an industry colleague," she says candidly. "I promised not to work in film ever again, which did not happen-but that's another story.

"That was when I decided to try theater. Then I fell in love with sound design. I felt more free expressing myself through sound."

Barrozo says she's intrigued by how listeners can be affected by what they hear, even in the absence of spoken lines. "A single sound can be loaded with emotion, meaning and history."

Her process is to first attend rehearsals to get a grasp of the tone and where the play is heading. "I ask the director and the actors my questions. It's important that I understand the material before working on the sound and music design."

She then consults with the other designers (set, costume, makeup) before conceptualizing a soundscape. If a production needs original music, she handles composition duties.

Relaxed and fun

Her relationship with the Red Turnip group is something she keeps going back to. Barrozo designed the sound for the company's three previous productions ("33 Variations," "Constellations," "Tribes").

"They invite me back. With the Turnips, it's always relaxed," she says. "Theater work itself is toxic especially when the schedule is tight, but the Turnips have a way of making things calm and fun."  -

Red Turnip Theater's "The Nether" runs Mar. 10-Apr. 9 at Power Mac Center Spotlight Theater, Circuit Mall, Makati. Tickets: Ticketworld.com.ph. Details: Fb.com/RedTurnipTheater.



Inquirer.net link:
http://lifestyle.inquirer.net/255963/teresa-barrozo-designing-soundscape-red-turnips-nether

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LA theater director Jon Lawrence Rivera soldiers on to boost new voices

His theater company Playwrights' Arena is celebrating its 25th anniversary

By WALTER ANG
March 2, 2017
Inquirer.net
http://usa.inquirer.net/1911/la-playwright-director-soldiers-boost-new-voices

Jon Lawrence Rivera

LOS ANGELES - What would you do if your new theater company has just mounted its inaugural production and a riot occurs?

Keep going, just like Jon Lawrence Rivera did. When he founded Playwrights' Arena in 1992, the Rodney King riots erupted after its first show opened in Hollywood.

That's when he decided to devote the company to staging new plays by LA playwrights. "People had no place to put their energies. I knew I could promote local playwrights who'd been complaining that no one produced them unless they've been successful somewhere else," Rivera said in a previous interview.

He's done so for 25 years now. "I'm a bit overwhelmed that we've lasted this long," he says. "It's a proud moment for me and for the company to have launched many careers. Especially since most of them are writers of color."

Passion

Born in Manila, Rivera and his family left the Philippines after his journalist father Jose Lorenzo "Larry" Rivera was blacklisted by the Marcos dictatorship.

Australia granted them asylum, and Rivera studied acting in Sydney before relocating to the United States where he studied film directing at Los Angeles City College.

After he worked as a freelance director and producer, a desire to work on material that he'd be personally passionate about spurred him and an actor friend to rent a theater, hire a then-unknown actress Elisabeth Shue and put on a play.

A quarter of a century in, the company now stages two to four productions a year by playwrights of all colors, all world premieres or LA premieres. It also has a staged reading series for new works in development.

Filipino American playwrights or plays with Filipino characters that the company has staged include Jessica Hagedorn ("Dogeaters"), Daniel Cariaga ("Sleepwalk"), Nock Salamone ("Helen"), Michael Premsrirat ("Girl Most Likely To"), and Boni Alvarez ("Ruby Tragically Rotund," "Dallas Non-Stop" and "Bloodletting").

Diversity

It hasn't been without challenges. Rivera's commitment to premiering new works instead of staging more commercial fare is one of the reasons why his founding partner left.

Rivera's insistence on diversity on stage has cost him projects. "There's a resistance to it, mostly by white producers, because it's not a world they see, or they refuse to see, even though it's in front of them every day."

He still sees "an overwhelming number of productions that have an all-white cast because the theater's white artistic director or the play's white director goes to their `default' choice, which is white."

Rivera is frustrated by productions set in "major cities like LA, San Francisco, San Diego, Chicago or New York" but with no actor of color. "How is that possible? We still have a long way to go, in terms of diversity," he says.

Nonetheless, he's seen some improvement. "I find that if the theater artistic head or a production's director is a person of color, then we see an increase of diverse artists involved in the process."

"It's also great how much our talent pool keep rising up to the challenges. The quality of acting has improved greatly and some are moving up in ranks and going to big regional theaters and on to Broadway."

Coming up

If you include staged readings, Rivera has directed over a hundred productions, for his own company and others. And because his designation is usually "director," it's easy to miss all the other things that he has to do to run the company.

He also has to cultivate a board of directors (who source funding for the company), secure and maintain an annual budget, select and implement the line-up of plays per year, hire manpower, and does community engagement and student-outreach programs.

He's still at it. Kicking off its silver anniversary line-up with a nod to its birth year, Playwrights' Arena is staging "The Hotel Play," conceived and directed by Rivera and written by seven women playwrights of color.

To be staged at an actual hotel, audiences will go from room to room and watch/listen to attendees of the class of 1992's high school reunion. "Their school days ended bitterly due to the riots. They ponder what might've and could've been. All the characters will then intersect poolside where confrontations spark and truths are revealed," Rivera explains.

The company will also be hosting its silver anniversary benefit gala, "Hot Night in the City." Billed as "an electrifying evening of songs and words," the program includes handing out the company's Lee Melville Award, given for outstanding contribution to the LA theater community, to three honorees-one of whom will be Fil-Am actor Reggie Lee (NBC's "Grimm").

"The Hotel Play," previews start Mar. 31, runs Apr. 1 to 16 at Radisson Hotel Los Angeles Midtown at USC, 3540 South Figueroa, Los Angeles. Tickets: thehotelplay.brownpapertickets.com.

"Hot Night in the City" is on Apr. 11 at Barnsdall Gallery Theater, 4800 Hollywood Blvd., Hollywood. Tickets: hotnight17.brownpapertickets.com.

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