Filipino American guitarist Florante Aguilar’s album ‘Probinsya’ showcases traditional music

By WALTER ANG
Oct. 27, 2022 | USA.Inquirer.net 

SAN FRANCISCO — Filipino American classical guitarist Florante Aguilar's new album Probinsya is a collection of songs lovingly put together in honor of his hometown Kawit, Cavite.

Florante Aguilar

With painter Romeo Tabuena's "Guitar & Birdcage" as the featured artwork, the album specifically recalls the music traditions that Aguilar's childhood was immersed in.

The 11 tracks are a combination of folk songs and classic compositions such as "Rosa Pandan," "Cariñosa" and "Sinisinta Kita," among others, all arranged and performed by Aguilar.

Aguilar's youth in the 1970s was filled with music. "My mother, Celestina Capayas Aguilar, was a pianist and I grew up hearing her play the music of Nicanor Abelardo, Antonio Molina, Francisco Santiago and other giants of 20th century Filipino music composition. If you lift the top of the piano chair, you'll find tons of very old torn up music sheets that she collected over the years."

He credits the elders of his hometown for introducing him to different musical traditions. "I grew up listening to harana (serenade), kundiman (torch songs) and rondalla music. They taught me to play the octavina and guitar. I became `the wonder kid playing with the old-timers' during fiestas in our town. It was the best possible place for me to learn about the richness of the country's traditional music."

Focusing

Aguilar went on to study classical guitar performance at the University of the Philippines and eventually moved to the US to pursue further studies to hone his technique.

"I was there at EDSA during the People Power Revolution in 1986, protesting the rigged election of Marcos. I then witnessed all the chaos, the transitional government and the endless coup d'états. I knew that the instability of the Philippines was not a conducive place for me as an artist.

"It was very hard for me to reconcile focusing on classical guitar while the rest of the nation starved. I was glad to be part of toppling a dictator, but I also knew I needed a stable environment because all I really wanted to do was to master the classical guitar.  At the time, I felt studying in the US was the best place for it, and that I'd have a better chance of success as a musician in the US."

He left the year after to study guitar under a scholarship at the Manhattan School of Music and later earned a Bachelor's in Music at the San Francisco Conservatory of Music.

Champion

Now based in Napa Valley, Aguilar has been championing Filipino traditional music through his albums and work in film and theater.

A teenaged Aguilar performing at his hometown in Cavite.

He composed and cowrote the libretto of "Aswang the Concert: Mga Kuwentong Halimaw, Their True Stories," a dramatized song cycle featuring Philippine mythical creatures such as manananggal, tikbalang, syokoy and tumao.

He is also a frequent collaborator with San Francisco-based performance group Kularts, composing music for their performances.

He is coproducer of documentary Harana: The Search for the Lost Art of Serenade, where Aguilar interviewed and collaborated with three haranistas from remote provinces in the Philippines.

Homage

Aguilar recalls receiving a bicycle from his father when he was 10. "I explored the other barangays of Kawit. I loved riding my bike, seeing the open rice fields, discovering places, enjoying beautiful sunsets over the irasan (salt beds). The salt-making  industry was huge then.

The last time he visited Kawit  was 14 years ago. "It looked very different. It didn't feel like a probinsya anymore. It [had become] well-developed and modernized.

"I think that is why I hold on to the romantic image of my hometown. It is gone. Playing traditional music is my way of paying homage to that bygone era."

"At its heart, what influences the Probinsya album is appreciation of traditional music. I saw the way the elders listened to and practiced this kind of music in a devoted way. They talked about the best kundiman singers, the legends of harana, and they had encyclopedic knowledge of the repertoire. To my young mind, they were such virtuosos of the rondalla. You could say that the album is actually rondalla music arranged and played on the classical guitar."

"Probinsya" is released by New Art Media Chicken Coop Productions and is available on music streaming services. Visit floranteaguilar.com.

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https://usa.inquirer.net/114560/fil-am-guitarists-album-probinsya-showcases-traditional-music

New Disney Filipino American cartoon character inspired by family, culture

By WALTER ANG
Sept. 15, 2022 | USA.Inquirer.net 

LOS ANGELES — Filipino American Krystal Banzon is bringing to life a new Disney cartoon character. Not only that, the character is Filipino American.

Bo Bayani and his firetruck Flash go on adventures in Disney Junior's "Firebuds,"
which has Filipino American Julius Aguimatang as one of its directors. 

Banzon is a staff writer on Disney Junior's "Firebuds," an animated comedy-adventure series featuring Fil-Am Bo Bayani and his best friend, firetruck Flash.

Bo and his friends, all children of first responders, always team up with their vehicle sidekicks to help others in their community with problems big and small. The music-filled series follows their adventures as they learn the importance of teamwork, volunteerism and what it truly means to be a hero.

Fil-Am actor Lou Diamond Philips voices Bo's father, Chief Bill Bayani. Fil-Am Julius Aguimatang is one of the show's directors. "We are proud to represent multiple Filipino folks behind the scenes!" says Banzon. "Some storyboard artists and production assistants are [Filipino Americans] as well."

On Twitter, Lou Diamond Phillips wrote, "So thrilled to be part of this exciting new series! So innovative, creative and fun . I'm excited to say that Chief Bill is Filipino as well as being a first-responder!"

In the show itself, "in addition to Bo and Chief Bill, we have Lolo Ben, who was also a Fire Chief before he retired. There's also Bo's Lola Belen," adds Banzon.

"And of course, in our magical world of talking vehicles, we have Jipney, the fabulous and cheerful jeepney who helps transport Bo's large extended family. Of course, Jipney comes complete with his own disco ball and karaoke machine!"

Excited

Banzon was brought on to be part of the show by Emmy Award-winning creator and executive producer Craig Gerber (Disney's "Elena of Avalor" and "Sofia the First"). "When he told me that the main character in the show is Filipino, I was so excited! As a staff writer, I am part of the team that develops and writes stories for the show."

"As a mother, I had been looking for children's content that represented our family and culture. To have the opportunity to help make that happen for my kids and other kids of color out there, I knew I wanted to be a part of the show!"

Born in Los Angeles, Banzon's previous work involved theater directing and dramaturgy in New York. She was also previously connected with NBC Universal, was a cofounder of production company Ekweytor MC and was a founding board member of theater nonprofit Art2Action.

Deeply Filipino  

Banzon was able to draw from her own experiences for the show's initial batch of episodes. "I used a lot of examples from my life growing up as Filipina American in the stories we tell involving Bo, Bill and the Bayani family."

Filipino American Krystal Banzon is a writer on Disney Junior's "Firebuds,"
which features Fil-Am character Bo Bayani and his firetruck sidekick Flash.

"We have a moment where Bo greets his lolo with a 'mano po.' I remember learning that gesture as a sign of respect for my elders as a child."

One memory she recalls fondly provided a cultural reference for an upcoming Christmas episode. "We have Bo and Bill making a parol together, which is something I used to do when I was little. I remember my lolo tying sticks and twine together to make one for me as kid."

"There is a deep intergenerational relationship between Bo, his dad and his lolo, which is so deeply Filipino, in my opinion," Banzon observes. She points to her own family's bonds, "I grew up with my lolo and lola living with us. My children are lucky enough to have the love of their grandparents and a great-grandparent!"

"The Bayanis are a big family! We portray their gatherings just like the family gatherings I have in my life, full of food, joy and family."

Culture

Banzon believes that "Firebuds" is one way to "pass on culture, traditions, and values."

"In 'Firebuds,' we have Bo learning how to be a community helper and his best self, from the wisdom and examples of his dad and Lolo.

Bo with his father Fire Chief Bill Bayani, voiced by Fil-Am actor Lou Diamond Philips. 

"It's a special opportunity working with a show in its first season because you get a hand in formulating the voice, personalities, and spirit of these characters from the very beginning. It's particularly fulfilling when a show represents your culture, and works hard to be inclusive and representative of the world we live in.

"I think that in kids programming, there is a big, beautiful responsibility to show kids the magnificent diversity of the world. I feel lucky and honored to be a part of bringing the Bayani family and the whole 'Firebuds' world to life!"

Upcoming live show

Melissa Rauch ("The Big Bang Theory") voices Bo's mother Beth. Celebrity guest voice actors in upcoming episodes include Aimee Carrero ("Elena of Avalor"), Lisa Loeb ("Jake and the Never Land Pirates"), Patton Oswalt ("Ratatouille"), Weird Al Yankovic ("Milo Murphy's Law"), LaChanze (Broadway's "The Color Purple") and Padma Lakshmi ("Top Chef"), among others.

Bo and Flash are included in the upcoming "Disney Junior Live on Tour: Costume Palooza," which is scheduled to have shows in more than 80 North American cities this year.

Scheduled for release next year are a digital soundtrack from Walt Disney Records, storybooks from Disney Publishing, and a toy line featuring vehicles, figures, playsets and other items.

"Firebuds" airs Wednesdays on Disney Junior. Premieres Sept. 21, 2022.

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https://usa.inquirer.net/110773/new-disney-fil-am-cartoon-character-inspired-by-family-culture

Lydia Gaston channels all Filipino American moms to play Jo Koy's in 'Easter Sunday'

By WALTER ANG
July 20, 2022 | USA.Inquirer.net 

NEW YORK — Seasoned theater actress and dancer Lydia Gaston stars in the crucial role of Tita Susan, the matriarch in Filipino American stand-up comedian Jo Koy's feature film "Easter Sunday." 

Filipino American actor Lydia Gaston (left) in a scene with Jo Koy in the film "Easter Sunday." 
Photo from Amblin Entertainment

Opening in theaters on Aug. 5, the film spotlights Jo Valencia (played by Koy), who returns to his family home "for an Easter week of eating, laughing, drinking and riotous fun." The material draws from Koy's personal experiences and his popular routines.

Audiences familiar with Koy's shows knows how largely his mother looms in his bits. "The woman Lydia [Gaston] that plays my mother, she's phenomenal," Koy says in an interview with Entertainment Weekly. (Koy and girlfriend Chelsea Handler yesterday announced an amicable end to their relationship of one year.)

The film is touted as the first Hollywood studio comedy to showcase an all-Filipino main cast. In addition to Koy and Gaston, other Filipino Americans in the cast include Tia Carrere ("True Lies," "Wayne's World"), Melody Butiu ("Rizzoli & Isles," Off-Broadway and Broadway's "Here Lies Love") and Eva Noblezada (Broadway's "Miss Saigon" and "Hadestown"). Filipino Canadian Elena Juatco is also part of the cast.

Also in the cast are Eugene Cordero ("The Good Place," Disney+'s "Loki"), Joey Guila ("Comedy InvAsian"), Rodney To ("Parks and Recreation," HBO's "Barry"), Brandon Wardell ("Curb Your Enthusiasm"), and Lou Diamond Phillips ("Bluebloods," "Cougar Town").

Excitement

A longtime New Yorker, Gaston hails from Negros Occidental province in the Philippines. Her performing career began with Ballet Philippines where she became a soloist at 16. She moved to New York at 18 to pursue a dance career, eventually working with various dance companies, most prominently with choreographer/playwright Rachel Lampert. She has been in national tours or regional productions of musicals such as "West Side Story" and "South Pacific."

Gaston made her Broadway debut with "Shogun, the Musical." She was most recently in the revival of "The King and I." She has worked with Ma-Yi Theater Group, National Asian American Theatre Company and Pan Asian Rep. She is currently an adjunct professor at Empire State College.

Amalgam

"There were several levels of excitement and disbelief [over several] weeks before I got the final okay," says Gaston of the audition process. "Getting the invitation to submit a self-tape, reading the scenes and loving them, hearing from my agent later to say that they were inquiring about my availability, and then the callback on Zoom with the director Jay Chandrasekhar and Jo Koy."

Lydia Gaston plays Jo Koy's mother in "Easter Sunday."

"I studied some videos of Josie, Jo's mom. She seems very poised and intelligent. Obviously, she's very proud of Jo. Her body language does give me clues that, like most Filipino moms, she's a disciplinarian."

However, as she prepared to create the Tita Susan character, Gaston watched more videos of Koy where he impersonates his mother. "I'm fascinated by the exaggerated version of his mother because woven into it is his response as the recipient of the constant nagging and criticism. I can detect his exasperation with her, his amazement and bafflement at how this woman, his mother, can be completely confident in the ways she thinks she's always right."

"Studying how Jo portrays his mother is seeing an amalgam of Filipino American mothers. And I fit right in. When I first got the [script for the self-tape], I just thought it was so funny and perfect. The way Jo characterizes his mom is very familiar to my ear. I hear my mother's voice and my own voice when I nag or correct my husband and my daughter. My daughter lives in Europe now but my texts to her are always reminders. With my mother in the 1970s, `80s and `90s, she would send me these long letters full of warnings and reminders."

A person with feelings

In addition to mining her personal insights as a mother herself, Gaston also worked on the attributes of her character as a whole. "I think accents, like languages, open up different sides to our personality. I do have, I think, a pretty authentic Filipino accent, Ilonggo accented probably. My acting coach encouraged me to embody the accent."

Stand-up comic Jo Koy (left) and actor Lydia Gaston
in a relaxed moment behind the cameras.

"My coach and I really looked at Tita Susan as a person with feelings, not as a person who speaks with an accent. The way she speaks is part of who she is. As an exercise, I would improvise the English lines in the Filipino dialects that I know in order to explore how Susan would say them."

Gaston says that she and her coach worked hard to build Tita Susan "from a realistic, compassionate point of view. Beneath her toughness is a vulnerability. She is a mom and always wants to be around family. She also wants to be acknowledged for the hard work she always puts in."

Speaking of family, Gaston and the cast formed one of their own of sorts while filming. "Working with Jo Koy and the Filipino Americans and Filipino Canadians on the set was fantastic. The actors had to live in a bubble and quarantine in our rooms for two weeks. On the first shoot day, we were like children finally released on the playground. It also felt like we were an acting company, similar to theater."

"We all got to know Jo and he's just the way we see him onstage: generous, funny, and hardworking. I was also struck by his show of respect and admiration for the actors working with him. It made us do our best work."

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https://usa.inquirer.net/105863/lydia-gaston-channels-all-fil-am-moms-to-play-jo-koys-in-easter-sunday

Vancouver show recalls stories of first Filipino settlers in Canada

By WALTER ANG
July 15, 2022 | USA.Inquirer.net

VANCOUVER, B.C. — Stories, songs, dances and poetry of how Filipinos have settled in Canada will go onstage in a new show "Buto/Buto: Bones are Seeds."

Directed by Filipino Canadian Dennis Gupa, "Buto/Buto: Bones are Seeds"
will feature Philippine performance traditions such as prusisyon. 

From the 1791 Malaspina Expedition until the present, the show tackles histories of Filipinos arrivals in Canada. The writing team crafted the script based on stories shared by community members in a year-long creative process.

The performance employs the life of Benson Flores, one of the first Filipinos who lived on Bowen Island, British Columbia in the late 19th century, as a jumping off point to showcase a collection of vignettes.

Filipino Canadians in the artistic team include director Dennis Gupa as well as co-librettists Karla Comanda, Christopher Nasaire and Marc Perez.

Cross pollination  

Other Filipino Canadian artistic collaborators include choreographer Alvin Tolentino, set and lighting designer Noreen Sajolan, costume designer Mirabel De Guzman, score and sound designer Eri Kikuchi and voice coach Jeremiah Carag.

Fil-Canadians in the cast include Anjela Magpantay, Ted Ngkaion and Abi Padilla. JR Guerrero is a musician for the production.

Performers from different generations and disciplines will enact dramatic scenes that are emblematic of Philippine performance traditions such as sarsuwela (musical theater), kundiman (love songs), prusisyon (processions) and pasyon (epic chant).

Germination

This theater work was spearheaded by Gupa and is the result of the Jose Rizal Intercultural Theatre Project, a collaboration between the National Pilipino Canadian Cultural Centre and the Southeast Asian Cultural Heritage Society with the special participation of Anyone Can Act Theatre.

The project began its research phase in 2021, which included lectures and discussions on Jose Rizal's life and works and the histories of Filipinos in British Columbia.

This was followed by an arts training phase for the community from September of last year to February this year. Participants attended weekly training sessions with theater professionals and Southeast Asian performance practitioners to learn skills.

The staging of the work is the current phase. Processing lessons learned from the experience will be the next phase.

"This production has been a two year-long effort," said Gupa. "These three organizations each brought their expertise and communities to the table, which allowed for this project to move forward at the level of commitment, funding, and passion that our audience members will experience."

Rooted

"The show is collectively created by immigrants with a heritage rooted to lands elsewhere. The storytelling jumps entire eras and oceans . [with] a circuitous and ebbing memory of arrival, transit, and the specter of departures."

"This original work is an ode to the resilience of the community, filling its longing for home with Jose Rizal's legacy: love for the community, land, and their original country of birth.

"Our mission with this performance is to share with our multicultural Canadian society about Philippine history, languages, heritage, arts and culture, and histories of Filipino migration to Canada and its significance to Canadian society and economy."

"Buto/Buto: Bones are Seeds" runs July 28-31 at Russian Hall, 600 Campbell Ave., Vancouver, Canada. Visit linktr.ee/npc3. 

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https://usa.inquirer.net/105539/vancouver-show-recalls-stories-of-first-filipino-settlers-in-canada

Filipino American Raven Ong designs costumes for theatrical kings and ghosts

By WALTER ANG
July 13, 2022 | USA.Inquirer.net

NEW YORK — Filipino American costume designer Raven Ong has four shows opening this summer, one of which will have an international staging.

Progressing stages of Raven Ong's (right) costume design
for "The Ecstasy of Victoria Woodhull."

Ong has designed the costumes for a triptych of Shakespeare plays for DeCruit Company and for a play about a woman who wore many hats for Owl and Pussycat Theatre Company.

Ong's credits include "Beautiful: Carole King Musical," "Waitress," "Kinky Boots," "Matilda" and "The Producers," among others. He designed the costumes for Fil-Am playwright Linda Faigao-Hall's "Dying in Boulder." He teaches costume design at Central Connecticut State University.

New material

Ong was approached by Sean Harris, Artistic Director of Playhouse on Park Theater Company, to design one costume for the single actor who carries the play "The Ecstasy of Victoria Woodhull."

It features a clairvoyant who channels the spirit of Woodhull, a woman written out of history for her "radical views." Woodhull was a Suffragette, an activist for women's voting rights, ran her own Wall Street firm and progressive newspaper in New York and was the first woman to run for President. She was also a spiritualist con-artist.

"It's always interesting to collaborate on new material," Ong said. "I joined director Sean Harris, playwright Theo Salter and the actor Ashley Ford for rehearsals in West Hollywood. It was a very rich process where we discovered many things inside the rehearsal room.

The play recently ended its run in Hollywood and will be performed at the Edinburgh Fringe Festival after its New York run.

Multiple characters

DeCruit will be staging adaptations of "Richard III," "Macbeth" and "Henry VI" parts 1, 2 and 3, respectively as: "The Head of Richard," "Make Thick My Blood" and "She-Wolf."

Ong was introduced to the producers of DeCruit through Jason O'Connell, who is directing "The Head of Richard." He'd worked with O'Connell in early 2020 just before the pandemic began, designing a staging of Kate Hammill's adaptation of "Pride and Prejudice."

"The triptych brings so much inspiration and challenge for a designer. Each play has only two actors. This means multiple character changes without leaving the stage. So how can the costumes and costume pieces help in telling the story?

Some of Filipino American costume designer Raven Ong's works
for DeCruit Company's triptych of Shakespeare plays. 

"How do we show the audience the magic of shifting characters right before their eyes in a way that is not confusing? We have three brilliant directors who've all choreographed the character changes seamlessly. It was pure collaboration!"

Meaningful

But more than an opportunity to flex creative muscles with other collaborators, Ong was drawn to the group's ethos. The DeCruit program supports veterans who were recruited into the military to be "de-cruited" for the civilian world by using theater as a tool for processing emotions and behavior.

"The message of these plays and the service to the community that DeCruit producers Stephan Wolfert and Dawn Stern provide is what I find truly meaningful. When we say theater is meant for the audience to have an experience, these are the perfect shows for that.

"As I work more on these kinds of plays as a costume designer, I begin to feel that a spectacle is no longer defined by the lavishness of visuals and effects, rather, a transformative experience that cultivates visibility, accessibility and inclusion."

"The Head of Richard" opens July 15. Visit decruit.org. "The Ecstasy of Victoria Woodhull" runs Jul 17-31. Visit optheatreco.com.

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https://usa.inquirer.net/105323/fil-am-designs-costumes-for-theatrical-kings-and-ghosts

An all Filipino American showcase at SheLA Summer Theater Fest

By WALTER ANG
July 7, 2022 | USA.Inquirer.net

LOS ANGELES — This year's SheLA Summer Theater Festival will feature two plays written by Filipino Americans, with both directed by Yari Cervas and produced by Leah Vicencio.

Filipino American actors Kristel Dela Rosa (left) and PJ Cimacio in "Too Much Skin."

The two plays explore "narratives of first generation Filipinx Millennials grappling with identity, belonging, and family ties in the diaspora." (Filipinx is a gender-neutral variation for Filipina/o that has gained traction in academic and cultural settings.)

"Too Much Skin" by Carolene Joy Cabrera King follows two Filipino American siblings forging their own identity in the United States as they battle assimilation and white supremacist culture.

Darna has taken in her unemployed brother Christian, dates white dudes obsessed with her "exotic" appearance and cosplays as anime characters to hide her Filipino identity. The siblings confront their fears about who they are and their place in the world through video game fever dreams, bad dates and lots of late night snacking.

Fil-Am cast includes Kristel Dela Rosa, PJ Cimacio and Zeus Oira.

In her play "Electra," Luz Lorenzana Twigg aims to "eviscerate cancel culture" as she adapts Sophocles' masterpiece with the question "What do you have left when the deed is done?"

Electra's mother, a successful white feminist senator and self-appointed leader of the #metoo movement, cancels her father, a human rights lawyer, over allegations of cheating and sexual assault. Passionate and full of rage, Electra wrestles with the inheritance of her biracial identity as she plots to exact justice on her mother.

Fil-Am cast includes Soleil Joun.

Collaborations

Yari Cervas (whose gender identity uses all pronouns), was a cofounding artistic director of MaArte Theatre Collective in San Diego, the city's only theater organization devoted to Filipino American theater makers. Cervas' involvement with both productions grew out of close, long-term collaborations with King and Twigg, some of which were through MaArte.

Filipino American theater makers. (From left) Director Yari Cervas
with playwrights Luz Lorenzana Twigg and Carolene Joy Cabrera King.

Her recent directing credits include "Desert Rock Garden at New Village Arts," "The Fire In Me," "You're Safe Here" and "Your Best American Girl."

Cofounder of Roaming Theatre Collaborative and currently based in New York, Luz Lorenzana Twigg is a playwright and lyrical poet from Santa Barbara, California. Credits include "Platinum Record," "America, Home, Heart," "The Trouble with Paradise" and "Sinner/Saint."

Based out of Escondido, California, King is a poet, playwright, educator and activist. Credits include "Colored," "Stories of Sun Café" and "Halo Halo."

Leah Vicencio is a Creative Producer at Super Awesome Friends and Head of Media and Education of The Broadway Sinfonietta, an all-female, majority women of color orchestral collective.

SheLA is a branch of SheNYC Arts, a nonprofit that showcases emerging gender-marginalized theater writers and composers.

"Electra" runs July 14 and 16; "Too Much Skin" runs July 15 and 16. Zephyr Theatre, 7456 Melrose Ave., Los Angeles, California. Visit Shenycarts.org/she-la. 

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https://usa.inquirer.net/104929/an-all-fil-am-showcase-at-shela-summer-theater-fest

Filipino Canadian playwright Riley Palanca joins Montreal Fringe

By WALTER ANG
June 6, 2022 | USA.Inquirer.net

MONTREAL — Filipino Canadian playwright Riley Palanca will premiere his play "Would Virginia Woolf Contemplate Suicide If She Were Filipino?" at this year's St. Ambroise Montreal Fringe Festival. 

Riley Palanca has been writing and staging plays
with gay characters or themes for over a decade. 

Written under the pen name Revan Badingham III, the one-act play is about Filipino Canadians Lemar, a new immigrant to the country, and Warren, a child of rich immigrants, who decide to meet in person after matching with each other on an app. Games lead to uncovering of differences and revelations of similarities. Will they or won't they?

The production boasts a Filipino Canadian cast and director. Roy Vhinson plays Lemar. Credits include "The Laramie Project," "Dr. Faustus" and "Peter and the Starcatcher." Marc Ducusin takes on the role of Warren. Credits include performances for In The Wing Promotions, Kaleidoscope Theatre, Acts to Grind, Brave New Productions, Full Circle Productions, the Cote-Saint-Luc Dramatic Society, and the McGill Savoy Society, for which he also served as a producer.

Director Dennis Gupa is currently an Assistant Professor at the Department of Theatre and Film University of Winnipeg. Gupa completed his doctorate in Applied Theatre at the University of Victoria as a Vanier scholar. In addition to Canada, he has directed productions in the Philippines, Cambodia, Indonesia and Malaysia.

"Riley's play is a meditation of the circuitous net of cultural translations, linguistic gaps, and class differences revealed from the fluid and malleable sensual intimacies shared by queer people of color in Montreal. To my knowledge, this is the first English play written by a Filipino-Canadian about the immigrant and migrant lifeworld of Filipino queer folks," says Gupa.

Fortunate

Palanca, who is gender non-conforming and uses they/them pronouns, is joining the fringe festival as part of the Culturally Diverse Artist Program. 

A scene for Riley Palanca's
"Would Virginia Woolf Contemplate Suicide If She Were Filipino?" 

"It's a special lottery for the festival that is open to companies led by artists who identify as diverse, i.e. people of color, immigrants, LGBTQ, etc.," says Palanca.  "I was very fortunate to have been the winner in 2020 when it was first launched."

Part of the winnings covers Palanca's venue fees and provides them with a bursary, rehearsal space and a mentor.

Palanca has been writing and staging plays with gay characters or themes for over a decade. Recent playwriting credits include "Puta Kang Hayop Ka" for Relive Your Passion PH, "Sa Dakong Kawala: Mga Eksenang Binaon ng Alon" for Tales from the Flipside, "Art, Business, Coffee" and "Desaparacidos," both for Tuesday Night Café Theatre. He also published a novel under their Badingham pen name in 2020, "To The Boys Who Wear Pink."

The St. Ambroise Montréal Fringe Festival is a "summer block party of theater, dance, music, comedy, circus and more." With over 800 performances, local and international artists take over the Plateau-Mont-Royal to celebrate boundless creativity. More than 500 artists perform in more than 20 venues.

"Would Virginia Woolf Contemplate on Suicide if She Were Filipino?" runs June 9 to 19 at Le Théatre La Comédie de Montréal, 1113 Boul. de Maisonneuve E, Montréal, Quebec. Visit Fb.com/VirginiaWoolfMontreal.

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https://usa.inquirer.net/101885/fil-canadian-playwright-joins-montreal-fringe

New Filipino American theater group mounts health care horror drama

By WALTER ANG
Nov. 25, 2021 | USA.Inquirer.net 

SAN FRANCISCO — The latest buzz is that there is a new Filipino American theater company in town and its inaugural production is fully created by Fil-Ams, telling the story of Fil-Ams. 

Cofounding co-artistic directors of
Filipino American theater group The Chikahan Company.
From left: Ely Orquiza, Krystle Piamonte and Alan Quismorio.

The Chikahan Company's appellation is based on chika, the Filipino slang for gossip or latest conversation topic. Chikahan is the chit-chat that ensues.

Cofounded by co-artistic directors Ely Orquiza, Krystle Piamonte and Alan Quismorio, the theater group "invites audiences and artists to conversations about the perceptions and issues of the Filipinx experience, to dispel what's not entirely true and to present authenticity as a way to introduce our languages, culture, history, and stories into the mainstream."

"We use the term 'Filipinx' to refer to the Fil-Am community at large to be inclusive of as many people as possible," explains Orquiza. "We believe it's important for all members of our community to feel equally included and represented. Filipinx is simply a term we choose to use and is not meant to deny, subtract, erase, or change anyone who prefers to identify as Filipino or Filipina."

Horror drama

"The Act of Care" is a horror drama where Filipino nurse Olivia must deal with a high-strung Filipino American floor supervisor and three Filipino mythological creatures as an unexplainable virus infects her patients and her friend.

The work explores "the humanity and inhumanity of the American Healthcare System." It is written by Fil-Am playwrights Lauren Andrei Garcia and Conrad Panganiban.

The cast features Rae Yuen, Lynie Abadilla, and Louel Señores.

Collaborators include movement director Brian Batugo, set designer Noa Batle, lighting designer Spenser Matubang, sound designer Josh Icban, costume designer Mia Jue and mask designer champoy.

It's complicated

The cofounders had been meaning to set up shop for a while now. The pandemic catalyzed their intentions. "We acknowledge the increasingly complex work dynamics and the cultural changes happening in the theater especially in the last year," says Ely Orquiza.

"Each of the co-artistic directors offer varying degrees of expertise and perspectives, and all of us believe it is the most effective way of operation especially as an emerging theater company."

Orquiza is the Director of New Works and Development at Gritty City Repertory. He directing work has been see at American Conservatory Theater, University of California Berkeley, Academy of Arts University, Playground, and Theatre Rhinoceros.

Krystle Piamonte has acted with multiple Bay Area theater companies including San Francisco Playhouse, Z Space, Ferocious Lotus, Playground, TheatreWorks Silicon Valley and TheatreFirst. She was a longtime company member of Sinag-tala Filipino Theatre and Performing Arts Association in Sacramento, including taking on Resident Choreographer and Assistant Director responsibilities.

Alan Quismorio was co-artistic director of Asian American Theatre Company in the late 2000s and artistic director of Filipino American theater group Bindlestiff Studio in the early 2010s (where all three cofounders of ChikaCo have had several collaborations). He helped create emerging playwrights program  AlchemySF.

He adds, "Each of the co-Artistic Directors have overlapping responsibilities and unique roles. As working theater artists in the Bay Area, we find this model best to create a healthy support system."

Urgent

The pandemic also steered the group's storytelling direction. "The COVID-19 pandemic and its devastating impact on Filipino nurses in the United States was influential in our selection of the subject matter for our inaugural production. [One study says] nearly a third of COVID-19 nurses casualties in the US are Filipinos.

"As artists, we sensed an urgency to uplift their voices and their stories on the stage and our playwrights were receptive. They were also willing to consider new ideas and find fresher, more relevant and engaging ways to tell this uniquely Filipinx story."

The artistic directors had considered potential Fil-Am playwrights "who've had positive impact and influence in the Bay Area community as an artist."

"The three of us have seen and been moved by the works Conrad has done in the past and Lauren's unique voice and promise as a playwright. Since this is our first year producing new works, we were stirred by the idea of bringing these two brilliant minds together."

This production is staged a part of PlayGround's Innovators Showcase, having been originally commissioned by The Chikahan Company under the PlayGround's Innovator Incubator program. Funding also provided by Theatre Bay Area's Cash Grant.

"The Act of Care" runs Nov. 19 to 21 at Potrero Stage, 1695 18th St., San Francisco. Visit Chikahancompany.com.

~
https://usa.inquirer.net/87454/new-fil-am-theater-group-mounts-health-care-horror-drama

Filipino Americans spelling and singing bees hit the stage in SF

By WALTER ANG
Oct. 7, 2021 | USA.Inquirer.net

SAN FRANCISCO — Filipino American Jepoy Ramos is starring as one of the contestants in the musical comedy "The 25th Annual Putnam County Spelling Bee." The production opens Landmark Musical Theatre's 2021-22 season. 

Fil-Ams in the cast (from left):
Vanity Olaires, Johann Santos, John Charles Quimpo,
Jepoy Ramos and Eriette Atanante.
Photo by Jeff Ramos

The show features six "mid-pubescents" portrayed by adult actors vying for the spelling championship of a lifetime. As the contenders spell their way to the top, they also candidly disclose hilarious and touching stories from their home lives. Audience members are usually asked to be part of the competition as well.

Fil-Am actor Jose Llana originated the character of Chip Tolentino when the musical was first staged in the mid-2000s. The character was not originally developed with any ethnicity in mind, though Llana worked with the show's creators to turn the character into a Filipino American.

Ramos is not the only Fil-Am in the show, which employs two sets of casts, with Ramos in the Betta cast, performing at different dates.

Fil-Ams in the Alpha cast include Eriette Atanante, Vanity Olaires, John Charles Quimpo and Johann Santos.

Music and lyrics are by William Finn with a book by Rachel Sheinkin. The original Off-Broadway production won the Drama Desk Award for Outsanding Book of a Musical and the Lucille Lortel Award for Outstanding Musical. The Broadway production won the Tony Award for Best Book of  Musical.

Stage work

Ramos' credits include "Mamma Mia" and "The Full Monty" with Hillbarn Theatre, "In The Heights" with Custom Made Theatre Company, "The Wedding Singer" with Bay Area Musicals, and "Cabaret" and "You're A Good Man, Charlie Brown" with Pacifica Spindrift Players.

He has also performed with Fil-Am theater group Bindlestiff Studios.

"Aside from acting on stage, I also do a lot of work behind the stage. Recently I produced and directed 'Commemoration,' a musical by Fil-Am Steve Dorado." Ramos also recently wrote the short play "Spinto."

Inspired

Born in the Philippines, Ramos moved to the U.S. in 2007. "I started late in theater," he says.

Jepoy Ramos stars in "The 25th Annual Putnam County Spelling Bee."

In the early 2000s, Ramos saw a non-Disney musical adaptation of "The Little Mermaid" by Triumphant People's Evangelistic Theater Society (Trumpets), a local Manila theater company. He also caught the Manila leg of the touring production of "Miss Saigon" and was able to watch Lea Salonga herself portraying the titular role.

"I was amazed by the magic of theater, so I enrolled in Trumpets' theater workshop." He also joined Ateneo Blue Repertory, one of the theater groups at his college, "to learn and develop my skills."

Nevertheless, he seems to have caught up. "I got hit by the theater bug and have been doing it ever since then!"

Ramos considers it an honor to be on stage with "my fellow Pinoys" because it "allows us to showcase not only our talents but also inspire the future generations who watch us."

"That it's okay for brown-skinned folks like us to take space on stage and tell stories from our perspective from characters that were previously only thought to be exclusive to the Caucasian community."

"The 25th Annual Putnam County Spelling Bee" runs Oct. 9 to Nov. 7 at Children's Creativity Museum Theater, 221 4th Street, San Francisco. Visit Landmarkmusicals.com.

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https://usa.inquirer.net/84408/fil-ams-in-spelling-and-singing-bees-hit-the-stage-in-sf 

Filipino Americans find joy in LA's 'Pass the Mic' theater fest

By WALTER ANG
Sept. 30, 2021 | USA.Inquirer.net

LOS ANGELES — Filipino American theater makers are a moving force in this year's Pass the Mic Festival as it focuses on Asian American and Pacific Islander voices.

Filipino American theater artists in
"Pass the Mic" theater festival includes (from left)
playwright Nicholas-Pilapil and directors Rodney To,
Nelson Eusebio III, Gaven Trinidad and Jennifer Chang.

Out of the five short plays that will be showcased, four are directed by Fil-Ams with one written by a Fil-Am with a Fil-Am cast.

Jennifer Chang directs "For Us All"; Nelson Eusebio III, "Hindi"; Gaven Trinidad, "Broken English." Iama Theater associate artistic director Rodney To directs "I've No Regrets" written by Nicholas Pilapil. Cast includes Alexander Fox, Lydia Gaston and Giselle Tongi. Other Fil-Ams included in the festival include Eileen Eusebio.

Leadership

Rodney To was named Iama Theater's associate artistic director last year. "It was an honor. On some level, all the work I've been doing in the arts as an actor, director, producer, etc., has led me to this position," he says.

"I know why I'm here. I am confident that my work-life experience more than qualifies me for the job, but more than that, I am excited to bring my perspective as a person of color to the administrative and producing arm of a company as dynamic and impactful as Iama.

"I look forward to pushing for even more diversity in all areas of their work, introducing them to marginalized artists and stories and also . serving as a leader in ensuring the work is reflected not just in the shows we produce, but also that it becomes embedded in the DNA of Iama."

Laboratory

Nicholas Pilapil was offered the director position of the theater company's Under 30 Playwrights Lab also last year. He went to work right away helping select the 2021-22 writing group. "The biggest responsibility is to be a mentor to these young writers," he says.

The lab was what provided the space and opportunity for Pilapil and To to begin an artistic collaboration. When Pilapil was in the writing lab's inaugural batch, his directing partner was To, who then brought in Fil-Am actor George Salazar to work on Pilapil's play.

"My plays before then typically explored a general Asian American experience. Rodney and George inspired me to make the main character in `The Bottoming Process' Filipino." They asked me, "Why isn't he Filipino?" So, I actually rewrote a lot of the character's trajectory to reflect a Filipino experience."

Pilapil recounts his time learning in the lab as one of his favorite experiences as a playwright. In addition to the support from the theater and from artistic director Stefanie Black, he says the opportunity to work fellow Fil-Am theater makers "inspired me to start exploring my relationship to my Filipino identity and figuring out how I can put that into my work as a playwright."

Relationships

Pilapil believes that while theater can "address issues that plague us, like Asian Hate" he wants to ensure that the focus in his works remain on "the people, not the issues."

In "I've No Regrets," while the main character is a hate crime survivor, it serves as jumping off point for other topics. "The story is about her relationship with her grandson. And him learning about what it means to be Filipino and how being Filipino shapes you as an American."

He relishes the opportunity to once again work with Fil-Am theater makers. "I love it! I've never worked on a play with all Fil-Ams in the room. I feel lucky. I feel grateful that Iama made it happen without compromise."

His Fil-Am collaborators' support allowed him to "focus and hone in on just the Filipino-ness of the work without having to think about how a white audience will interpret it or think about what can I change to make a white audience understand."

"The audience will either not understand or just recognize the intention and love behind the delivery of the language."

Joy

"When I'm with Filipinos, I always feel like the least Filipino person in the room. I don't understand or speak Tagalog, I'm not accustomed to many of the traditions. Even growing up, my family teased me for being `too white.'

"I was scared that the cast would see that my Tagalog was translated by Google. They didn't. But what I loved about working with this team is that the actors added all those little gestures and intricacies that are unspoken but are part of speaking Tagalog."

He adds, "I didn't have to explain myself, I didn't have to justify my experiences, I didn't have to make myself small. Being with this group really brought me so much joy."

Iama Theater's Pass the Mic Festival is on Oct. 9. Recorded version viewable until Oct. 24. Visit IamaTheatre.com.

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https://usa.inquirer.net/83812/fil-ams-find-joy-in-las-pass-the-mic-theater-fest

The Talented Mr. DelaCruz

By WALTER ANG
Sept. 29, 2021 | PositivelyFilipino.com 

How many actors are able to say that they've played the protagonist, the protagonist's nemesis, and the show's antagonist in a single play or musical? 

Marc delaCruz. Photo by Frank Louis

Marc delaCruz is the first Filipino American to play the titular character of the runaway hip-hop musical "Hamilton." He's also the first Fil-Am actor to play two other crucial roles in the show. 

Created by Lin Manuel Miranda (who also co-wrote songs for the Disney animated film "Moana" and is an actor in the Disney film "Mary Poppins Returns"), the multi-awarded show is about the life of Alexander Hamilton, a statesman, one of the Founding Fathers of the U.S., as well as the founder of the nation's financial system.

For readers who are not familiar with either the theater industry or U.S. history, this synopsis will surely sound very dry and boring. But merely think of the opposite feeling, multiplied by the thousands, to imagine the phenomenal buzz that this hit musical has created. 

Breaking Molds

The musical broke the mold with its choice of musical genres, which had not been traditionally or usually heard in "mainstream" works, as well as its decision to consciously cast actors of color for its dramatis personae. The latter move may baffle readers who assume that the Broadway community or US theater industry as a whole is open to diversity; but it was and still is actually a very bold and rare occurrence. 

"Hamilton" grew into a behemoth. Before the COVID-19 pandemic restricted indoor, congregate activities, in addition to its Broadway production, "Hamilton" had two national touring productions and shows in Chicago, San Francisco, and Puerto Rico. Simultaneously. 

And while theaters remained closed, to tide theater lovers over in the meantime, a videorecorded version of the show was launched on the Disney Plus streaming service last year. 

Awestruck 

It's against this competitive landscape that theater actors vie to be selected to become part of the enterprise. Therefore, it's no small feat to play the main role of this show, let alone two other equally important players. 

DelaCruz backstage at "Hamilton."

DelaCruz also plays King George, the British monarch whom the revolutionaries rebel against, and he also essays Aaron Burr, Hamilton's ideological foil.  

Broadway, the popular theater district in New York, has opened again after more than a year's suspension due to the pandemic and DelaCruz is part of a sizeable industry that is returning to its profession. 

DelaCruz was first interviewed for this profile just a few days before Broadway was shut down last year. He had just debuted as Aaron Burr, writing in a Facebook post, "Yo, `Hamilton' never ceases to amaze and astonish. It is such a privilege to be a member of this company. I had my first go rounds as Aaron Burr and what I remember most is the love, smiles, hugs, laughter and support coming from everyone both onstage and off. 

"I can't adequately describe how lucky I feel to have a shot at helping tell this story from yet another angle alongside the most caring and uplifting family of theater folk. I'm awestruck and humbled." 

Stretched 

He recalled his journey with the show. At the time, he was part of the ensemble playing Man 5, which includes the roles of Philip Schuyler, James Reynolds and the doctor. "And I understudied Alexander Hamilton, Aaron Burr, King George and John Laurens/Philip Hamilton (two characters played by one actor)." 

"It has been a nothing short of a dream. Experiencing the show from different angles has given me such appreciation for its genius in how it was written and put together. 

"I've been challenged and stretched in every possible way. It's been exhilarating. It's a gift to work on one show for an extended period of time, especially one as complex as this, because it gives you the opportunity to keep diving deeper into the material. I don't think I'll ever stop having new thoughts or revelations about the show." 

Understudies and standbys take over roles in case the originally assigned actor is unable to perform. 

As the musical reopens its curtains to audiences, DelaCruz will no longer be in the ensemble. Instead, he is now the standby for all these major characters, with two new roles to boot: Marquis de Lafayette/Thomas Jefferson (also two characters played by one actor).  

You never know, if they ever make a one-person version of the musical in the future, DelaCruz would be a shoe-in to perform it. 

Complicated

DelaCruz, whose father is Filipino, was born in Hilo, Hawaii. He grew up in Seattle and trained in dance while he was taking up international studies at the University of Washington. He was in college when he was cast in his first professional production, "The Fantasticks," with the Northwest Asian American Theater Company. 

Marc delaCruz. Photo by Mari Uchida.

After some time acting for Seattle theater groups, he went on to be in productions such as the national tour of "Disney's High School Musical" and in the world premiere cast of "Allegiance" at San Diego's Old Globe Theatre alongside Lea Salonga before making his Broadway debut in the musical "If/Then," which starred Idina Menzel. 

The opportunity to play the three arguably most popular characters (the male ones anyway) in the musical is something DelaCruz does not take for granted. 

"It's so interesting and such an incredible challenge! These three characters see the world through completely different eyes and it has been a joy trying to get into their heads and understand why they do the things they do."

His approach is not to paint broad strokes in bringing them to life. "I try not to view any character as a villain, good guy or bad guy, but rather as individuals who come from very different backgrounds, determined to achieve their goals. 

"They are all flawed humans with limitations and that is what makes the show so dynamic, especially when placed within the historical context. Truthfully portraying these very different characters requires a lot of digging and putting my own assumptions aside about who they are in the interest of getting at their humanity."

In fact, the chance to embody Aaron Burr enabled him more ways to access Alexander Hamilton.  

"These two men had a very complicated relationship and diving into Burr's psyche gives me so much insight into Hamilton's point of view and how he is perceived by Burr. 

"The process of learning Burr has helped me further specify how and why Hamilton does what he does and says what he says. I haven't changed my performance completely but understanding Burr gives me so many new layers to play with when I play Ham."

Loved Ones 

With all the work that has to go into preparing for the show, DelaCruz falls back on his work family and his real family.

Prior to the pandemic, his family would travel all the way to New York to catch DelaCruz every time he debuted in a new role. 

"Especially my parents who have to come all the way from Hawaii.  I'm grateful that my family is so supportive. They are very proud of me. Both my brother and sister have remarked that they saw me act in the show in ways they had never seen before and at times they can't believe it's me up there. It's very cool to be able to share this whole experience with my family."

"Marc delaCruz could act out all of `Hamilton' by himself one day"

Inspiration

Meanwhile "the family at the Rodgers Theatre operates with love and care. Whenever there is a debut of any kind, a new actor joins the company and performs for the first time or a company member goes on for a new role for the first time, the company gathers in the basement at places and extends their hands in support.  

"It's a beautiful way to uplift the company member and remind them that they are not alone and that, though a debut may be daunting and full of nervousness and anxiety, the entire company has their back. For me, it's a beautiful reminder that this show can never happen without the work and cooperation of every single person in the building."

But at the end of the day, it is the audience that make stage work meaningful for performers. 

"So many folks travel from all over the world to see the show, fans know every word, young people studying theater stick around to meet us because they aspire to do what we do, it blows me away every time. It is a constant reminder of not only how popular the show is but what an impact it continues to have on people. I'm so proud to be part of something that bring such joy to so many. 

"I am particularly touched by Asian American audience members who make a point to tell me how much it means to them to see me onstage. A few young Asian Americans have said that seeing me onstage in a show as big as `Hamilton' gives them hope that they can achieve their dreams too. I can't describe how humbling this is and how it fuels and inspires me every day. This is more than a job, it's a real opportunity to lift others up. I'm not sure I'll ever be part of something quite like this again."

~
https://www.positivelyfilipino.com/magazine/the-talented-mr-delacruz 

Filipino American Justin Huertas' comics-inspired musical, 'Lizard Boy,' to roll out in Silicon Valley

By WALTER ANG
Sept. 22, 2021 | USA.Inquirer.net

SAN FRANCISCO — Filipino American composer, librettist and actor Justin Huertas' indie folk-rock musical "Lizard Boy" will kick off TheatreWorks Silicon Valley's 51st season. 

Filipino American librettist, composer, musician and actor Justin Huertas (left)
plays the title character in "Lizard Boy."

Huertas found inspiration for "Lizard Boy" from his lifetime love of comic books. Huertas grew up feeling left out whenever he watched his favorite character Spider-Man and many other caped crusaders played by primarily white actors.

Growing up being unable to see a superhero who is Filipino American like himself, he was inspired to create "Lizard Boy," establishing the representation that had been lacking.

Over a million

First staged in 2015, the musical introduces audiences to Trevor, a sweet and insecure recluse in Seattle whose skin is covered in lizard scales, as he goes on a first date that turns into a mythological journey where he must deal with unlocking his powers, self-acceptance and saving the world.

"Lizard Boy" was commissioned by Seattle Repertory Theatre and was a hit at the Seattle awards season. It underwent further development in a staging in San Diego and staged readings in New York.

Huertas' other credits include the music, lyrics and book of "The Last World Octopus Wrestling Champion," a pop-rock musical about a Filipino American family whose matriarch is a wrestler of octopi, and the music and lyrics of a musical adaptation of "Howl's Moving Castle."

The musical's soundtrack on Spotify surpassed one million streams in March of 2020. "It was a wild moment for us. We hadn't been on stage for years, and we couldn't believe that people continued to find our little show," says Huertas.

"It means our fans have been telling their friends to listen to us, and then those friends tell their friends. The fact that people love us so much that they want to share our music is just magical to me."

Quadruple

The original cast, of which Huertas is a part, will reprise their roles at the TheatreWorks staging.

Librettist, composer, actor Justin Huertas.

Huertas plays the titular character and all three actors are quadruple threats as they act, sing, do movement and play musical instruments such as cello, guitar, piano, ukulele and kazoo.

"The cast has always been the same three people: me, Kiki deLohr Helland and Bill Williams. I look forward to when we can start folding more actors into more productions. I honestly can't wait for us to release this to high schools and colleges."

New superpowers

Huertas appreciates the opportunity to revisit the first musical he ever created. "I was 24 when I started writing it, and I'm 34 now. A lot of emotional and intellectual growth happens in that time.

"Not only 10 years of time but also going from your 20s to your 30s. Ten years ago, I was writing a story about coming of age, love, and identity, but the fact is we're constantly coming of age. Or at least I am!

"Thirty four-year-old Justin has such a new point of view on all of those things, and I'm really excited that I get to infuse this new 'Lizard Boy' with my emotional growth from over the years. It will be different for folks who've seen us before. Plus, there are new superpowers!"

"I'm so grateful to get to do this show again. Because I'm so busy working on other projects, I never get to travel. I love having the opportunity to travel with 'Lizard Boy.' My dream in life is to be able to share my stories around the world."

"Lizard Boy" runs Oct. 6-31 at Mountain View Center for the Performing Arts, 500 Castro St., Mountain View. Visit TheatreWorks.org.

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https://usa.inquirer.net/83171/fil-ams-comics-inspired-musical-lizard-boy-to-roll-out-in-silicon-valley

Filipino American artists to be showcased in 2021 Texas Biennial

By WALTER ANG
Aug. 26, 2021 | USA.Inquirer.net

SAN ANTONIO, Texas — A group of Filipino American artists' works will be showcased at this year's Texas Biennial.

"Mumu" by Jacqueline Poisot,
20 x 17 inches framed, digital painting.

Titled "A New Landscape, A Possible Horizon," the biennial launches in September and will be held across several Texas museums featuring exhibitions, programs and public art in San Antonio and Houston.

When visual artist Matt Manalo applied, he was one out of 850 applicants whose work was chosen to be included. "The jurors asked me if I wanted to include the Filipinx Artists of Houston (FxAH)," he says, referring to the group of Fil-Am artists he founded.

"I said yes. It will be my first time being a part of the Biennial so I thought, might as well bring everyone with me." Exhibiting at the biennial are 28 members of the collective. Their works will be featured at the McNay Art Museum.

A free opening reception will be held on Sept. 2 at arts and events complex Silver Street Studios on Edwards Street.

Themes

Organized by art nonprofit Big Medium, the biennial is intended to be a survey of contemporary art in Texas.

The curators of the biennial said in a statement that the seven-month endeavor is "spread across San Antonio and Houston in order to realize a diversity of practices and explore a vast landscape of disciplines, themes, and historical events relevant to both Texas and contemporary global discourse.

"Principal themes of the project-the mutable histories contained within objects and people, activism and issues of racial and social justice, and narratives unique to the history and land of Texas-are examined in multiple creative disciplines and across multiple sites."

Collective

Manalo founded the collective "because of the need for a creative community among Filipinos living in Houston."

"Kagustuhan o Pangangailangan" by Zeus Paredes,
24 x 36 inches, acrylic on Canvas.

"The group was founded in 2019 by me with the help of Bridget Bray, Asia Society Texas Center's curator and director of exhibitions.

"'Filipinx' is a term we use to identify the Filipino American experience. We use the "x" to include different identities, stories, skill-level, ages, traumas, etc.

"We don't have officers because we believe in collective leadership and respect each other's capacity for labor. Everyone takes responsibilities according to their desire and ability to successfully execute a project within the collective."

Since its founding, the group has organized activities such as film showings, book signings and discussions, art exhibits and panel discussions.

Composition

With a current pool of 78 members, the collective is composed of artists who are self-taught as well as academically trained.

Among the exhibiting artists for the biennial, the most seasoned artist is 68-year-old Zeus Paredes and the newest blood is 18-year-old Jacqueline Poisot.

The group is a cross-section of the rich breadth of Filipino American identity, with close to 20 biracial members as well as members who are LGBT (lesbian, gay, bisexual, trans).

It also harbors a wide swath of the many talents Fil-Ams have to offer. In addition to the visual artists, there are writers, poets, photographers, filmmakers, musicians and performance artists.

The visual artists' works range from pieces as grand as 40 by 60 inches to as intimate as 8 by 10 inches using mediums from acrylic to gesso on surfaces from canvas to vellum. There is also a light projection piece and a mixed media installation that spans 20 feet.

"The group was excited when I told them the news that FxAH would be part of the biennial," says Manalo.

"It will be everyone's first time. Excited siyempre! It is a big deal for everyone in the art community in Texas."

Visit Fxahouston.org.

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https://usa.inquirer.net/81221/fil-am-artists-to-be-showcased-in-2021-texas-biennial

Prolific Filipino American writer Cecilia Manguerra Brainard re-releases her short stories

By WALTER ANG
Aug. 11, 2021 | USA.Inquirer.net

LOS ANGELES — Prolific author and publisher Filipino American Cecilia Manguerra Brainard is releasing a new anthology, Selected Short Stories, which collects 39 of her previously published short works. 

Selected Short Stories and The Newspaper Widow by Cecilia Brainard.

In addition, she is also re-issuing her mystery novel The Newspaper Widow. Both titles are published in the U.S. by Philippine American Literary House. In the Philippines, the two titles are published by University of Santo Tomas Publishing House.

The reason for coming out with this collection was a matter of providing access. "Some of the stories are from earlier anthologies that are out of print or hard to find," explains Brainard. "I have met many teachers and students looking for these books."

"Many of these stories are part of their curriculum. My Philippine publisher encouraged me to do a collection that included the strongest stories."

Range

Selected Short Stories, the cover of which features a work created by noted Filipino artist Felix Mago Miguel, includes her popular works such as "Flip Gothic" and "Romeo" including recent pieces like "The Syrian Doctor in Paris."

The oldest piece in the collection is "Woman with Horns." Set just after the tumultuous Philippine-American War, widow Agustina Macaraig, who is rumored to have horns, encounters a doctor from New York sent to "the islands" to help stop a cholera epidemic. She heals the doctor in other ways.

The most recent work is "Melisande in Paris," whose protagonist is a featured character from one of Brainard's novels. Set in Paris, there is also a doctor involved in this story. Brainard explains that this episode helps explain how the title character ends up in The Newspaper Widow.

The novel, also set during the American occupation of the Philippines, begins with the discovery of a dead priest in a creek. In order to clear her son's name and free him from prison, Ines Maceda and her French friend have to solve the crime. She also has to run her recently deceased husband's newspaper business while she's at it.

Inspiration

Real life and real individuals are rich sources of prompts for Brainard's work. The occupation of Ines Maceda was inspired by none other than her maternal great-grandmother. "Remedios Diosomito Lopez was said to be the first woman publisher in the Philippines." 

Filipino American author Cecilia Manguerra Brainard.

Although now based in Log Angeles, Brainard grew up in the port city of Cebu, which inspired her to create her mythical setting, Ubec. The setting, "which echoes the Santo Niño Church, triangular Spanish fort, and old buildings and streets of the real Cebu," appears in all three of her novels and other works.

She moved to the U.S. to do graduate work in filmmaking and later focused on writing, which "suits her individualistic personality better."

Nurturing

"It is difficult to calculate how long it takes to write any novel because it's a stop-and-go process, at least for me. It's a different process from writing non-fiction that can be outlined.

"I wrote a draft of The Newspaper Widow during National Novel Writing Month (which challenges writers to produce 50,000 words of a novel in November). Then I spent maybe another three to four years tinkering with it."

In addition to The Newspaper Widow, Brainard's other novels include When the Rainbow Goddess Wept and Magdalena.

"I don't have a regular schedule as some writers have; I have family and many other projects going on like art and gardening, among others.

"I need to place myself in a master workshop so that I am able to carve out the time to write.  When I'm in that workshop and I'm told I have to submit 10 pages next week, I will do it."

When Brainard is not busy crafting her own pieces, she is hard at work nurturing other voices. She edits fiction and nonfiction anthologies of works by Filipino American writers.

Editing credits include Fiction by Filipinos in America, Contemporary Fiction by Filipinos in America, Growing Up Filipino: Stories for Young Adults, and Growing Up Filipino II: More Stories for Young Adults.

Visit Palh-books.blogspot.com.

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https://usa.inquirer.net/80089/prolific-writer-cecilia-manguerra-brainard-re-releases-her-short-stories

Filipino American playwright Thelma de Castro spins multimedia nature play

By WALTER ANG
Aug. 4, 2021 | USA.Inquirer.net

SAN DIEGO, California — Filipino American playwright Thelma de Castro has devised a play revolving around one of San Diego's nature landmarks while providing audiences a multipart, multimedia experience.

Filipino American playwright Thelma de Castro (far right)
with her fellow theater makers in "The TAG Project." 

Upon registering for "The TAG Project," audience members will receive a Welcome Letter with a Mystery Object in the mail. Prior to the performance, dates, maps and interviews will be released throughout August.

The production features short video plays set beside the mouth of the San Diego River as it meets Ocean Beach. Audience members may opt to visit the site and watch the plays on mobile devices.

Audience members will be encouraged to share their own nature stories through social media comments, photos, videos, and even their own plays.

The production is presented by Playwrights Project, a theater education nonprofit.  Other Filipino Americans involved in the production include voice actor Taylor Wycoff and actor Ali Nelson.

Nature

"I've lived in San Diego most of my life but I had never spent time at the estuary," says De Castro. "I ended up stuck there because my son is a surfer and I was his ride. As I killed time while he surfed, I walked and discovered the mouth of the San Diego River.

"It's been a long pandemic and he surfs a lot, so I've been able to visit the estuary over many seasons. The water fluctuates with the tides and time of year . It's an area of transience for people and wildlife. Some people live there illegally in RVs or vans. Others travel through. It's a fascinating place."

De Castro is currently a Teaching Artist at Donovan State Prison for Playwrights Project. She has been a dramaturg for Plays by Young Writers Festival. Credits with Filipino American elements include "Rain Forest" (suicide prevention play in Filipinx community), "The Fire in Me: A Theatrical Exploration of Domestic Violence in San Diego's Filipino community," and "Halo-Halo-Mixed Together Stories from San Diego's Filipino American Community."

Stories

De Castro has written four short plays for the August 17 performance titled "TAG."

In "Blank Tags," Osprey shares a story of longing and belonging about his old yellow cat. In "Tree Tag Part One," a stressed-out soccer mom seeks solace from a tree.  In "The Tree," a tree talks about choreographing the dance of the estuary. In "Tree Tag Part Two," a traveler and her dog find sustenance and comfort from the tree.

The August 24 performance, titled "You're It!," will feature the short plays of five other playwrights. Talkback sessions will follow each performance.

Inspiration

De Castro developed the idea for this production from workshops and classes she has been taking with different artists.

The format of the production was from a prompt to find new ways to deliver stories from a workshop on non-traditional theater.

The theme of nature was inspired from Sarah Greenman's Creative Alchemy Cycle, a workshop revolving around the seasons and nature. "During the pandemic . many people focused on creative pursuits and were able to spend more time in nature and realize its importance to our health. I'm particularly interested in the barriers to engaging with nature that people of color experience."

The idea for incorporating mystery objects into the production sprung from her own experiences in the workshop. "We received seasonal bundles. It's as fun as it sounds! Honey, dried apples, pinecones, flowers, and other ephemera."

De Castro wanted to help give audiences the "props" to piece the elements together. "The TAG Project is about the details. It asks people to stop and pay attention. Here's a letter. Here's a Mystery Object. What does it mean?

"The estuary is a very overlooked area, but if you stop and look around, there is beauty. I could tell people about the estuary, but if I connect them to it through a story that takes place there, they're drawn in."

This program is made possible by The William Male Foundation, a Rising Arts Leaders of San Diego Virgil Yalong Quick Grant, the California Arts Council, and the City of San Diego Commission for Arts & Culture.

Visit Playwrightsproject.org.

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https://usa.inquirer.net/79537/fil-am-writer-spins-multimedia-nature-play