Trumpets returns to C.S. Lewis with 'The Horse and His Boy' this November

Trumpets returns to C.S. Lewis with 'The Horse and His Boy' this November
By Walter Ang
Aug. 29 2015
Philippine Daily Inquirer

Triumphant People's Evangelistic Theater Society (Trumpets) is staging a new play, "The Horse and His Boy," based on the novel by C.S. Lewis, this November.

The book, about Shasta and his horse Bree and their journey to Narnia, is part of the seven-novel series "The Chronicles of Narnia," which includes "The Lion, the Witch and the Wardrobe."

Trumpets already has a musical version of "LWW" that debuted in 1997. It went on to have multiple restagings in Manila until 2002. It's also been staged in Guam and Singapore. It then had a 45-minute version for mall stagings.

Some of the actors who have played the Pevensie children are still in the theater profession: Joaquin Valdes (last seen in Actor's Actors Inc.'s "Red") and Topper Fabregas (cofounder of Red Turnip Theater company). Sam Concepcion and Paolo Valenciano are now in music recording and TV.

"LWW" was cowritten by Luna Griño-Inocian and Jaime del Mundo with music by Lito Villareal.

This time, for "The Horse and His Boy," Griño-Inocian rode solo.

"Jaime and I had always wanted to write another play from one of the `Narnia' chronicles and were even encouraged to do so by Douglas Gresham, stepson of Lewis himself, after he had seen `LWW,'" she says.

Trumpets president Audie Gemora split up Griño-Inocian (who is on Trumpets' board of directors) and Del Mundo (artistic director) for different assignments. Del Mundo was tasked to write the libretto for "The Bluebird of Happiness," which was staged in 2013, while Griño-Inocian was given "The Horse and His Boy."

Together again
But the two will be working together again since Del Mundo is directing.

"We argue-ay este, discuss passionately pala, a lot," she says, laughing.

Since this is a new play, both are not precious about their output in order to make it work. "We cut and edit as needed. We bargain, we trade. I'll agree to cut one portion if he concedes to give up another type of deal."

She says that adapting from a book is a challenge. "You want to retain the spirit of the story, stay true to the words of the author, yet have to give it a more dramatic twist."

They also had to run the script by the C.S. Lewis company for approval. "They actually veto ideas they deem too far off from the original."

Not a musical
"This adaptation is not a musical, so that the words and dialogue will be given more emphasis. But it will have music-in fact, it will be heavily scored and it will even have a theme song," she says.

Griño-Inocian says that audiences need not have seen "LWW" to appreciate the new play.
"Though you could call 'HHB' a sequel because it has characters in common with  'LWW,' it can also stand alone since the story involves totally new characters in totally new locales and happens after the occurrences in 'LWW.'"

"LWW" will have its 20th anniversary in two years' time, and there are plans to have a concert version with a full-orchestra-"If we can find the budget for it."

For audiences who've seen "LWW" and are worried that the play might not match the musical, Griño-Inocian assures that the scale of this production "will still be epic!"

And how to stage a show with talking horses in it? "Jaime and our set and costume designer, Mio Infante, are still keeping it a secret from all of us!" she says.

The lighting design will be by John Batalla, with movement by Dexter Santos, music scoring by Lito Villareal, and musical direction/arrangement by Jon Meer Vera Perez.

"The Horse and His Boy" runs Nov. 6-22 at Meralco Theater, Pasig City. Call 9014364 or TicketWorld 8919999(ticketworld.com.ph). Like on Facebook (HHBbyTrumpets).

Also published online:
http://lifestyle.inquirer.net/204954/trumpets-returns-to-c-s-lewis-with-the-horse-and-his-boy-this-november

Dulaang Filipino represents PH in Québec theater festival in September

Dulaang Filipino represents PH in Québec theater festival in September
By Walter Ang
Aug. 29, 2015
Philippine Daily Inquirer

Dulaang Filipino (DF) will represent the Philippines at this year's Mont-Laurier International Theatre Festival in Québec, Canada.

DF will restage its August production of "Oedipus," a condensed one-hour version of Sophocles' three Theban plays, "Oedipus the King," "Oedipus at Colonus" and "Antigone."

Oedipus becomes king of Thebes after unknowingly killing his own father. He atones in Colonus with his daughter Antigone. When she returns to Thebes, Antigone deals with the repercussions of her brothers' deaths.

Director Riki Benedicto is using translations by Rolando Tinio and Onofre Pagsanghan to "show the disparity of time between the three plays since their respective translations and tones are different."

Benedicto's staging will include stunts and fight scenes, "to help the audiences appreciate the portions where the characters narrate situations. The aim is to have the movement highlight the poetry of the language," he says.

Benedicto is the trainer-director for Dulaang Filipino. His recent professional acting credits include Philippine Educational Theater Association's "Arbol de Fuego," Marie Eugenie Theater of the Assumption's "Romeo and Juliet" and Virgin Labfest 2015's "Macho Dancers: A Musical."

Dulaang Filipino is the resident theater company of De La Salle-College of Saint Benilde. The college's School of Design and Arts offers theater-related courses such as Technical Theater, Dance and Production Design.

Jason Dawis plays Oedipus, Ian Santos plays Kreon and Christine Bas plays Antigone.
Costume design is by Jay Conanan, set design by Drea Estrellado, lighting design by Benedict Alfonso and sound design by Ken Aoki.

DF's season this school year (following a trimester calendar that begins in August) includes "Romeo and Juliet" in November and "Luna: An Aswang Romance" in July 2016.

Dulaang Filipino's "Oedipus" plays Sept. 11 at L'Espace Théatre Muni-Spec, 543, rue du Pont, Mont-Laurier, Québec. Contact 819-6231222. Like on Facebook (DulaangFilipino.Benilde).

Also published online:
http://lifestyle.inquirer.net/204952/benildes-dulaang-filipino-represents-ph-in-quebec-theater-festival-in-september

Liza Camus–premier PM and ‘pare’ to theater colleagues–exits the stage

Liza Camus–premier PM and ‘pare’ to theater colleagues–exits the stage
By Walter Ang

Aug. 22, 2015

Philippine Daily Inquirer

Production manager Liza Camus passed away on Aug. 10 from complications after suffering a stroke on July 4. She was 55. She is survived by her father Louie and siblings John, Tina and José Mari.

Camus had been the production manager at Atlantis Theatricals Entertainment Group (Ateg) since its founding in 2000.

Bobby Garcia,  Ateg founding artistic director, said: "I first met Liza in 1993 through Boy Abunda. He got Liza to production-manage a TV show I was supposed to do. He told Liza, in front of me, 'I want you to always be by Bobby's side. Don't ever leave him.'"

The show didn't push through, Garcia admitted. "But, true to her word, Liza never left me. She would go on to become our production manager  for `Miss Saigon' (Garcia was the local resident director for the 2000 Manila run) and then for Atlantis. Liza is one of a kind. She is, and forever will be, my Wonder Woman."

From concerts to theater
Prior to working in theater, Camus was involved in concerts and television.
After graduating from De La Salle University, she worked as production assistant under director Fritz Ynfante for the Miss Young Philippines beauty pageant.

She went on to work in various concert productions of international acts (Sting, Gloria Estefan, Mike Francis, to name a few) and local artists (Martin Nievera, Ogie Alcasid, Regine Velasquez, Lea Salonga, Zsa Zsa Padilla).

She also became an associate producer of the seminal TV show "Batibot" in 1983.

According to impresario Dong Alegre, "Liza would kill to keep her production schedule on track
for she knew live shows can be quite unforgiving-and she'd rather be in control of it, not the other way around. Never would you have `the tail wagging the dog'-not under Liza's watch."

'Magaan'
Costume designer Eric Pineda said, "She's 'conyo,' but what endeared her to everyone was that she was also very 'koboy.' It's really the required personality of anyone who wishes to go into theater or concert production. She can be 'sosyal' if she's dealing with VIPs, but she can have a good laugh with the carpentry and technical boys."

He pointed out: "She was kind to everyone; whether you are Lea, Regine or Martin or a wardrobe mistress, utility boy or setman, it's all the same to her. "The Filipino adjective that would best describe Liza is 'magaan.'"

Second to none
Salonga wrote in two of her Inquirer columns that Camus was "fearless and peerless. Always in charge, unflappable, unstoppable, imperturbable. Her loud and lively voice (she peppered her sentences with  `Pare') signaled her presence, and you knew that, with her there, you never ever had to worry about anything.

"When it comes to production managing, there is one who is second to none, a diminutive powerhouse of a woman. She must be no more than 5 feet tall but when she enters a room, it's as if [it were] someone bigger.

"Her language is peppered by crunchily enunciated Spanish-accented invectives (which cannot be printed here), and the volume with which she speaks is loud and present.
"Her sense of humor and positive energy infuse every production she is busy with."

Mother to all
Her sense of humor is well known in the theater community. In tribute to her, friends and colleagues have been replacing their Facebook profile cover photos with a collage (created by GA Fallarme) of Camus in wacky costumes and silly facial expressions.

Composer and musical director Ceejay Javier said, "In our last production together, she yelled at me, "You're fat! You're lazy! You're fired!" But after Act 1, she told me I was doing a great job. I will miss her humor, her patience, her drive for perfection.

"She was a mother and tita to us all. Mahal na mahal siya ng ultimo pinakamaliliit na tao sa isang production, because she respected and took care of each and every one. She made each of us around her be better at what we do."

With a report from Cora Llamas.

Also published online:
http://lifestyle.inquirer.net/204182/liza-camus-premier-pm-and-pare-to-theater-colleagues-exits-the-stage

Obie-winning Mia Katigbak pushes for more Asian faces on the American stage

Obie-winning Mia Katigbak pushes for more Asian faces on the American stage
By Walter Ang
Aug. 15, 2015
Philippine Daily Inquirer

Watching plays written by non-Asians about non-Asians but played by Asian actors may be normal in the Philippines. For obvious reasons, it's not too common in the United States.

But the National Asian American Theatre Company (Naatco)  in New York has been doing just that for 25 years now.

Every season, it produces "an American classic with an all-Asian-American cast; an adaptation of a Western classic by an Asian-American playwright; and a new work not by, for, or about Asians realized by an all-Asian-American cast," says co-founder and artistic producing director Mia Katigbak.

To kick off its silver season, the group recently restaged its 2013 production of Clifford Odets' "Awake and Sing!"-a 1935 drama about a lower middle class immigrant Jewish family set in the Bronx during the Depression era. ("Wonderful performances," raved The Huffington Post. "These actors. bring full value to the words. A strong production.")

Katigbak reprised her role as monster matriarch Bessie, for which she had won The Village Voice newspaper's 59th Obie Award 2014 (theater awards for Off-Broaway and Off-Off Broadway productions) for best performance.

Difficult
Katigbak didn't jump at the chance to form the group when co-founder Richard Eng, also an actor, pitched it to her. She'd already been doing stage work with Pan Asian Repertory Theatre and had seen how difficult it was.

"But after Richard agreed that the primary focus of the company would be European and American classics with all-Asian-American casts, I came on board," she says. "I was increasingly frustrated with the lack of opportunities for acting in the classical canon for trained actors who are Asian-American, like me."

In a previous interview, Katigbak said, "We don't get to do [these kinds of roles]! If [doing these roles] becomes the foundation of the company, so that we get perceived as technically skilled, then there will have to come a time when people will say, 'Oh right, we don't have to just cast them as Asian gangsters and gooks.'

"I wanted to. develop a very large pool of acting talent so that it becomes undeniable that we can do this stuff, and hopefully other people would start casting these folks from our shows."
As such, the group aims to "more accurately represent onstage the multi- and intercultural dynamics of our society. [and] demonstrate a rich tapestry of cultural difference bound by the American experience."

Contributions
Katigbak says part of the group's mission is "to increase awareness among non-Asian-Americans about our contributions to American culture," and also to point out what "Asian" means. "We can go as far east as Japan, as south as Indonesia and all the way west to Turkey.

All that focused work has gained recognition. The group received the 2006 Rosetta LeNoire Award for "increasing diversity and non-traditional casting in American theater," as well as the 2012-13 Lucille Lortel Award.

And it's producing results. "After our production of `Falsettoland,' one of the actors, Christine Toy Johnson, got a recurring role in a soap opera and I don't think her character was [meant to be] specifically Asian," said Katigbak. "Our other alums such as Daniel Dae Kim, C.S. Lee, Joel de la Fuente and Ann Harada have all played roles that are not ethnic-specific."

Theater in DNA
Born and raised in Manila, Katigbak and her parents moved to the US when she was 11.

"I recall wanting to do theater since I was about 5 years old," she says. "I was surrounded by musicians and dancers in Manila because my mother Adelaida Reyes was a musician and then a music critic [for Philippine Evening News and Manila Daily Bulletin], but theater was always, somehow, in my DNA. There was no 'Aha!' moment, I was just always doing it."

Katigbak has acted extensively with different groups in and outside of New York. She received the New Dramatists' Charles Bowden Actor Award in 2006.

Her advocacy for Asian- Americans in theater reaches beyond Naatco. She was one of the organizers of the first and second National Asian American Theater Festivals in 2007 and 2009.

Look to the future
For its next production this season, the group has commissioned Lloyd Suh to adapt Agatha Christie's "The Mysterious Affair at Styles."

"Its working title is 'Charles Francis Chan's Most Exotic Oriental Murder Mystery,'" she says. (Suh's "American Hwangap" was staged by Tanghalang Pilipino in English and Filipino in Manila in 2010.)

                                                         Related article: Review of Tanghalang Pilipino's staging of  "American Hwangap"

"Our 25th anniversary is a milestone, just for the sheer fact that we have survived that long. I believe we enjoy the fortunate reputation of doing good work, no matter what we do, and that's a good thing."

"The anniversary affords me the opportunity to assess what Naatco has accomplished thus far, and it is a good place from which to look to the future. To concoct other strategies for Asian-American representation, visibility and dynamism on the American stage. To reach other constituencies beyond the usual and to forge more meaningful partnerships with other non-Asian-American theater artists and organizations."

Also published online:
http://lifestyle.inquirer.net/203467/obie-winning-mia-katigbak-pushes-for-more-asian-faces-on-the-american-stage

Dulaang UP's 40th season (2015-2016) kicks off with two Shakespeare tragedies

Dulaang UP's 40th season (2015-2016) kicks off with two Shakespeare tragedies
By Walter Ang
Aug. 8, 2015
Philippine Daily Inquirer

Dulaang Unibersidad ng Pilipinas's 40th season (schoolyear 2015-2016) kicks off with two Shakespeare tragedies.

The season's theme is titled "20/20 Vision: Clarity. Originality. Perspective."

Starting this year, principals and teachers of high school students (and other colleges) are advised to recalibrate the schedules of when they send students to watch the productions of campus-based theater groups due to the revised academic calendar of universities: what used to be June to March is now August to May.

Romantic tragedy
"#R</3J: A multimedia hallucination on William Shakespeare's Romeo and Juliet" will be set in Metro Manila in a staging that "exploits our hyper-real contemporary moment of globalization, ultra violence, internet inanities, intergenerational alienation" and will use "a psychedelic mix of all available arts."

The tragic love story between star-crossed lovers is adapted by Guelan Luarca, to be directed by DUP artistic director Dexter Santos with music by Krina Cayabyab. The production is scheduled for Aug. 19-Sept. 16, 2015.

Family tragedy
Up next is a back-to-back staging of both the English and Tagalog translation of Shakespeare's "King Lear/Haring Lear," adapted and directed by DUP founding artistic director emeritus Tony Mabesa using Nick Pichay's translation.

Lear descends into madness after dividing his kingdom between two of his three daughters.

Mabesa will set the play in the waning years of a mythical Southeast Asian kingdom. Scheduled for Oct. 7-25, 2015.

Fantasy
Jose Estrella directs Henrik Ibsen's "Peery Gynt" using a translation/adaptation by Rody Vera and Gilda Cordero-Fernando.

Gynt's encounters with trolls and other creatures and his travels to different locales will be adapted using Philippine mythological entities and local folklore. Scheduled for Feb. 3-21, 2016.

Memory
The season ends with the English and Tagalog translations of Shimuzi Kunio's "The Dressing Room: That which flows away ultimately becomes Nostalgia."

Four actresses prepare for a production of Anton Chekhov's "The Seagull," but "we soon discover that not all is as it seems."

English translation by Chiori Miyagawa, Tagalog translation by Nick Pichay, to be directed by Alex Cortez. Scheduled for April 13-May 1, 2016.

40 seasons and counting
Dulaang UP is the official theater group of the University of the Philippines. It's managed by the university's Department of Speech Communication and Theater Arts, which runs certificate, undergraduate and graduate theater programs.

Mabesa joined the faculty in 1975 and collaborated with then department chair Leticia Tison to establish a production arm for the department with a regular season of plays.

In the summer of 1976,  Tison provided the seed money of P15,000 for DUP's inaugural production of "Pagkahabahaba Man ng Prusisyon, sa Simbahan din ang Tuloy," Shakespeare's "Much Ado About Nothing" translated by Lilia Antonio.

It was directed by Mabesa with Salvador Bernal as production designer, Monino Duque as lighting designer, Eliseo Clamor as composer, and Cora Iñigo as choreographer.

Mabesa's artistic thrust was his passion for "great works of dramatic literature, translated into Filipino," informing the group's objective: produce world drama and original Filipino plays spoken in the language of the people.

Since the group's aim is to ultimately train students, the material chosen for staging "covers a variety of themes, genres and styles to afford the students a diverse experience."

Artistic directors
Mabesa stepped down as artistic director in DUP's 25th season (2000-2001), passing the baton to Jose Estrella. Alex Cortez became artistic director in the 34th season (2009-2010).

Dexter Santos is the new artistic director starting this season.

All productions will be staged at Wilfrido Guerrero Theater, Palma Hall, University of the Philippines, Quezon City. 

Contact Dulaang UP at 9261349, 9818500 loc. 2449 or 4337840. Like on Facebook (DulaangUnibersidadNgPilipinas), follow on Twitter (@Official_DUP).

Also published online:

http://lifestyle.inquirer.net/202606/two-shakespeare-tragedies-open-dulaang-ups-new-season/

Jose Llana takes over from Ken Watanabe in Broadway's "King and I"

Jose Llana plays King in Broadway's 'King and I'
By Walter Ang
July 25, 2015
Philippine Daily Inquirer

Almost 20 years ago, Jose Llana auditioned for "The King and I" and eventually got cast. The only problem was that he technically stole someone else's slot.

He raised his hand when another auditionee didn't show up, sang, and then promptly confessed. "I was a college freshman, I didn't know better," he says, laughing.

They must have seen something in his talent since he got his Broadway debut, playing Lun Tha in the 1996 Broadway revival with Donna Murphy (Anna Leonowens) and Lou Diamond Phillips (King Mongkut).

Repertory Philippines staged the musical in 1977 with Baby Barredo and Bernardo Bernardo (Lea Salonga played one of the children) and with Joy Virata and Mel Magsipoc in 1990.

Resorts World Manila's Full House Theater Company staged it from 2012-2013 with Monique Wilson, Sheila Valderrama and Menchu Lauchengco-Yulo and Leo Valdes, Bimbo Cerrudo and Nonie Buencamino.

Like a dream
This time around, he didn't have to fake his identity to land the role of the titular royal in the current revival and Tony award-winning Richard Rodgers (music) and Oscar Hammerstein II (libretto) musical.

Llana stepped in to replace Ken Watanabe and will play the role until end of September.

"Yes, I used my real name!" he says, laughing. "My audition was with the director, Bartlett Sher, and they were intense and a lot of fun.  His vision for the show and the king is brilliant. I relished the opportunity to find 'my King' with him."

"It feels like a dream just like the last time. Twenty years later, I'm excited to revisit the material and play the part I always looked up to."

On his opening night, co-star Kelli O'Hara, who plays Anna, tweeted, "Tonight, my new king @thejosellana killing it so far!!"

Murphy has tweeted Llana, "Can't wait! See you next month Your Majesty! Xoxo," while Philips tweeted "So very proud of you for carrying on the King's torch, my brother! The heart of our 96/97 production beats on!"

Before stepping into "The King and I," Llana was in a one-night-only "The 25th Annual Putnam County Spelling Bee" 10th-anniversary reunion concert featuring the original cast, where he originated the role of Chip Tolentino.

"The 'Spelling Bee' company is such a close family and we've stayed in close touch these past 10 years." Jesse Tyler Ferguson ("Modern Family") was also in the concert.

Lucky
Born in Manila, his family relocated to the US when he was three. The call to perform was sparked by early and consistent exposure to the arts.

"I consider myself lucky to have seen many touring Broadway productions in Washington, D.C. where I grew up. 'Les Miserables,' 'Cats' and 'Fiddler on the Roof' are some of my favorites.  And, of course, movie musicals like 'West Side Story' and 'Sound of Music.'"

"I was also lucky to have a top-notch theater and music department in my high school, Thomas Jefferson High School for Science and Technology.  My best friends today are still my friends from my high school choir and drama groups."

He moved to New York to study classical voice at Manhattan School of Music in 1996 (Lea Salonga had just won a Tony award for her turn in "Miss Saigon" four years earlier).

Other Broadway credits include Angel in "Rent" and Wang Ta in "Flower Drum Song" with Lea Salonga. Llana recently played Ferdinand Marcos in "Here Lies Love" (Mark Bautista played the same role for the London run.).

Llana performs in "The King and I" Jul. 14-Sept. 27 at Vivian Beaumont Theater, Lincoln Center for the Performing Arts. Visit thekingandibroadway.com or like on Facebook (KingAndIBway).

Also published online:
http://lifestyle.inquirer.net/201247/jose-llana-takes-over-from-ken-watanabe-in-the-king-and-i-on-broadway/

De La Salle University's library and its 3,500 books on the performing arts

Where to go for theater books
De La Salle Library and its 2,000 titles on the performing arts
By Walter Ang
July 11, 2015
Philippine Daily Inquirer

Theater lovers who yearn to read books about theater can do so at De La Salle University's (DLSU) library called Learning Commons.

The library currently has more than 2,000 titles (with some titles filling up more than one volume, for a total of more than 3,500 books) related to the performing arts.

It goes without saying that the university's around 17,000 students, faculty and staff every school year, as well as all alumni, can use the library.

But, worry not, anyone can visit the library!

"Visiting users are accommodated during the library's service hours, Mondays through Saturdays. However, we temporarily do not accommodate them during the university's finals week as well as a week before that, and during term breaks (the university follows a trimester calendar)," says Ana Maria Fresnido, director of libraries.

Scope
The titles related to performing arts represents only a fraction of the library's current count of 235,000 titles. The library started  operations in 1956 with barely 10,000 books.

The library is now housed in Henry Sy Sr. Centennial Hall and the university's goal is to acquire one million books.

There are books on performing arts in the Philippines, of course, and other countries.

There are books for onstage disciplines: acting, dancing, singing, etc.

There are books for backstage disciplines: stage management, set design, costume design, etc.

There are books for the artistic and creative processes: playwriting, directing, composing, conducting, choreographing, etc.

Books on theory, on techniques. Anthologies and biographies. Catalogs, collections and criticisms.

Ever wondered if native tribes have their own performance forms? There are books like "Myth, Mimesis and Magic in the Music of the T'boli" by Manolete Mora.

Sound engineers or architects who need to brush up on soundproofing theories or want to build the Philippines' next great acoustically perfect theater can read up on the "The Physics of Musical sounds" by C.A. Taylor.

Looking for a philosophical and profound read? Try "The Myth of Invariance: The Origin of the Gods, Mathematics, and Music from the Rg Veda to Plato" by Ernest McClain.

Donate for your legacy
For those who are decluttering their personal collections, DLSU's library accepts donations of books related to theater or performing arts, or otherwise.

It can also accept submissions of theater groups' souvenir programs--good news for groups who aren't too keen or skilled in cataloging their production's documents.

There's no need to physically go to the library to find out the availability of a title. The public can access the library's catalog online at lib1000.dlsu.edu.ph.

Guests can seek assistance from the librarians as well as use more than 45 reading rooms and meeting rooms. There is even a bean bag area.

Founded in 1911 in Paco before moving to its current location in Malate, the university is the first of 17 schools in the country run by the De La Salle Brothers of the Philippines, a Roman Catholic teaching congregation founded in France by Saint Jean-Baptiste de la Salle with schools all over the world.

Visit dlsu.edu.ph/library, call 5360244 or 5248835, e-mail library@dlsu.edu.ph.

Also published online:
http://lifestyle.inquirer.net/199847/de-la-salle-library-and-its-3500-titles-on-the-performing-arts

Fil-Am Jon Viktor Corpuz is Royalty on Broadway, dazzles in 'The King and I'

Fil-Am Jon Viktor Corpuz dazzles as Chulalongkorn in 'The King and I' Broadway revival
By Walter Ang
June 27, 2015
Philippine Daily Inquirer

The New York Times praised Jon Viktor Corpuz as "excellent" in his role in "The King and I" on Broadway, the 2015 Tony Award winner for Best Revival-Musical.

Corpuz plays Prince Chulalongkorn in this Richard Rodgers (music) and Oscar Hammerstein II (libretto) musical about the King of Siam (Ken Watanabe, 2015 Tony Award nominee Best Actor-Musical) and British teacher Anna Leonowens (Kelli O'Hara, 2015 Tony Award winner for Best Actress-Musical).

Corpuz "makes a strong impression" (Huffington Post), playing the role "with the aloofness that befits his father's son but also with a questioning intelligence that makes him his own man" (The Hollywood Reporter).

The musical's other 2015 Tony Award wins (in the Musical categories) include: Ruthie Ann Miles, Best Featured Actress (as Lady Thiang); Best Costume Design; and Best Lighting Design.

Heavy is the crown: On top of eight shows a week, having just performed in a medley from the musical for the Tony Awards (broadcast to millions of viewers), preparing for his first semester at New York University where he's received a full scholarship to the Clive Davis Institute for Recorded Music, Corpuz has just wrapped a one-night-only solo cabaret show "Confessions of a Teenage Drama King" at 54 Below (the restaurant literally below Studio 54).

Revolutionary
The real Prince Chulalongkorn was 15 when his father passed away; most productions cast actors 12-13 years old.

"During the auditions, they went back and forth between younger pre-teen and older teenager [auditionees and characterizations], so I wasn't quite sure where I stood," says Corpuz.

Well, he knows now. At 18 years old, he enjoys the chance to have a more nuanced take at the character.

In a previous interview with a blog, he said, "I don't think this role has ever been interpreted in this way. Chulalongkorn was very influential and really a revolutionary in real-life Siam.

"In this production, we're seeing him at the cusp of adulthood and on the verge of kingship, on top of having his world turned upside down by Western cultures and philosophies and coming into his own as a person and developing his own morals.

"Our director, Bartlett Sher, has been so helpful . and has really helped me unearth and humanize this person."

Music and karaoke
Corpuz was born in Florida to Jay, a businessman, and Virginia, an accountant and auditor, from Laguna and Manila, respectively, who both moved to the US in 1985.

Corpuz and his two older sisters grew up in a "typical Filipino" household filled with "music and a karaoke."

"Filipino singers whom I admire include Lea Salonga and Charice Pempengco and part-Filipinos Jessica Sanchez and Bruno Mars.

"There is an insane amount of good singers in the Philippines. The last time I went, it seems like everywhere, whether it be a drag queen club, hotel or random karaoke place, there are good singers."

(Conrad Ricamora, whose father is Filipino, plays Lun Tha alongside Corpuz. Ricamora played the role of Ninoy Aquino in the musical "Here Lies Love" and plays Oliver in "How to Get Away With Murder.")

"I love adobo, beef steak, my mom's Filipino spaghetti, longsilog, cornsilog, lumpia. Basically, any type of yummy meat! Also, I love Jollibee and Red Ribbon chocolate cake."

He also loves going to Filipino restaurants in Queens like Ihawan and Krystal's.

From snakes to trees
Corpuz has come far from his first summer workshop at Patel Conservatory performing arts school, crying at eight years old because he was afraid he wouldn't get the role of a snake.

He ended up being cast as the lead in a community musical production. "That's when I was bitten by the acting bug," he says.

He'd played Chulalongkorn in a local production in Florida when he was 10 and landed the same role in another staging in New York when he was 15, where his family eventually moved.

He transferred to the Professional Performing Arts School (Britney Spears and Alicia Keys are alumnae), where he'll graduate from later this month.

Credits include being cast in a one-night-only presentation of "Godspell on Broadway Cast of 2032," where young actors performed roles from the musical; and cast in Julie Taymor's (director of Disney's "Lion King" musical) off-Broadway production of "A Midsummer Night's Dream."
"We acted as water or trees, anything that added to the ambiance," he recalls.

Auditions
Corpuz auditioned for "The King and I" last summer, returning for five callbacks. "There was a very relaxed energy in the auditions. It felt like a rehearsal where we were just digging into the material."

His secret to feeling calm? "I make it a point not to know the creative team and their credentials so I don't get intimidated. When I later found out who the guy giving me directions was, I thought, `Oh. Director. Tony-Award winner. Cool. Got it,'" he says, laughing.

What was nerve-wracking for him was "the final callbacks in front of the Rodgers and Hammerstein estate, all the casting people, the creative team and the producers."

"But it was the time between auditions and waiting for the results that was the most tiring." He'd actually missed the voice mail from his manager about being cast, only retrieving it three days after the call.

"I was really happy! I feel lucky that this production came at this time in my life. It feels right."

"The King and I" runs at Vivian Beaumont Theater, Lincoln Center for the Performing Arts. Visit thekingandibroadway.com or like on Facebook (KingAndIBway).

Also published online:
http://lifestyle.inquirer.net/198375/fil-am-jon-viktor-corpuz-dazzles-as-chulalongkorn-in-the-king-and-i-broadway-revival/

Tanghalang Pilipino's Regina De Vera, 26, makes it to Juilliard

Tanghalang Pilipino's Regina De Vera, 26, makes it to Juilliard
By Walter Ang
May 30, 2015
Philippine Daily Inquirer

Regina De Vera, a resident actor of Tanghalang Pilipino (TP), has been accepted to The Juilliard School's Masters of Fine Arts in Acting program.

She is one of 18 applicants admitted to the program out of 1,900 hopefuls from all over the world. Her first semester of a four-year course begins September this year.

While De Vera has received financial aid from Juilliard, it's far from the total amount needed. The aid is $28,000 but the total cost of attending (including housing, supplies, insurance, etc.) is $61,290, she posts on Facebook.

If she can raise the funds on time, she will have the chance to study in the school that has produced the likes of movie stars Robin Williams and Jessica Chastain ("Zero Dark Thirty," "Interstellar"), TV stars Viola Davis ("How to Get Away with Murder") and Elizabeth McGovern ("Downton Abbey"), and Broadway stars Patti LuPone and Audra McDonald.

De Vera has set up a page on Indiegogo.com (tinyurl.com/GoFundRegina), a crowdfunding site that allows people from around the world to donate to different causes or projects. The site collects a percentage from donations.

In order for De Vera to qualify for a student visa (due on June 15), she will need to show proof of funding of at least $33,000 or approximately P1.5M. Payment for the semester is due on Aug. 10.

While several Filipino classical singers, dancers and musicians have graduated from Juilliard, De Vera is only the *fourth Filipino who will attend the drama program, after directors/acting teachers Ana Valdes-Lim (group 13), Orlando Pabotoy (group 27) and Randy Reyes (group 28).

Audition
"Earlier this year, I gambled my childhood savings to fly to New York City to audition," she writes.

Last year, she sent videos of herself for the prescreening: one of St. Joan of Arc's monologues from George Bernard Shaw's "St. Joan" for the contemporary dramatic monologue; and one of Diana's monologues from Shakespeare's "All's Well That Ends Well" for the classical comedic monologue.

Juilliard requires its international applicants to include a third monologue in their native language for the prescreening. De Vera did a Rolando Tinio Tagalog translation of Portia's "The quality of mercy" speech ("Ang pagdadalang-awa'y hindi kailangang iatas") from Shakespeare's "The Merchant of Venice."

If international applicants pass the prescreening phase, they are scheduled for in-person auditions in January.

"They let you perform only two monologues, but we were asked to prepare four in case they'd like to see more: two contemporary and two classical, preferably dramatic and comic, to showcase the applicant's range."

"I did St. Joan and Diana. For backup, I prepared the Portia speech and a contemporary monologue from Theresa Rebeck's `Loose Knit,' but was not asked to perform them."

Juilliard also encourages applicants to prepare a song to be sung a cappella, just in case. "I had 'Wouldn't It Be Loverly' from 'My Fair Lady,'" says De Vera.

For the final round of callbacks in March, De Vera was asked to perform the St. Joan monologue again and to sing "Wouldn't It Be Loverly."

Acceptance
"We were told that we'd learn about the results via e-mail by April 1. I got back to Manila the evening of March 17. The following day, pagbalik na pagbalik ko sa Manila, recital agad! We were wrapping up a training workshop for TP's Actor's Company."

She had received an e-mail from Juilliard's administrative director that morning, asking for a phone call. "I called her when I got home from the recital. I was so afraid that there might be a problem."

When told she was accepted, De Vera became confused. "I said, `Umm, sorry, I do not understand. I thought we would learn about the results on April 1? So wait, I'm in? I am admitted? I got in?' I was rambling!" she says, laughing.

"I ran to my parents' room where my dad was sitting on the bed and my mom standing. My mother hugged me, and my father, in his true loving fashion, congratulated me without getting out of bed," she recalls. "I have a loving and unconventional family!"

Rare opportunity
"My life changed when I decided to audition for my high school's drama club," she says. "It set me on this path. I was an unusually quiet and reserved pre-adolescent then. The decision came as a surprise to my family and my high school batchmates. Never looked back since."

De Vera's interest in American musicals led her to attend Repertory Philippines' summer Musical Theater workshops. Her sensibilities grew to include Western classics and straight plays, influencing her decision to enroll in Ateneo de Manila University's Bachelor of Fine Arts major in Theater Arts program.

She then joined Tanghalang Ateneo, one of the university's theater groups, performing in Philippine works such as "Walang Sugat" and in both English and Filipino productions of Shakespeare plays and Western classics.

After graduating with several awards, including the Loyola Schools Award for the Arts (Theater Arts category), she auditioned with TP's Actors' Company, its resident pool of actors who are trained continuously throughout their stay with the group.

Her recent credits for TP include Rhoda in "Walang Kukurap" and Ms. Forsythe in "Pahimakas Sa Isang Ahente" (Death of a Salesman).

For portraying Portia in "Der Kaufmann" (A Filipino adaptation of "The Merchant of Venice"), she won the 2013 Gawad Buhay!, the Philstage Awards for the Performing Arts, for Outstanding Female Lead Performance in a Play.

She's also done outreach work using theater as a tool for awareness and therapy for HIV-awareness for Unicef, and for calamity survivors of "Yolanda" (Haiyan)-affected communities for the World Health Organization.

"This opportunity comes rarely in the lifetime of an artist especially for someone born and raised in the Philippines. I am determined to pursue this path and hopefully make my country proud," she says.

Contributions may be deposited to BPI Family Savings Bank Philippine Peso savings account 6866-1099-72 and BPI US Dollar savings account 0424-0776-58. 

Visit reginadevera.com or tinyurl.com/GoFundRegina. Follow on Twitter (@regina_devera).

Also published online:
http://lifestyle.inquirer.net/194939/tanghalang-pilipinos-regina-de-vera-26-makes-it-to-juilliard

*ERRATUM: The list originally did not include Randy Reyes.

Pinoy Broadway producer Jhett Tolentino gets Tony nominations--again

Pinoy Broadway producer gets Tony nominations--again
By Walter Ang
May 16, 2015
Philippine Daily Inquirer

Jhett Tolentino has just added two more Tony Award nominations to his name-Best Play for "Hand to God" (still running), and Best Revival of a Play for "This Is Our Youth" (which ran from September 2014 to January this year).

Both these productions are in the running for this year's awarding ceremony, which will be held on June 7 at Radio City Music Hall in New York City, and will be hosted by Alan Cumming and Kristin Chenoweth (originator of the role Galinda/Glinda in the musical "Wicked.")

No, he's neither an actor in the cast nor a part of the artistic team. He and his business partner Joan Raffe, through their company JoanJhett Productions, served as coproducers for these two productions.

More and more Broadway (and Off-Broadway) productions now accept investors who are given the privilege of being named producers in the billing; as such, they also get the honor to go up the stage to receive the award if and when their show wins.

Tolentino and Raffe's Broadway investments have won them Tonys before. Last year, they won Best Revival of a Play for "A Raisin in the Sun," starring Denzel Washington, and Best Musical for "A Gentleman's Guide to Love and Murder."

The Antoinette Perry Award for Excellence in Theatre (Tony Award) honors theater professionals for distinguished achievement on Broadway. It was founded by the Broadway League and the American Theatre Wing, after whose cofounder the award is named after.

From Iloilo to NYC
Born and raised in Iloilo, Tolentino moved to New York in 2004; he was then 25 years old.

"After working in accounting for five years, I had had enough of the 9-to-5  life," he says. He shifted to serving as a personal assistant and ended up being employed by Raffe, who would accompany him to Manhattan when he'd watch shows.

"My solitude took me to the theater while working in New York. I like taking my mind off things. I go in, lights out and I get entertained. I get to think, laugh, cry and sometimes get annoyed. I have many opinions on how a show should have been done in certain parts or how it should have ended," he says.

He blogged about his opinions until "I realized that my writing hurt some people in the business. That wasn't my intention. I just wanted to save my readers time and money. So I took down my blog and explored how to be a part of the industry without hurting people. And that was my entry to producing."

Mutual love
With Tolentino and Raffe's mutual love for theater, her finances and his eye for potentially popular shows and accounting background, the idea to become producers was floated to them by professionals from the industry.

"Producing is a very expensive gamble. I don't have that kind of money. I have a little but not enough to stand on my own. That's where Joan comes in," says Tolentino.

They started investing in shows around 2011 and debuted as billed producers by late 2012.

In 2013, they invested in the comedy "Vanya and Sonia and Masha and Spike," and before the year ended, they'd won their first Tony for Best Play.

"We formed our company JoanJhett Productions in January 2014. Now we can properly charge our traveling expenses!" he says, laughing.

Selecting shows
He has three criteria in selecting shows to invest in. "One, I have to love it. Not like, dapat love! And after seeing over 1,200 shows, it takes a lot for me to love a show.

"Two, potential for critical acclaim or awards. Critics may no longer make hit shows nowadays, but the industry insiders still recognize their importance since they can shut down a show with bad reviews. When you have positive reviews from critics, then you will have potential awards recognition. That is important to both the show and the actors.

"Three, is it commercial enough? As a commercial producer, this is very important. A show shouldn't only have quality but must be viable enough to tour outside of New York."

Most importantly, "I always study a show's production costs and recoupment charts."

While he and Raffe have come in early (and with high enough an investment) in some productions to potentially receive a better profit-sharing deal and to be given the privilege to be part of the decision-making process in a show's development, "there have been a few instances that we took the back seat and let other producers decide and take the lead. Trust me, you wouldn't want to put on a multimillion-dollar show's success or failure on your shoulders. It's a lot to take on!"

Nonetheless, he always gets his hands dirty.

"Every show hires advertising and publicity for print, radio, online and event TV sometimes. There are sales and promotions firms to guide us throughout the process. But no matter how big the production or how little my involvement in any show, I personally help in reaching out to our target audience."

He promotes shows by rallying the Fil-Am community to come watch them through word of mouth and through his social media accounts.

Winners
Seems like they know how to pick 'em, since the productions they've invested in have won several Drama Desk, Drama League, Outer Critics Circle, Lucille Lortel and Off Broadway Alliance awards.

Tolentino now travels to other US cities to scout for regionally-created productions that they can possibly bring to Broadway.

"Whenever there is a buzz about a Broadway transfer, believe me, we will be there in the next few days or a week, the latest."

The momentum has been steadily gaining for the pair. From Broadway to, well, the world: He and Raffe have invested in productions that have toured internationally, such as the musical about Imelda Marcos, "Here Lies Love," for its West End tour that starred Mark Bautista in the role of Ferdinand Marcos.

All that passion and hard work have garnered him an Outstanding Filipino Americans of New York award in the Entertainment category  last year.

"Broadway is never too big for anyone. If anyone is aspiring to be a Broadway producer or any part of the creative team, I would encourage them to go for it. Never give up on it. There'll be challenges and it may take a while, but you'll get there."

Also published online:
http://lifestyle.inquirer.net/193261/pinoy-broadway-producer-gets-tony-nominations-again

Pinoy theater actors in LA TV comedy sketch show

Pinoy theater actors in LA TV comedy sketch show
By Walter Ang
May 9, 2015
Philippine Daily Inquirer

Giselle Töngi (fifth from left) and
Reuben Uy (fourth from right).

Theater actors Reuben Uy and Giselle Töngi are now part of gag show "Pun Plip Pridays" on a local Los Angeles TV channel.

The show airs on KSCI-TV LA 18, a channel for the Filipino-American community in Southern California, and is syndicated to KIKU station in Hawaii.

The show is touted as the "first-ever televised original sketch comedy show written, produced and performed by an all-Filipino American team."

Recent credits
Töngi's recent credits on stage include playing Ulla in Repertory Philippines' "The Producers," and as Marlene Dietrich in Atlantis Productions' "Piaf."

"I sent in my resume and demo reel from Manila as I heard that LA 18 was looking for a host/producer that spoke Tagalog for its show 'Kababayan Today,'" she says. "I interviewed over Skype and was offered the job shortly after."

Reuben Uy was recruited by Töngi to join the program that airs as part of the "Kababayan Today" show every other Friday. "Nobody can say no to Giselle!" says Uy, who worked with Töngi in "Piaf."

Uy's other credits in Manila include Tanghalang Pilipino's "A Streetcar Named Desire" and Rep's "Jekyll and Hyde." Since relocating to Los Angeles, he's been in Candlelight Pavilion's "The King and I,"  Theatrum Elysium's "Hamlet" and East West Players' "Beijing Spring."

Extra boost
Both acknowledge the extra boost that their theater backgrounds have given to their work for the TV show.

"Theater is something I discovered late in the game when I moved to New York to pursue theater school at Lee Strasberg Theater Institute," says Töngi.

"With comedy, being reactive and in the moment is key to delivery. Theater has taught me that having a clear objective and a method behind a character is a beautiful and creative process that depends on collaboration and teamwork."

Uy, on the other hand, has taken improv classes at University of California Berkeley. "Improvisation comedy helps you recognize what is funny in the moment and allows you to seize it," he says.

Their show is on Youtube (LA18KSCITV). Follow on Facebook (PunPlipPridays) and on Twitter (PunPlipPridays).

Also published online:
http://lifestyle.inquirer.net/192493/pinoy-theater-actors-in-la-tv-comedy-sketch-show 

Chrome and Che Ramos-Cosio: Husband and wife, exercising actors

Chrome and Che Ramos-Cosio: Husband and wife, exercising actors
By Walter Ang
May 2, 2015
Philippine Daily Inquirer

"Being physically fit helps us do more as we juggle many roles. We hardly get sick even if we usually work late into the night," says Che Ramos-Cosio.

Her husband and fellow actor, Chrome Cosio, agrees. "There are many benefits to being physically fit. You have more energy, you don't tire easily. You have better endurance to do a wider range of different things."

Ramos adds, "Especially now as parents of an also active two-year-old girl, we still have enough energy to work, take care of her, and have fun as a family."

Ramos was last seen in Red Turnip Theater's "Rabbit Hole," while Cosio was in Philippine Educational Theater Association's "D'Wonder Twins of Boac" (an adaptation of William Shakespeare's "Twelfth Night"). Both are familiar faces in the annual Virgin Labfest, and both have either been cited or nominated for their performances in Gawad Buhay!, the performing arts awards by Philstage.

Theater
Cosio and Ramos have been acting since their college days. Ramos started doing theater at the University of the Philippines-Los Baños while Cosio was with Centro Escolar University's Dramatic Guild.

Both ended up auditioning for, and getting into, Tanghalang Pilipino productions. Ramos' first play for TP was "Oraciones," while Cosio was cast in "R'meo luvs Dew-lhiett."

"We had seen each other around," says Ramos, smiling. "It was when we worked together in TP's 'Tatlong Mariya' (an adaptation of Anton Chekhov's 'Three Sisters') that we started going out. We were together for two years before we got married. We are now on third year of
marriage."

Working out
Cosio became conscious of his body when he was in his early 20s.

"I decided to go to the gym. I only went to a bakal-bakal gym, meaning a low-end neighborhood gym," he says, laughing.

"The thing is, in those kinds of gyms, no one gives you good advice. So my brother and I researched online for different types of workout techniques. We realized that fitness is something you can maintain anywhere and anytime, no excuses."

He does half an hour of jogging on Mondays, Wednesdays and Fridays, followed by 45 minutes of weight training, focusing on a different muscle group each day: back muscles one day, chest on another, shoulders and legs on Fridays.

Two years ago, Cosio tried out a free Muay Thai class. "I wanted to experience a different and new level of pain," he says, laughing.

"Muay Thai," or "Thai boxing," calls itself "the science/art of eight limbs," meaning the hands, elbows, shins and knees are all used extensively.

"After that first intensive training, I fell in love with it,"  says Cosio. Now he trains two hours a day, every Tuesday, Thursday and Saturday, under Johnwin 'Makata' Sarmiento. He will also begin teaching the martial arts this year.

Plana Forma
Ramos had been a varsity athlete most of her school life since grade school.

"I did volleyball, track and field and table tennis. My dad is also big on doing sports every summer," she says. "In college I fell in love with jazz dance. I joined Douglas Nierras' Powerdance and became a professional dancer for a few years."

"Unfortunately, I also started smoking cigarettes. I was doing almost two packs a day. By 2009, I was all bad habits! My weight was yoyo-ing, I'd be super thin one week then chubby the next," she adds.

She quit smoking when Cosio asked her to.

"It was super difficult; I would be extremely short-tempered and say the meanest things, but I did it. Afterwards, I'd started getting fat because I'd munch on food. I had to get back into shape. So dancing found me again. My Powerdance teacher Julie Alagde-Carretas was head trainer at Plana Forma and got me into it."

"Forma combines ballet, barre and Pilates in a circuit workout," explains Cosio. "It aims to work the muscles to the point of exhaustion, then there are quick stretches in between to create long lean muscles minus the bulk."

Ramos now teaches Plana Forma and is also a freelance Zumba instructor.

"I teach about three to four Forma classes and about three Zumba classes a week. I take a minimum of two Forma classes weekly and as much Zumba as I can. Otherwise, I do a bit of yoga stretching at home and chase after my two-year-old," she says, laughing.

"In short, all bad habits are gone, and I am in better shape than I have ever been."

Plana Forma is taught in Quezon City (7099174, 0917-5838022) and Bonifacio Global City (5530870, 0917-8094392). Visit forma-asia.com, like on Facebook (PlanaFORMA) and follow on Twitter (PlanaFORMA).

Conqueror's Gym is at 2/F Jongco Bldg., Mikesell Compound, Marcos Ave., Las Piñas. Contact 0917-8968210, 0917-8319739 or 0906-2079829. Like on Facebook (conquerorsboxing).

Also published online:
http://lifestyle.inquirer.net/191962/chrome-and-che-ramos-cosio-husband-and-wife-exercising-actors

Clint Ramos designs costumes for Bradley Cooper's 'The Elephant Man' on Broadway

Clint Ramos designs costumes for Bradley Cooper's 'The Elephant Man' on Broadway
West End run starts May 19, 2015
By Walter Ang
April 18, 2015
Philippine Daily Inquirer

Via Inquirer.net

Clint Ramos designed the costumes for a production of "The Elephant Man" that headlined three-time Academy Award (aka Oscar Award) nominee Bradley Cooper (for "American Sniper," "American Hustle," "Silver Linings Playbook").

The show ended its Broadway run in February (where it recouped its US$3.1 million investment in six-and-a-half weeks) and will begin previews on May 19 at Theatre Royal Haymarket in London's West End.

Written by Bernard Pomerance, the play is based on the life of Joseph Merrick (named John in the play) who lived in 19th century England and was known for the extreme deformity of his body.

John Hurt played the titular character in the 1980 movie version. On stage, other Hollywood actors have portrayed the lead role, such as Billy Crudup, David Bowie and Mark Hamill (Luke Skywalker to older readers; voice of The Joker in animated Batman movies, TV series and videogames to younger readers).

Devoted actor
Ramos has been involved with this production from its first incarnation at the 2012 Williamstown Theatre Festival in Massachusetts to its transfer to Broadway.

"Bradley is an amazing artist," says Ramos. "He's a very meticulous actor and he is probably one of the most collaborative actors I know. He and I really worked closely together on his costumes."

"He is one of the producers, but I never really had to deal with that because my direct interactions with him were purely artistic. I never felt his  `celebrity-ness' at any point in the process. He is just a devoted actor willing to do anything for his character.

"Because of Bradley, we get a ton of celebrities coming to see the show every night. The most memorable for me was when Barbra Streisand came backstage and gushed over the gowns I designed for Patricia Clarkson's character. That was special."

Unlike other productions that have used prosthetics to portray the lead character's physical disfigurement, this production tasks Cooper to contort his body instead.

"That's the most ironic and profound facet of the whole enterprise: we see all of Victorian society enthralled, mesmerized and obsessed with this man and his severe deformity as they themselves were deforming their bodies through fashion with corsets, top hats, bustles, etc."

Victorian-era underwear
Ramos did in-depth research, down to the underwear design.

"The design for the clothes is really based on real clothes of the period. We started with extant research on Joseph Merrick. There is a photo of him in Victorian underwear as he was photographed for medical curiosity. The underwear Bradley wears in the show is based on that photo.

"We started with a standard symmetrical garment. When we had our fittings with Bradley, I asked him to hold the pose and we adjusted the garment to accommodate his contortion and I added some age and creases to it. The underwear he wears is made of pure Italian linen, and we had to line it because it was too sheer to use on stage.

"I really just wanted to be loyal to the period. It's a great show to feature costumes of 1880s England because the characters run the gamut of social class; we have servants to royalties to carnies, etc.

"There are tons of Victorian illustrated sources and real garments that are available for us to use as references. The cast wears clothes that real people would have worn during that time.

"I did, however, control the color palette to reflect that thick, brooding, dark air of Victorian/Edwardian England. The colors are dark, mostly blacks and grays and when we do have `colors' they are deep and rich."

Ramos also designed the costumes for the musical "Here Lies Love," a musical about Imelda Marcos, which recently ended its London run with Mark Bautista in the role of Ferdinand Marcos. (Bautista will play Nico in Viva Communications and Resorts World Manila's upcoming stage adaptation of comic-turned-movie-turned-TV series "Bituing Walang Ningning.")

Visit elephantmanlondon.com.

Also published online:
http://lifestyle.inquirer.net/190853/ny-based-clint-ramos-designs-costumes-for-bradley-coopers-the-elephant-man-on-broadway

Filipino theater designers featured in 2015 intl exhibitions in Prague and Moscow

Filipino theater designers featured in 2015 int'l exhibitions in Prague and Moscow
By Walter Ang
March 28, 2015
Philippine Daily Inquirer

2015 Philippine pavilion scale model designed by De Leon.

The Philippines is preparing its display entries and delegates to two international theater design events this year: the Prague Quadrennial of Performance Design and Space (PQ) 2015 in the Czech Republic and the "Costume at the Turn of the Century 1990-2015" exhibition at Bakhrushin State Central Theatre Museum, Moscow, in Russia.

To be held from June 17 to 28, the PQ exhibits a variety of performance design disciplines such as costume, stage, lighting and sound design. It's been held every four years since 1967.

US-based students
Two designers whose works are included in the entries to PQ, set designer Lex Marcos and costume designer Raven Ong, are both currently in the United States, on opposite coasts, taking up master's degree programs in set design and costume design, respectively.

Marcos is taking up a Master in Fine Arts in Scenic Design at the University of Washington's School of Drama in Seattle, while Ong is taking up an MFA in Costume Design at University of Connecticut's School of Fine Arts.

Marcos' entry is his set design for University of the Philippines Playwright's Theater's "Umaaraw, Umuulan Kinakasal ang Tikbalang" (2011).

Ong's entry is part of a collaborative set of new designs for his school's group entry, "Country of Many Nations: E pluribus unum."

As both are studying under financial aid programs, they are  trying to find ways to generate resources and funds for their airfare to Prague and accommodations there.

Marcos' recent credits include Dulaang Unibersidad ng Pilipinas' "Adarna" and "Bilanggo ng Pag-Ibig" and the Philippine Educational Theater Association's (Peta) "D Wonder Twins of Boac."

Ong's recent credits include Atlantis Productions' "Carrie," Red Turnip's "Closer," and Repertory Philippines' "The Producers" and "Alice in Wonderland."

Philippine booth
In the 2011 PQ, the Philippines' exhibition pavilion, a 6-meter-high bahay-kubo design by set designer Rolando "Rollie" de Leon, was a Children's Choice awardee, receiving a Rainbow Cormorant award hand-crafted by Czech schoolchildren who cast their votes for their favorite pavilion.

He has designed this year's pavilion as well, an installation that aims to show a devastated scene, with bamboo poles that seem to have been washed out and clumped together by floods. The photos and items for display will be inserted into the bamboo poles.

"The visitors will see how our theater productions are related to our country's situation: calamity, destruction, political turmoil, etc. Filipinos keep moving on, past these struggles," says De Leon.

Historical material
To be held from June 15 to Aug. 1, the "Costume at the Turn of the Century 1990-2015"  exhibition in Russia aims to "showcase the development of ideas, materials and technologies of costume design over the past 25 years from all over the world . as well as archive and preserve this historical material for future designers and the general public."

Igor Roussanoff, the exhibition's chief curator, selected the works of three designers from the Philippines to be included among the works of designers from 27 countries: De Leon's costumes for Music Theater Foundation's "Why Flowers Bloom in May" (2008); Mark Higgins' costumes for Triumphant Peoples Evangelistic Theater Society's (Trumpets) "The Lion, The Witch and The Wardrobe" (1996 and subsequent restagings); and Mio Infante's costumes for Atlantis' "Disney's Beauty and the Beast" (2007) and Trumpets' "The Bluebird of Happiness" (2013).

De Leon is the Philippine curator for both PQ 2015 and this exhibition.

Higgins' other credits include costumes for Agnes Locsin's dance piece "The Four Last Songs." He is currently codirector of Slim's Fashion and Art School, Manila.

Infante's recent credits include Peta's "Rak of Aegis," Rep's "The Graduate" and 9 Works Theatrical's "Grease."

To offer funding support to Raven Ong, e-mail rraven2516@gmail.com; to Lex Marcos, e-mail lexmarcosonline@gmail.com.

For details on Prague Quadrennial 2015, visit pq.cz/en. For details on "Costume at the Turn of the Century 1990-2015," visit worldcostumedesign.com.

Also published online:
http://lifestyle.inquirer.net/188927/pinoy-theater-designers-featured-in-2015-intl-exhibitions-in-prague-and-moscow

Sheila Francisco sings, acts--and cooks

Sheila Francisco sings, acts--and cooks
By Walter Ang
March 14, 2015
Philippine Daily Inquirer

Sheila Francisco

Sheila Francisco is currently playing the ultra conservative mom Marie Dindon in 9 Works Theatrical's "La Cage Aux Folles."

While younger audience members have been watching her in plays recently, they may not know that her entry into the theater profession was through musicals.

She was recruited by Freddie Santos to perform for Trumpets' "Joseph the Dreamer" in 1991. A decade's worth of musicals in Manila and Singapore later, she was chosen by Trevor Nunn (director of the original productions of "Cats" and "Sunset Boulevard," among other musicals) to play Bloody Mary in the Royal National Theatre's revival of "South Pacific" in London.

Love of singing
"I have to credit my father, Ramon Francisco, for my love of music," says Francisco. "He loved music and would require us kids to listen with him when he'd play his music after meals.

"I love musicals and I will continue to do them, but doing a play is more challenging because all you have are the words. No quiet or big notes to help intensify a point-just words."

As an actor, she says that her job "is to find the right delivery, the right balance to make those words come alive and serve the story that is being told. It is a skill that one continually learns and I love it."

Two plays

Last year, Francisco was seen as Nat in Red Turnip's "Rabbit Hole," a mother who comforts her daughter who'd lost a son. But Nat herself is still coping with the death of her own son who committed suicide years back. "She is a study of contradictions. I loved playing her."

She also performed two roles for Repertory Philippines' "August: Osage County." She was tasked to play Matti Fae and to alternate for the role of the main protagonist, Violet.

"It is the most challenging and most fulfilling play I have ever done," says Francisco. "I memorized practically half of a three-hour play!"

On certain days, she would sometimes do one role for the matinee and the other role for the evening show. "I'd barely had an hour to change makeup and prepare. To shift characters in such a short time was extremely difficult for me but by God's grace, I was able to do it."

Cooking and eating
When she's not busy rehearsing or performing, she manages Franciscan Home Cooked Meals Restaurant in Makati City.

She'd been managing a recording studio, Sound Design, in Mile Long Building for the past 15 years. "But a spot was suddenly available. My sister, Poe Blay, who herself is a fabulous cook, asked if I was interested to try out opening a small cafe and that was that."

It was also her father who influenced this aspect of her life.

"He loved eating good food! He would drive as far as Angono, Rizal, to eat fried dalag for lunch and then drive to Binondo to buy the shrimp kikiam of Carvajal Street so we could have it for dinner."

"Dad had an incredible palate. He would come home, say, from eating at Casino Español and ask me to replicate the paella or the callos. He'd run down the ingredients from his memory of how the dish tasted and then give me instructions how to cook it."

Features and favorites
Now on its fifth year, the restaurant has become a favorite spot of her theater colleagues for meetings and reunions.

"We offer home-cooked flavors. The top favorites of the customers on a daily basis are the mechado flakes, arroz a la cubana, binagoongan, bangus tocho and Alaminos longganisa."

"Audie Gemora's favorite is the adobo flakes, Pinky Marquez likes the bangus belly paksiw, Leo Rialp loves my chicken curry. Tita Baby Barredo loves our Winner Kangkong, which is cooked in coconut milk."

Pasta favorites include pesto with smoked salmon bits, bolognese, Spanish sardines, and puttanesca.

The restaurant usually has a special or two for the week. "I'm the one who usually cooks these dishes. They are inspired by my dad's fave dishes. We have callos, fabada, stuffed calamari, lechon kawali, paksiw, humba. We have a fish curry dish where I make the sauce blend from scratch."

Franciscan Home Cooked Meals Restaurant is at Mile Long Bldg., Amorsolo St., Makati City. Contact 512-4670 or 0917-3864789. Like on Facebook (franciscanhomecookedflavors).

Also published online:
http://lifestyle.inquirer.net/187332/sheila-francisco-sings-acts-and-cooks

Melvin Lee plays Jean Genet in Dulaang UP's 'Bilanggo ng Pag-ibig' ('Prisoner of Love')

Dulaang UP presents 'Bilanggo ng Pag-ibig' -- Jean Genet's 'Prisoner of Love'
By Walter Ang
Feb. 7, 2015
Philippine Daily Inquirer

Melvin Lee (left)

"Being an actor in the theater was never in my dreams. I was too shy to be onstage. Stage fright to the max," confesses Melvin Lee, who tackles the role of Jean Genet, in Dulaang UP's (DUP's) "Bilanggo ng Pag-ibig," opening Feb. 11.

"But having seen the value and the power of the medium made me realize that I can probably be part of this very dynamic movement called 'theater.'"

Written by Rody Vera and directed by José Estrella, the production caps DUP's 39th season and is based on French petty thief, prostitute, novelist, playwright, poet, essayist and political activist Genet's book "Un Captif Amoureux" (Prisoner of Love).

The book was published posthumously. Genet passed away in 1986, collecting his manuscripts on his encounters with the Palestinian Liberation Army in the Middle East.

The play is set in the last days of Genet's life, holed up in a small hotel in Paris, battling throat cancer while frantically trying to finish writing his last masterpiece. He converses with his friend Leila Shahid (alternately played by Tess Jamias and Dolly de Leon), later to become the general delegate of Palestine to the European Union.

The play seeks to "understand and portray Jean Genet's imagination as well as his controversial insights on revolution, betrayal and deceit, homosexuality, violence and love."

Blanking out and maturing
"I got rid of the stage fright by constantly being onstage doing plays," says Lee.

"I was invited to join the Philippine Educational Theater Association in the '80s by my high school classmate, Angie Cantero, who was part of Metropolitan Teen Theater League, the youth arm of Peta," Lee recalls.

"My first assignment was to be part of the music pool of the play  `Samperang Muta,' directed by Ces Mangay-Quesada. The music was live instrumentation and the musical director, Chino Toledo, had us use junk objects as instruments. I was in charge of blowing on the Coke bottles."

Lee was also tasked to do stage management and production management for various plays. "I received enormous training when I would be cast as part of the ensemble in productions. It helped me mature as an artist," he notes.

"One time in the '80s, I was part of this group scene in a touring production of `Panata sa Kalayaan' that we did in Switzerland. We were acting as different news reporters with his or her own report. I totally blanked out. I tried to save myself but all I could say was, `Mmmmm.' Kaloka!" he says, laughing.

Lee was eventually cast in roles like Inao in "Diablos," Diana Ross in "Kung Paano Ko Pinatay si Diana Ross" and as Chelsea in "Care Divas," among others. For his role as Chelsea, Lee received the 2011 Philstage Gawad Buhay! for Best Actor in a Musical.

Real person
Lee, who alternates with Ernesto "Jojo" Cayabyab III in the role (recent credits include Theatre Movement Bazaar's "Anton's Uncles"), has performed with DUP in the past.

"I did `Divinas Palabras,' also directed by Jose; `Baclofen' directed by Alex Cortez; then the  'Kangkong 1896' remount directed by the late Ogie Juliano."

In preparing for his role, Lee has been reading books and watching as many videos as possible of Genet. "Also, I try to cull from the previous callouses of my life to approximate the complexities of this very esoteric, deviant character named Jean Genet."

On acting as a person who actually existed: "At the end of the day, our task as an actor is to come up with our interpretation based on the text and other pertinent info about the `real' character. We cannot be the real person, but what we can offer is a different insight or try to get the essence of his being. That's the  challenge."

Preparing
Aside from researching about Genet, Lee has also been brushing up on the history of the conflict between the Israelis and Palestinians.

He points out: "One of Genet's important `causes' is the Palestinian revolution. Because they were displaced, all of a sudden, this entire race has become refugees. They no longer have land to call their own-hindi ba malapit 'yan sa walang kamatayang conflict sa Mindanao?"

Pinoys, says Lee, "should care about the conflict in Israel because we are indirectly affected by that war: oil, OFWs and the whole concept of terrorism.

"It's worrying when we hear of news about bombings. Our psyche as a people is affected because we know that there's a part in a world where people are dying because of conquest and oppression."

For "Bilanggo ng Pag-ibig," Ed Lacson is assistant director, Barbie Tan-Tiongco is lighting designer, Lex Marcos and Mark Dalacat are the set designers,

J. Victor Villareal is sound designer, Carlo Pagunaling is costume designer, JM Cabling handles movement, Sigmund Pecho handles puppetry and Jon Lazam is video designer.

The play runs Feb. 11-March 1 at Wilfrido Guerrero Theater, 2nd floor, Palma Hall, University of the Philippines, Quezon City.

Contact 9261349, 4337840, 9818500 loc. 2449 or dulaangupmarketing@gmail.com. Like on Facebook (DulaangUnibersidadNgPilipinas) and follow on Twitter (@Official_DUP).

Also published online:
http://lifestyle.inquirer.net/183772/dulaang-up-presents-bilanggo-ng-pag-ibig-jean-genets-prisoner-of-love

Two 'Romeo and Juliets,' in fair Manila

Two 'Romeo and Juliets,' in fair Manila
By Walter Ang
Jan. 31, 2015
Philippine Daily Inquirer

Thea Gloria as Juliet and Russell Legaspi as Romeo.

"Two productions, both alike in dignity,
In fair Manila, where we lay our scene.
From ancient source, staged for this century."

Just time for Valentine's in February, two productions of William Shakespeare's timeless classic on star-crossed lovers "Romeo and Juliet" are happening within days of each other in Manila.

Both productions will be using modern elements to bring the play closer to today's audiences.

Assumption College's (AC) Marie Eugenie Theater for the Arts' (Metta) production features Riki Benedicto and Russell Legaspi alternating as Romeo and Benvolio. Both guest actors are alumni of the Tanghalang Pilipino Actors' Company.

Female roles are portrayed by AC alumnae and students. Thea Gloria, a graduate of the college's Theater Arts program, leads the pool of actresses alternating as Juliet. Gloria's recent credits include Repertory Philippines' "August: Osage County" and "Pinocchio."

Metta's staging will use modern music and dance.

"The themes are very apt even in the 21st century," says director Ana Valdes-Lim. "The tragedy of their love story brings home the message that violence and rivalries only end in devastation and bring no peace."

Valdes-Lim has directed for Tanghalang Pilipino and currently teaches at AC. The costume styling is by Miel Abong, with choreography by Chris Nocon, lighting design by Roldan Lozano and sound design by Joseph Andal.

Marie Eugenie Theater for the Arts' "Romeo and Juliet" runs until Feb. 6 at the Blackbox Theater, Assumption College, San Lorenzo Village, Makati City. Tel. nos. 8942681, 8170757 loc. 1162-1164; e-mail marketing.metta@gmail.com; like on Facebook (metta.ac).

Inaugural productionMeanwhile, Issa Litton will be playing Juliet's mother, Lady Capulet, in Manila Shakespeare Company's production directed by the group's artistic director Nicanor "Nic" Campos.

Rachel Coates plays Juliet and Nelsito Gomez plays Romeo in the group's inaugural production.

Coates' recent credits include "Scrooge the Musical" and "Alice in Wonderland" (Repertory Philippines), and "The Sound of Music" (Resorts World Manila).

Gomez was last seen in "Shrek the Musical" (Atlantis Theatricals Entertainment Group), "Grease" (9 Works Theatricals) and "The Glass Menagerie" (The Sandbox Collective).

Campos is setting the story in 21st-century Manila with all the familiar urban trappings: from selfies to suits worn with shades, from swords replaced with guns and knives to cloaks replaced with hoodies.

"The various strata of Veronese society represented in the play will be paralleled by surprising contemporary equivalents in local culture," he says. "Who knew, for instance, that Juliet's nurse was Shakespeare's greatest yaya?"

Campos himself has performed the Bard's characters such as Oberon, King Lear, Hamlet and Richard III. Recent credits include Claudio/Don Pedro in "Much Ado About Nothing" (Upstart Productions), Malvolio in "Twelfth Night" (Metta) and Petruchio in "The Taming of the Shrew" (Ephesus Teatron).

His recent appearances for Repertory Philippines include Horton the Elephant in "Seussical," Tin Man in "The Wizard of Oz" and The Cheshire Cat/Mock Turtle in "Alice in Wonderland."

Campos says this production will be available for touring for the remainder of the year. The February and March shows will allow educators and groups interested in buying future shows enough time to plan schedules for the coming school year.

Manila Shakespeare Company's "Romeo and Juliet" runs Feb. 27-March 6 at Teatrino, Promenade, Greenhills, San Juan City. Tel. no. 0939-5969250; e-mail mnlshakesco@gmail.com; like on Facebook (ManilaShakespeareCompany).

Also published online:
http://lifestyle.inquirer.net/183250/two-romeo-and-juliets-in-fair-manila

From Tanghalang Pilipino, a Filipino adaptation of 'Dangerous Liaisons'

From Tanghalang Pilipino, a Filipino adaptation of 'Dangerous Liaisons'
By Walter Ang
Jan. 24, 2015
Philippine Daily Inquirer

Shamaine Centenera-Buencamino (seated).
Arnold Reyes and LJ Reyes.

Tanghalang Pilipino (TP) will stage "Juego de Peligro," an adaptation of French army general Pierre Choderlos de Laclos' 18th-century epistolary novel "Les Liaisons dangereuses," this February.

Shamaine Centenera-Buencamino is set to play the Marquise de Merteuil/Margarita, a scheming widow who teams up with Vicomte de Valmont/Vicente (Arnold Reyes) in a contest to see who can corrupt the young and virginal Cécile de Volanges/Cecilia and the virtuous and recently married Madame de Tourvel/Teresa.

Tuxqs Rutaquio, TP associate artistic director, will direct and design the set. James Reyes will handle costume design. Music will be by Jed Balsamo and lighting design by John Batalla.

"JUEGO de Peligro," opening Feb. 20 at CCP Little Theater, stars Shamaine Centenera-Buencamino, Arnold Reyes and LJ Reyes, under Tanghalang Pilipino associate artistic director Tuxqs Rutaquio's direction. Rutaquio also designs the set, James Reyes the costumes.

"JUEGO de Peligro," opening Feb. 20 at CCP Little Theater, stars Shamaine Centenera-Buencamino, Arnold Reyes and LJ Reyes, under Tanghalang Pilipino associate artistic director Tuxqs Rutaquio's direction. Rutaquio also designs the set, James Reyes the costumes.

Elmer Gatchalian handles adaptation and translation duties.

Gatchalian's past plays include "Ambon ng Kristal" (1994 First Prize Palanca Award for One-Act Play) and "Ang Tiririt ng Ibong Adarna," both staged by the Philippine Educational Theater Association (Peta).

He has also translated Nick Pichay's "Almanac for a Revolution" ("Ang Dalawang Buhay ni Plaridel"), also staged by Peta.

Other versions
Gatchalian first encountered the material when he was a journalism major at the University of Santo Tomas (UST) via Christopher Hampton's play adaptation of the novel.

"I saw a copy of the script of   `Les Liaisons dangereuses,' a very slim book, at the UST Central Library," he says. "I loved the play. And then I saw the film version with Glenn Close, which made me love the material even more."

In the acclaimed 1988 film version, Close costarred with John Malkovich, Michelle Pfeiffer, Keanu Reeves and Uma Thurman.

There have been other adaptations of the material. In 1999, it was adapted into the US film "Cruel Intentions," setting the story in a school in New York, starring Sarah Michelle Gellar, Ryan Phillippe and Reese Witherspoon.

"Untold Scandal" is a 2003 South Korean film adaptation which set the story in Korea's golden-era Joseon dynasty. And in 2012, a Chinese film adaptation starred Zhang Ziyi and transposed the story to 1930s Shanghai.

There is even a Twitter adaptation at www.whatthefrench.com/portfolio/dangerous-tweets.

All of which Gatchalian consumed, among other adaptations and related versions, for his research.

"There is also a 1959 film by Roger Vadim, with the story set in a late-1950s French bourgeois milieu," he notes. "I also watched `Valmont,' the 1989 film directed by Milos Forman and starring Annette Bening and Colin Firth."

From France to Philippines
Gatchalian had previously translated Hampton's play in college ("I was bored," he says) but was tasked by TP to adapt the novel from scratch.

"I bought a copy of the Laclos novel translated by Richard Aldington, making a lot of notes on the pages and highlighting passages that would denote character and plot movements. It took me a month to write the first draft," says Gatchalian.

"Tuxqs didn't want a very modern adaptation of the novel. He wanted to retain the elements that made us love the 1988 film by Stephen Frears: the costumes, the pageantry, and, most importantly, the attitudes and mores of a bygone era," explains Gatchalian.

He transports the story of the novel to Intramuros, Manila, during the last years of the Spanish regime.

"As the power of the Spanish conquistadores in the colony began to wane in the last years of the 19th century, Señor Vicente and Señora Margarita are two Spanish peninsulares aristocrats who remain unshaken in their desire to engage in depravity through their vicious games of conquest," he says.

Challenge
Finding the exact time frame of the adaptation was a challenge. Transporting the story to the Spanish-colonial era of the Philippines is not enough; there must be an ideological and historical framework behind the actions and machinations of the two lead characters.

Gatchalian spent two months reading the following books to "absorb the era": "Manila, My Manila" by Nick Joaquin; "Working Women of Manila in the 19th Century" by Dr. Luisa Camagay; "History of the Burgis" and "Turn of the Century" by Gilda Cordero-Fernando; "Crime, Society and the State in the Nineteenth Century Philippines" by Greg Bankoff; "Waiting for Mariang Makiling" by Resil B. Mojares; "Palabas" by Doreen G. Fernandez; "The Promise of the Foreign" by Vicente Rafael; and "Vocabulario de la Lengua Tagala," edited by Virgilio Almario.

"I also consulted Dr. Nicanor Tiongson, a well-respected film professor, critic, Philippine culture expert (and my former boss); and Dr. Vic Torres, an esteemed history professor and playwright, regarding the period setting. My adaptation explores the themes of conquest and class struggle during that particular era," says Gatchalian.

"I see their preoccupation with corrupting their victims as some sort of a desperate attempt by Spain to cling to its power and influence over a colony that was slowly welcoming a new alien presence, the United States, while talks of a mass revolt swirl in the background," he says.

"They both regard themselves as `patriots' defending their motherland against threats of revolutionary leaders and new colonizers, but, ultimately, they become harbingers of moral ruin and social collapse, which contribute greatly to the eventual demise of Spanish power in the country," he adds.

Tanghalang Pilipino's "Juego de Peligro" runs Feb. 20-Mar. 8 at Tanghalang Aurelio Tolentino, Cultural Center of the Philippines. Tel. nos. 8321125 loc. 1620 and 1621, 0905-2544930, 0921-8204155; TicketWorld 8919999; log on: ticketworld.com.ph.

Also published online:
http://lifestyle.inquirer.net/182782/from-tanghalang-pilipino-a-filipino-adaptation-of-dangerous-liaisons