Filipino American Robert Brill designs sets for The Temptations' Broadway bio musical

By WALTER ANG
Feb. 27, 2019
Inquirer.net
https://usa.inquirer.net/22761/fil-am-designs-sets-for-the-temptations-broadway-bio

NEW YORK — Theatergoers will once again see the work of Filipino American set designer Robert Brill on Broadway this year.

Final constructed set of the building facade
designed by Robert Brill for the Broadway musical "Ain't Too Proud."
Photo by Matthew Murphy

He designed the sets of "Ain't Too Proud: The Life and Times of The Temptations," a musical about the all-male African American R&B group, which has previews beginning February 28.

Last year, Brill worked on the sets of "Summer: The Donna Summer Musical." The show closed in December and is preparing for a national tour later this year.

"It's been really incredible!" Brill says. "I'm so grateful to be a part of two very special projects.

"I love developing new work, and to have the chance to bring two exciting musicals to Broadway within the span of a year is rare. Am trying to savor every moment!"

Brill's Broadway credits include "Buried Child," "Assassins," "A Streetcar Named Desire" and "Guys and Dolls," "Jesus Christ Superstar" and "Cabaret."

California

Brill became involved with "Ain't Too Proud" through director Des McAnuff and choreographer Sergio Trujillo. The trio previously worked on "Summer" together.

Set designer Robert Brill worked on the Broadway musical
"Ain't Too Proud: The Life and Times of The Temptations."

"I'm really fortunate to have great champions like Des and Sergio" he says.

"We've collaborated on many projects together, starting back when I had just graduated from the University of California- San Diego and Des was artistic director of the La Jolla Playhouse."

Brill, whose mother is Filipino Spanish and whose father is Filipino Irish, took up theater and is a native of Salinas, California. He was a cofounder of Sledgehammer Theatre when he was still in college.

"Since then, we've worked together on more than 20 plays, operas, and musicals that have been presented internationally, regionally throughout the US, and on Broadway."

Deep dive

"Des introduced me to Dominique Morisseau's script back in 2016. It was clear from the first read that this was something special."

 Rough sketch of set design idea for a building facade (left)
beside detailed computer rendering.

"The opportunity to do a deep dive into the music and the history of the Temptations was hard to believe!

Brill remembers his parents listening to the music of the Temptations. "Getting reintroduced to their music was wonderful in so many ways, as it was both nostalgic and at the same time, an incredible history lesson."

"It's hard to single out any one of their songs. That's kind of the beauty of the show, their catalog of music is a not just a powerhouse of hits, but a rich tapestry that has spanned more than five decades. It's pretty overwhelming and inspiring."

Memory and movement

"The evening is a memory play, so our goal was to provide details in a shifting theatrical landscape," he explains.

"Because there have been 22 members of the Temptations that have come and gone over the past five decades, Des had a strong feeling that the design should takes its cue from entrances and exits-both literally and metaphorically."

Brill says that "delivery and motion onstage" was the starting point for the musical's look and feel.

"Before we knew what the show might look like, we knew that it would be kinetic."

Motown

He went on to research images of Detroit, where the Temptations was formed and the original home of Motown Records-the African American-owned music label that handled the Temptations' music.

Brill designed the set of the opera "Everest."

Brill and the artistic team then used a scale model of the set as well as a virtual model. "This allowed us to create over 160 pages in storyboards and plans."

Visual design collaborators include costume design by Paul Tazewell, hair and wig design by Charles LaPointe, lighting design by Howell Binkley and projection design by Peter Nigrini.

The musical opened at Berkeley Repertory Theatre in Berkeley, California in 2017. Last year, it toured Kennedy Center in Washington, DC; Ahmanson Theatre in Los Angeles; and Princess of Wales Theatre in Toronto.

"The set is being adapted and custom fit to the Imperial Theatre. And while it will look familiar, we've added a few elements that will enhance the Broadway production," says Brill.

Brill's set design for the opera "Everest" is currently being remounted by Calgary Opera and he is currently designing Lauren Yee's play "The Great Leap" for American Conservatory Theater in San Francisco.

"Ain't Too Proud: The Life and Times of The Temptations," previews begin Feb. 28 at Imperial Theatre, 249 West 45th St., New York. Visit Ainttooproudmusical.com.

Regina Aquino is committed to Filipino American theater in Washington, DC

By WALTER ANG
Feb. 22, 2019
Inquirer.net
https://usa.inquirer.net/22324/pinay-power-drives-washington-staging-of-nell-gwynn

WASHINGTON, DC — Regina Aquino is playing two women with access to a person in authority in the comedy "Nell Gwynn."

Regina Aquino as Lady Castlemaine,
one of the two characters she plays in "Nell Gwynn."
Photo by Brittany Diliberto

In this play—based on true historical figures—set in mid-1600s England, the title character becomes King Charles II's latest mistress. Gywnn then quickly becomes the enemy of the chief minister and the king's other mistresses Lady Barbara Castlemaine and Louise de Keroualle, both of whom are brought to life onstage by Aquino.

"They are very ambitious, cunning women and truly delightful to play," she says.

Staged by the Folger Shakespeare Library's Folger Theatre, the play won the Olivier Award for Best New Comedy in London.

"This play has got a lot of heart and presents formidable women. There is another Pinay in the show, Caitlin Cisco. She's a recording artist based in New York. She plays Rose Gwynn, Nell's clever and tough-loving sister. There's quite a bit of Pinay power in our production."

Credits

Born to Filipino parents in the DC area and raised in Clinton, Maryland, Aquino speaks fondly of her maternal grandparents.

Aquino wants Filipino Americans to watch theater regularly. 

"My Nana and Nunu Aquino were the people I admire most in my life, along with my mother, and their love and support of my aspirations in the performing arts fuel me to this day. I keep pictures of them at my [backstage] station in every show I do and attribute all my successes to the three of them."

Her credits include "Vietgone," "Red Light Winter," "Dog Sees God" "Polaroid Stories" for Studio Theatre; "The Arsonists" for Woolly Mammoth Theatre Company; "The Events" and "brownsville song (b-side for tray)" for Theater Alliance; among others.

Later this year, she will be in "Describe the Night" at Woolly Mammoth and "Tiger Style!" at Olney Theatre Center.

Commitment

When it comes to theater, Aquino channels ambition and commitment to her craft and to her community.

Aquino (right) in a scene from "The Events."
Photo by Colin Hovde

She works with Not In Our House DC, an organization that supports marginalized artists and protects artists from toxic and abusive environments.

"One of the goals is to ensure that voices of minorities are represented in all areas of theater-making, from actors to directors, designers to playwrights, etc."

She is also affiliated with Asian American Pacific Islander Artist Coalition DC, a collective that promotes AAPI culture and representation in theater.

"Collaboration within our community is imperative and I'm ecstatic that it is thriving."

She puts herself squarely in the middle of the process.

"I hold myself accountable for helping diversify the stories being told and pushing for more accurate representation of the world in which we live. Hopefully, the Filipino American community will rise to support it."

Engage

"My biggest goal is to engage the Fil-Am community and get them to come to the theater. There is a gigantic community here in Maryland and Virginia."

She acknowledges the challenges both onstage and off.

"Unfortunately, I rarely see them in the audiences. But if our stories aren't being told on stage, why would they come? Also, lots of Fil-Am performers from here leave town for work."

She believes the solution is to stay put. "I refuse to leave. This is my community and I'm going to do my best to help it change. So I'm staying in DC and hoping other Fil-Am performers will try to build careers here, too."

Own stories

One of her personal goals is to get Filipino American and Filipino playwrights produced in DC. "Not just Filipino actors playing white or other Asian roles. We should get a chance to tell our own stories."

Regina Aquino (left) in a scene from "Vietgone"
with Fil-Am actor Marc delaCruz.
Photo by Teresa Wood

"I have been reading as many Pinoy playwrights as possible in the hopes of finding something suitable for a DC production. I also want to reach out to playwrights in the Philippines.

"I'm dying to find a Filipino American play that the huge Fil-Am community here would enjoy seeing. If anyone has any plays they'd like to send my way, I'm all ears!"

Aquino points out that the DC area is "coming around to producing shows that reflect diversity." Therefore, it seems the right time to "speak out more actively now to help encourage this development."

"Nell Gwynn" runs until March 10 at Folger Theatre, 201 East Capitol St., Washington, DC. Visit Folger.edu/Folger-Theatre

Play by Thelma Virata de Castro explores domestic violence in San Diego’s Filipino American community

By WALTER ANG
Feb. 21, 2019
Inquirer.net
https://usa.inquirer.net/22233/play-explores-domestic-violence-in-san-diegos-fil-am-community

SAN DIEGO, California — A spotlight is being focused on domestic violence in San Diego's Filipino American community with the play "The Fire in Me."

Reanne Acasio (right) and Gingerlily Lowe rehearsing a scene.
Photo by Kali Kamaria

In the play, Fil-Am college student Lark lands an internship at a legal clinic for immigrant survivors of domestic violence. When her work unearths memories of her own trauma, she retreats into the world of the Filipino soap opera 'The Fire in Me.'"

The one-hour play will have free performances at San Diego Public Library branches in March: Skyline Hills at Paradise Valley Road (March 2. Saturday), Central Library at Park Blvd. (March 10, Sunday) and Scripps Miramar Ranch at Scripps Lake Drive (March 16, Saturday).

"Fire in Me" is being staged with artistic collaboration from Fil-Am American theater group MaArte Theatre Collective. The group's founding co-artistic director Christine Nathanson is directing and several of the group's cofounding members are in the cast.

Community

Fil-Am playwright Thelma Virata de Castro began conceiving this play back in 2017 when she was working on a production with Asian Story Theater titled "Halo-Halo: Mixed- together Stories from San Diego's Filipino American Community."

Playwright Thelma Virata de Castro's "Fire in Me"
is about domestic violence in the
Filipino American community in San Diego.
Photo by Jaime Clifford

The project entailed writing short scripts based on historical research and interviews with community members.

"A friend asked if I wanted to interview him," she says. "I was surprised when he shared a story about domestic violence in his family. I later interviewed his mom as well."

She wrote a short play based on that interview and considered developing another project based on domestic violence.

De Castro was then invited to join the FIRE program, a series of workshops initiated by immigration lawyer Anne Bautista to teach women about domestic violence, advocacy, grant writing and public speaking.

Her involvement in the program evolved into working with the community to write and produce "The Fire in Me."

Research

De Castro developed the play by interviewing more than 20 individuals.

Anonymous interviewee from the San Diego Fil-Am community
who shared personal stories of domestic violence with playwright Thelma de Castro.

"The interviewees include survivors, law enforcement, clergy, lawyers, and family members.

"In addition, I attended the United State of Women Summit and panels about domestic violence and human trafficking."

The interview phase took about a year and overlapped with the writing phase. She worked on a draft for about five months.

"I got the idea for the structure of the piece early on . after the first interview. I chose a Filipino American college student protagonist."

To dramatically balance out the serious and heavy subject matter onstage, she added a Filipino soap opera element "to add humor."

Credits

De Castro's credits include "The Goddess of Flowers," staged by San Diego Asian American Repertory Theatre, "Meet the Family," staged at the Fritz Blitz of New Plays, and "Meet the Family" staged by Fil-Am theater group CIRCA-Pintig in Chicago.

A San Diego native, De Castro studied English literature at University of California- Los Angeles and took playwriting workshops with different organizations, including East West Players' David Henry Hwang Writer's Institute.

She was previously literary manager at San Diego Asian American Repertory Theatre. In 2013, she founded San Diego

Playwrights, a playwrights group who work on joint projects to encourage production opportunities.

Merienda

All performances of "Fire in Me" this March will begin with communal refreshments.

"Because this is a community engagement project about a challenging subject, we wanted to make it accessible by offering free performances in library spaces and serving merienda," she says.

There will also be panel discussions following each performance.

"We don't have plans for future stagings at this time, but since the play focuses on women's stories, I'd like to explore more about the subject from the perspective of men and boys," she says.

"It's in every community, regardless of race, culture, ethnicity, sexual orientation, gender identity and socio-economic status. Domestic violence affects us all."

The play is produced in partnership with Asian Story Theater and Access (an education, career and immigration agency for San Diego County immigrant and youth).

"Fire in Me" runs March 2-16 at San Diego Public Library branches. Visit Thefireinme2019.com.

Filipino American Raven Ong wins Syracuse award for 'La Cage' costume designs

By WALTER ANG
Feb. 16, 2019
Inquirer.net
https://usa.inquirer.net/21781/manila-native-wins-syracuse-award-for-la-cage-costume-designs

SYRACUSE, New York — Filipino American costume designer Raven Ong won Best Costume Design of a Musical for his work on "La Cage aux Folles" at the Syracuse Area Live Theatre Awards for 2018.

Actor Steve Hayes, who plays Albin,
wearing a costume designed by Raven Ong.

Redhouse Arts Center staged the musical. Ong was also nominated for Best Costume Design of a Play for his work on "On Golden Pond," also for Redhouse.

Organized by news outlet Syracuse New Times, the awards honor performances and behind-the-scenes work by professional, regional and community theater companies in the Syracuse area. The ceremony was held at the Redhouse Arts Center.

Teacher

A native of Manila, Ong had already established a costume design career there before he moved to the U.S. to pursue a master's in costume design at University of Connecticut on scholarship.

Costume designer Raven Ong won the
2018 Syracuse Area Live Theatre Award for Best Costume Design.

Since graduating, his credits have included "Steel Magnolias" for Red House and "Cosi fan Tutte," "Magic Flute," "Don Giovanni" and "Love, Passion and Betrayal" for New York Lyric Opera.

Although he now splits his time between New York and Connecticut, he occasionally still designs for Manila-based theater companies. Recent credits in Manila include Atlantis Theatrical Entertainment Group's staging of "Waitress."

Ong also teaches costume design at Central Connecticut State University (CCSU).

"I have always loved teaching," he says. "It's very fulfilling. It's a wonderful feeling to share my knowledge with students who are very interested in costume designing and theater life."

Process

Ong says that research is always an important part of his process.

"My director Cassie Abate expressed that she wanted the costume design to help with the build-up of both the music and choreography. I went over the music again and again to see how my ideas could meet her vision," he says.

The musical is a farce about a gay couple-nightclub owner Georges and the club's star drag performer Albin-whose son brings home his fiancee's ultra-conservative parents to meet them.

"I did lots of research on drag and a variety of looks and costume pieces that would go with the overall presentation of the world we were trying to create.

Sparkles and feathers

The musical, with its many costume requirements, can be a challenging show for any costume designer.

Raven Ong's design renderings for "La Cage aux Folles."

For this particular production, it was decided that the dancers-called the Cagelles-would have three costume changes in the opening number alone.

"They all started out in long sparkly gowns with side slits to show their legs. Then they change into pin-up style ladies-in-bathing-suits and break-away polka dot short skirts. Then they change into the iconic Broadway-style gold top hats and sparkly gold tailcoats," Ong inventories.

"The costume list goes on and on for the rest of the show for the Cagelles," he adds, laughing.

The list of materials goes on and on as well.

"It's not 'La Cage' if there are no sparkles and feathers," he says. And since regular clothes do not usually come with these elements, he knew from the get go that most of the costumes had to be created from scratch. 

"I had to go shopping for fabrics and materials all the way in New York City. My team built five main gowns for the Albin character, which were all fun to make and challenging at the same time.

"The most fun part is doing all the embellishments once the gowns were ready, attaching feathers, rhinestone appliques, hot fixing crystals and pairing up accessories with the outfits."

Collaboration

Ong also pointed out that collaboration is a key part of what makes costume design work for a production.

Costumes created using Ong's designs.
"It's not La Cage if there are no sparkles and feathers," says Ong. 

"Another design element in this musical are wigs and make up. I was very fortunate to work with Donnie Williams, an amazing hairstylist who styled the hair and wigs not only for the Cagelles but for the rest of the characters who appeared in the finale in full drag."

Ong also mentioned his work with Steve Hayes, the actor who played Albin.

"His passion in life is classic Hollywood movies. It was a wonderful to work with him using classic movie stars as references for his multiple characters in the 'La Cage Aux Folles' number near the end of Act 1.

"It made it more real and heartfelt. Working with an amazing actor like him was a dream."

Ong's upcoming productions include Fil-Am playwright Linda Faigao-Hall's "Dying in Boulder" in New York (February 28), where a Filipino- American family deals with its Buddhist Caucasian matriarch's micromanagement of her own impending funeral rites.

He is also designing for "Troilus and Cressida" for CCSU and the Manila staging of "Beautiful: The Carole King Musical" for Atlantis Theatrical Entertainment Group.

Filipino American Boni Alvarez's play puts spotlight on anchor babies, the American Dream

By WALTER ANG
Feb. 13, 2019
Inquirer.net
https://usa.inquirer.net/21314/new-fil-am-play-puts-spotlight-on-anchor-babies-the-american-dream

LOS ANGELES — The premise for his new play "America Adjacent" came to Filipino-American playwright Boni Alvarez a few years ago when he read a news article about birthing houses being raided in the Los Angeles area.

Cast rehearsing a scene from "America Adjacent."

"I was fascinated by these women who traveled from abroad, spending thousands of dollars for the sole purpose of birthing babies who [would be] American citizens," he says.

"The article was about a Chinese-operated ring of birthing houses. For 'America Adjacent,' I decided to make them Filipina."

Presented by Skylight Theatre and directed by Jon Lawrence Rivera, the play imagines what life is like for six women from the Philippines who have risked everything and paid large sums of money to give birth to American children.

In a statement, the play is described as "an examination of the American Dream, how it is manufactured and marketed abroad. As the women endure being sequestered and squeezed into a one-bedroom condo with only one bathroom in Hollywood, hiding illegally with expired tourist visas, will the risk pay proper dividends?"

Based on real events

Although the characters are fictional, Alvarez grounded his play in real-life parameters.

Actors (top row, from left) Evie Abat with playwright Boni Alvarez
and director Jon Lawrence Rivera, Toni Katano, Hazel Lozano.
Bottom row, from left: Actors Arianne Villareal, Angela Baesa,
Sandy Velasco, Samantha Valdellon.

"[Writing the play] did require research, specifically on logistics and timing. How early do these women arrive and depart, types of visas and how long they are valid, how long new passports take to get processed, the specific laws which make birthing houses illegal, etc."

With these details out of the way, Alvarez could work on larger issues in his play.

"I'm always interested in the American Dream, what it is and if it is achievable.

"With the shift in the political climate in America as of late, is the American Dream the same or has it shifted and in what ways? Are the hardships and sacrifices that people endure worth the pursuit of achieving such a dream?"

Filipino American cast

For this world premiere, the entire cast is comprised of Filipino-American actors.

Playing the House Administrator who keeps the women in check and the house under the radar is Hazel Lozano. Recent credits for Lozano include playing Iago in "Othello" (Griot Theatre), an Australian misfit in "Got You" (Exit Strategies/Raze the Space), and a wannabe mermaid in "Of Government" (Son of Semele).

Evie Abat plays Manila socialite Janelle May. Abat's recent credits include Emilia/Brabantio in "Othello" at The Actor's Center, Reggie Fluty in "The Laramie Project" at The Secret Rose and Leelee in "Bloodletting" at Atwater Village Theater.

Angela Baesa plays bossy university professor Roshelyn. Baesa's theater background was her springboard to film and television work. Recent credits include "8 Days Carlo," "My Haunted House," "Anito" and "Bicultural."

Loud and spoiled Paz is played by Toni Katano. This Southern California native studied at the Strasberg Theater Institute and has produced plays with Sixty-Six Theater. Upcoming projects include "The Florist" and "Nanay Ko."

Country lass Sampaguita is played by Samantha Valdellon. This New York native's recent credits include "Twelfth Night," "Failure: A Love Story," (Coeurage Theatre), "Fluffy Bunnies in a Field of Daisies" (The Infinite Monkey Project) and "The Brahmin and the Tiger" (here&now theatre company).

Sandy Velasco plays Aimee, a fan of Jesus Christ and sex. This stand-up comedian has also acted for theater companies such as Coeurage Theatre Company, Playwrights' Arena, East West Players and Company of Angels.

Arianne Villareal plays Divina-the nice one with a secret. Villareal's credits include "The 2th Annual Putnam Spelling Bee" for Actors Theatre Indiana and "The Pill," "Bloody, Bloody Andrew Jackson" and "4000 Miles" for Phoenix Theatre.

Lighting design by Mathew Richter, costume design by Mylette Nora, set design by Christopher Scott Murillo, sound design by Austin Quan. Produced by Gary Grossman and Tony Abatemarco with associate producer Giselle Töngi.

"America Adjacent," previews start Feb. 9, runs Feb. 16 to March 31 at Skylight Theatre Company,1816 1/2 N. Vermont Ave., Los Angeles. Visit Skylighttheatre.org.

'The Love Edition' goes onstage on Valentine’s Day in San Francisco

By WALTER ANG
Feb. 8, 2019
Inquirer.net
https://usa.inquirer.net/20829/the-love-edition-goes-onstage-on-valentines-day-in-san-francisco

SAN FRANCISCO — It's a Valentine's Day date with Filipino American theater group Bindlestiff Studio as it begins its 2019 installment of "The Love Edition."

Cast of "Boba Shop Solace."
Photo by Paciano Triunfo

The show features new short plays "about love, heartache, and the weirdness in-between."

This year's theme is "Falling Hard," with four of the six plays written by Filipino-American playwrights.

Stories

Lina gets bitter life and love lessons from boba in Marissa Martinez's "Boba Shop Solace,"directed by Aura San Miguel.

In Abigail Pañares' "All and Then Most, Some and Now None," the site is a funeral home. The people are Anna and Jake, who used to love each other. The time is two years after they stopped. Directed by Judith Ferrer.

Mary and Chris tell a love story that endures across space and time in Conrad Panganiban's "Devoted," directed by Lorenz Gonzales

Baseball pitcher Frankie tries to dig himself out of a slump on and off the field in Chris "Burd" Quines' "All Bets Off," directed by Joe Cascasan

The other two plays are Pacita Rudder's "Red Roses Floating" (directed by Lauren Garcia), where Azalea is deeply in love with Nana but finds that they might see the world differently; and George Smart's "You Don't?!" (directed by Ely Orquiza), where relationships are explored through the couple Rob and Dale one day after gay marriage is legalized in Vermont.

Newbies

Conceptualized by Bindlestiff artists Chuck Lacson and Raf Lim in 2006, TLE serves as an opportunity for emerging talents to get their feet wet in the theater disciplines onstage and backstage.

Cast of "All and Then Most, Some and Now None."
Photo by Paciano Triunfo

For this installment, Bindlestiff hosted a writing workshop last year facilitated by Christina Ying before it opened a call for play submissions. Five of the selected plays this year are from participants in the workshop.

Abigail Pañares and Chris "Burd" Quines are first-time Fil-Am playwrights to be staged in "The Love Edition."

Pañares is the founder of Bad Rep Theatre, an Asian American performing arts group. Recent credits include "Don't Worry, She's Chill," which explores anger in Asian American women.

Quines is a filmmaker and has played music at Bindlestiff. He has been involved in sound design for Brown Out Collective's shadow play "Bad Trip."

30th anniversary

"The Love Edition" kicks off Bindlestiff Studio's line-up of productions for its 30th year.

The performance space was founded in 1989 by Canadian puppeteer and director Chrystene Ells. She used the venue for shows and to teach workshops for the neighborhood's youth.

In 1998, management was turned over to actor and stand-up comic Allan Manalo, whose sketch comedy group Tongue In a mood had taken up residency at the space the year prior.

Fil-Am community theater group Teatro ng Tanan also took up residency (it was dissolved some time later) and Bindlestiff Studio reconfigured its programming to focus on Filipino-American performing artists.

A line-up of productions for the year has already been prepared and will be announced soon.

"The Love Edition: Falling Hard" runs Feb. 14-Mar. 2 at Bindlestiff Studio, 185 6th St., San Francisco. Visit BindlestiffStudio.org.

Filipino American Daniella Wheelock directs '50 Shades of Shakespeare' in Chicago

By WALTER ANG
Feb. 7, 2019
Inquirer.net
https://usa.inquirer.net/20748/fil-am-directs-50-shades-of-shakespeare-in-chicago

CHICAGO — Daniella Wheelock's first time was with a man named William. Her first time doing theater work, that is.

"50 Shades of Shakespeare" explores relationships, sexuality, gender, intimacy and kink.
Photo by Kelly Schmidt

"My first show that I ever worked on was a middle school production of 'Hamlet' that I assistant directed," she recalls.

One never forgets the first time. The show she's directing now-which also involves William Shakespeare-was also the very first show she assistant directed when she moved to Chicago last year.

In ReDiscover Theatre's "50 Shades of Shakespeare," four actors will play 23 roles while exploring relationships, sexuality, gender, intimacy and kink.

First time

Fil-Am actor Jay Españo shares the stage with Maggie Miller, Josh Pennington and Deanalis Resto in this work by Jess Shoemaker that compiles the Bard's sexiest scenes.

Filipino American theater director Daniella Wheelock
helms "50 Shades of Shakespeare."

Españo says the show is, "a superb starter sampler for virgins-meaning those who have never seen a Shakespeare play."

"The language become understandable contextually because you can relate to whatever issues back then are still happening now."

In addition to accessibility, he points out it's fun.

To wit, the production is held in a bar, heckling is encouraged, and there will be audience participation (where they get to help assign roles for the actors).

Music to theater

Wheelock's recent credits include "My Very Educated . (Ghost Stories)" for The Barrens Theatre Co., "Where We Go Together" for A Dead Whale Productions, "The Fault of Falling" for the San Diego Fringe Festival, and "Life" and "Goat" for Milwaukee Repertory Theater.

A San Diego native, Wheelock grew up listening to her mother, who is Filipino, playing the piano and singing.

"Music has always been a big part of my life. Music is what introduced me to theater," she says.

She also grew up with two "very talented older sisters who were also musicians. My ate was in the theater program at our school, and I would sit in on musical rehearsals that my mom played piano for."

She eventually took up directing at Webster University and had an Emerging Professional residency at Milwaukee Repertory Theater.

Revisiting the first

"ReDiscover Theatre has been doing a production of this show every year for the past six years," Wheelock explains.

Jay Españo is in the cast of "50 Shades of Shakespeare."
Photo by Kelly Schmidt

"When directing applications opened this year, I knew that I wanted the chance to work on it again."

"Rehearsals have been so much fun. The cast this year is incredible, and pretty much every rehearsal we've had a moment that's made me laugh so hard I've cried. Every new cast brings in so much energy and joy, and it has been really fun watching this year's show take shape."

For newbies  

Wheelock agrees that "50 Shades of Shakespeare" is definitely geared toward audiences who may not know anything about or are afraid of Shakespeare's works.

"This is definitely the show for you! One of my favorite things about this show is that it has some scenes that are very traditional Shakespeare, and some scenes that have been taken really far out of context of the original play.

"You don't need to know anything about what plays the scenes are from, and the actors do a great job of playing with the language."

"50 Shades of Shakespeare" runs Feb. 7-March 2 at Mrs. Murphy and Sons Irish Bistro, 3905 N. Lincoln Ave., Chicago. Visit RediscoverTheatre.com.

Filipino American Krystle Piamonte in hit play 'King of the Yees' in San Francisco

By WALTER ANG
Feb. 1, 2019
Inquirer.net
https://usa.inquirer.net/20064/fil- am-actors-star-in-hit-play-king-of-the-yees- in-san-francisco

SAN FRANCISCO — Krystle Piamonte is the lead in Lauren Yee's semi-autobiographical play, "King of the Yees," which runs until March 2 at San Francisco Playhouse.

Piamonte (left) and Francis Jue play daughter and father.

Piamonte plays a dramatized version of the playwright. Included in the cast are Filipino American actors Jomar Tagatac and Rinabeth Apostol, each of whom will play a variety of roles.

Lauren loves her father, a Chinese immigrant, deeply. However, she's frustrated by his dedication to the patriarchal Yee Family Association, a male-only club-formed 150 years ago in the wake of the Gold Rush and the building of the transcontinental railroad- dedicated to preserving the Yee line and cultural history.

Cynical about his stories of their ancient ancestor Yee Fung Toy, Lauren instead wants to celebrate modern-day Chinese culture in America, recognizing its evolution and the contemporary face of Chinatown.

When her father goes missing, Lauren's search for him takes her on a fantastical journey through modern-day Chinatown, and back into her historical ancestry.

This epic ride through space and time enables Lauren to finally understand and respect her father's dedication to the family history and cultural bonds with the past.

Hometown connection

Though the play is set in San Francisco and one of its plot points revolves around the city's Chinatown, the play has never been staged in the city until now.

"It's an honor to be part of this play's homecoming and hearing audiences react with joy and pride at all the San Francisco references," says Piamonte, who's a native of the city herself as well.

She finds Yee's script "hilarious and moving" and felt an instant connection to it. "It's a beautiful love letter to her family and San Francisco's Chinatown. I related a lot to the character of Lauren and her journey in the play."

Aside from the hometown connection, as with the playwright, Piamonte's parents are also immigrants. Her mother is Filipino and her father, as with Yee, is Chinese.

Nurture

Piamonte's recent credits include "Inside Out and Back Again" for Bay Area Children's Theatre, "Two Mile Hollow" for Ferocious Lotus and "Welga" for Bindlestiff Studio.

Krystle Piamonte plays the lead, Lauren in "King of the Yees."
Photo by Ken Levin

She's worked with theater companies such as TheatreWorks Silicon Valley, Theatre Rhinoceros, theTRIBE Productions, and TheatreFirst.

Piamonte trained in the Theatre and Dance program at Sacramento State University, but prior to all of that, she nurtured her passion and honed her skills with Sinag-tala Filipino Theater and Performing Arts Association, a community group in Sacramento founded by Alcide "Sonny" Alforque in 1990 that provides free theater workshops.

"Joining the group was recommended to me when I was a recipient of Philippine National Day Association's Outstanding Filipino Youth Awards. One of the board members recalled that I mentioned a love for singing on my application and suggested that I try out for Sinag-tala.

"I participated in their annual theatrical revue later that year and fell in love with theater."

Piamonte was involved with Sinag-tala for 12 seasons, from 2001 to 2012. "I started out as a principal soloist, but like most non-profits, I eventually took on more roles on the production side like Song Captain, Cultural Consultant, and Souvenir Program Editor and Designer," she says.

"By the time I ended my journey with the company, my biggest responsibilities were being the Assistant Director and one of the Resident Choreographers."

Fulfilling

Piamonte shares that rehearsals for this production "have been some of the most fun I've had working on a script! Our amazing director Joshua Kahan Brody knows the play like the back of his hand and wonderfully navigated us whenever we were lost in the whirlwind."

She considers the lead role "a definite highlight in my career as an actor, but it's also a little bit intimidating since my character is based on a real person-the playwright herself."

"Getting to play Lauren has been an artistically fulfilling experience, yet challenging in all the best ways. In a story filled with hammy, outlandish, larger-than-life characters, Lauren has to be the grounded one because she is the glue that holds the story together.

"It's through Lauren's eyes that we see what this play is about and who it's for. We would lose the honesty and heart of the play if she was portrayed in a more performative way."

Piamonte is also thankful for her colleagues. "I'm also working with a dream team of Asian American actors that I've looked up to for years, so getting to watch them create their characters and build relationships with scene partners has been helpful to my own craft.

"On top of that, we all get along so well both on and off the stage, so there's nothing but love, respect, and trust between all of us."

"King of the Yees" runs until March 2 at San Francisco Playhouse, 2nd floor of Kensington Park Hotel, 450 Post St., San Francisco. Visit SFPlayhouse.org.


RELATED STORIES:

READ about Jomar Tagatac's 2018 Theater Bay Area Award here.

READ about Rinabeth Apostol's 2018 Bay Area Critics Circle Award here.  

READ about the play "Welga," staged at Bindlestiff Studio, here.

Group art show in Seattle to explore Filipino American experience

By WALTER ANG
Jan. 30, 2019
Inquirer.net
https://usa.inquirer.net/19781/group-art-show- in-seattle-to-explore-fil-am- experience

SEATTLE — Five Filipino American artists will explore the spectrum of the Filipino American experience in a group show at the M. Rosetta Hunter Art Gallery in February.

"Laigo" by Jeanette Tiffany, acrylic.

Titled "Aming mga Pangitain (Our Visions)," the exhibit will feature at least 17 pieces across a range of styles and mediums by artists Beija Flor, Raphael Laigo, Sam Rodrick Rojas-Chua, Lisa Castillano Szilassy and Jeanette Tiffanny.

The opening reception will feature poetry readings by Rojas-Chua, who is also a poet, and Louie Vital.

There will also be kundiman (love songs) and harana (serenade) performances by Roger Rigor and the Barriotiques.

The artists

Lisa Castillano Szilassy is a fine art finger painter with oils. She is also the author of young adult science fiction novel Amplified, the first in her Balancing Light series.

"Mischief Yogin" by Raphael Laigo, acrylic.

Beija Flor is a sculptor and mixed-media artist from the Pacific Northwest. She received her BA in Physics and Studio Art at Lewis and Clark College in 2018.

Raphael Laigo's mystical mixed-media works, inspired by yogic philosophy and Southeast Asian and Filipino cultures, are surreal pieces of cosmic and natural esoterica incorporating images from photographs taken in the Philippines

Jeannette Tiffany is an artist and owner of Tiffany Graphic Design in Seattle.

Sam Roxas-Chua is a poet and multidisciplinary artist from Eugene, Oregon. His publications include Fawn Language (Tebot Bach), and Echolalia in Script: A Collection of Asemic Writing (Orison Books).

Performers

Louie Tan Vital is a poet and community organizer dedicated to fighting for racially- equitable public policy and harnessing performance arts as a means for political activism. Her words have appeared in The Smithsonian and other journals.

"Chinatown" by Liza Castillo Szilassy, fingerpainted oil

The Barriotiques-Abe Legaspi, Alex Urap and Roger Rigor-perform "music of the typical Filipino barrio, traditional and yet contemporary, reminiscent of a golden past."

Legaspi is the original Barriotique. His childhood home in Barrio Sapang Maragul was the inspiration of songs, popular in Tarlac, a Philippine province.

Urap is from the province of Pangasinan and also a homegrown musician.

Rigor started off strumming a guitar in Manila culminating with a disco band, the VST & Company, known for its OPM (Original Pilipino Music) disco tunes of the 1970s era.

The exhibition is co-presented by Filipino American National Historical Society and Pinoy Words Expressed Kultura Arts.

"Aming mga Pangitain (Our Visions)" runs Feb. 4-28 at M. Rosetta Hunter Art Gallery, Seattle Central College, 1701 Broadway, Seattle. Visit SeattleCentral.edu/artgallery.

Marc delaCruz on his shot as first Filipino American 'Hamilton'

By WALTER ANG
January 24, 2019
Inquirer.net
https://usa.inquirer.net/19324/marc-delacruz-on-his-shot-as-first-fil-am-hamilton

Recognition:

2019 Plaridel Award

for Excellence in Filipino American Journalism

in the Best Entertainment Story category 

from the Philippine American Press Club

NEW YORK — "I felt an incredible sense of accomplishment and relief," confides Marc delaCruz, on being asked to portray the lead role of Alexander Hamilton in the hit musical "Hamilton." He's the first Filipino American to play the role.

Marc delaCruz is the first Filipino American actor
to portray Alexander Hamilton in the musical "Hamilton."

"I finally knew what it was like to perform the role with a full audience. As our conductor said to me that night, I had successfully landed the plane."

In a Facebook post, he writes, "Thank you for all the messages of support and encouragement I've received over the last few days. I'm truly overwhelmed and humbled. Thank you to the Asian, [Asian Pacific Islander] and Filipino/Fil-Am communities for your words of support and cheer. It's an honor to represent my communities in any way big or small. Since joining Hamilton I've witnessed the power of this show to bring people together in a positive, uplifting way. I'm so happy to have any kind of part in that."

DelaCruz is an actor in the ensemble and the understudy for the title role. An understudy takes over the role in case the originally assigned actor is unable to perform.

DelaCruz joined the production last year and debuted as Alexander Hamilton this January.

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 musical 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.

Loving and generous

"My first performance as Hamilton was scheduled for January 20, but I ended up going on for the first time one day early. We were at the theater for a music brush up rehearsal that day and as soon as it was over, our stage manager called me and asked if I felt ready to go on that night," he said.

Filipino American Marc delaCruz was born in Hawaii and raised in Seattle.

"I said yes. I was ready and would be happy to do it. By that point, the anticipation of going on had been building up so I was eager to get the first performance under my belt.

"The rest of the night was incredible. The entire company lifted me up and gave me so much energy and confidence. Even before the show began, I knew I would be okay because I was surrounded by such loving, generous people."

Hawaii, Seattle, Broadway

DelaCruz made his Broadway debut in the musical "If/Then," which starred Idina Menzel ("Wicked," "Frozen").

DelaCruz backstage in his Alexander Hamilton costume.

Prior to that, he had cut his teeth with credits such as Thuy in "Miss Saigon" and Chip Tolentino in "The 25th Annual Putnam County Spelling Bee." He's been in 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.

DelaCruz, whose father is Filipino, was born in Hawaii and raised in Seattle. He trained in dance while studying at the University of Washington.

While in college, he was cast in his first professional production, "The Fantasticks," with the Northwest Asian American Theater Company. He went on to act for theater groups in Seattle such as ReAct, Village Theatre and the 5th Avenue Theatre.

Amazing

His journey to the role began with two songs at his first audition. Then came more and more songs at every callback audition and meeting more and more of the show's directing and music supervisors and other co-creators.

DelaCruz, in his James Reynolds costume, backstage with a fellow cast member.
Photo from Instagram

"Everyone in the room at all of my auditions was absolutely wonderful-warm, encouraging, gracious."

When delaCruz found out he'd been accepted into the show, he was in the middle of preparing for the Off-Broadway show "Ordinary Days" with Keen Company.

"I got to celebrate the news in one of the best ways I can imagine, going to perform in another incredible show in which I got to play a wonderful role."

"I was floored when I received the offer. Any offer for 'Hamilton' would have been amazing but finding out I'd be onstage every night in the ensemble and understudying Alexander Hamilton took a moment to process." 

Double duty

DelaCruz rehearsed for four and a half weeks before his first performance. "During three of those weeks, I was still in `Ordinary Days,' so I was doing double duty-rehearsing one show during the day while performing another on at night."

It's apparent that delaCruz is not only adept at multitasking, he's a versatile actor as well.

His main assignment in the show is to be in the ensemble and to perform three characters: Philip Schuyler, James Reynolds and the Doctor. Then comes the Alexander Hamilton understudy assignment.

But that's not all. He is also the understudy for three more characters: John Laurens/Philip Hamilton (two roles assigned to one actor) and King George.

"My first responsibility was to learn my ensemble track, Man 5. Once I began performances as Man 5, I started rehearsals for the role of Hamilton."

And there is no resting on laurels for the man.

"Now that I've performed Hamilton, I can begin learning my next cover, John Laurens/Philip Hamilton. I actually haven't learned the King George track yet. That will be my last cover to learn. I'm looking forward to it!"

Other Fil-Ams

"Hamilton" has productions in New York, Chicago, Puerto Rico, London, one slated to open in San Francisco in February and two touring productions in the U.S. 

On Broadway, delaCruz joins Filipino Americans Karla Garcia, the production's Co-Dance Captain, and Christina Glur, a swing-an actor who knows multiple roles and fills in for absent actors.

There are also Fil-Am actors in the two touring productions.

In the Angelica cast, Isa Briones plays Peggy Schuyler and Maria Reynolds; and Jon Viktor Corpuz plays John Laurens and Philip Hamilton.

In the Philip cast, Aaron Albano is in the ensemble and plays Samuel Seabury.

Filipino recording artist Rachelle Ann Go is currently playing Eliza Schuyler-Hamilton in the London production.

RELATED STORIES:

READ about Isa Briones acting in the touring production of 'Hamilton' here.

READ about Jon Viktor Corpuz in his role as Chulalongkorn in the Broadway revival of 'The King and I' here.

READ about Fil-Am artists joining George Takei's 'Allegiance' in LA staging here.

Filipino American actors Jaygee Macapugay and Orville Mendoza sound off on Broadway opportunities

By WALTER ANG
January 23, 2019
Inquirer.net
https://usa.inquirer.net/19201/fil-am-actors-sound-off-on-broadway-opportunities

NEW YORK — Fil-Am and other Asian American actors have gained mileage in the Broadway industry but are still facing much headwind, according to a panel at this year's BroadwayCon, which included Fil-Am actors Jaygee Macapugay and Orville Mendoza.

From left: Jaygee Macapugay, Orville Mendoza,
Manu Narayan, Erin Quill and Kelvin Moon Loh.
Photo from Instagram

The panel opened with some facts: out of the 30 shows currently in the 41 theaters on Broadway, only nine have Asian American actors in lead or feature roles.

The group also noted that so far on Broadway, there has only been one male Asian American playwright who has been produced (David Henry Hwang) and only one female (Young Jean Lee).

Held in Manhattan, Broadwaycon is a multiday exposition/conference that focuses on Broadway and other theater productions that includes performances, talks, workshops, photo and autograph sessions, etc.

Panelist Macapugay's Broadway credits include "School of Rock." Most recently on Off-Broadway, she was in "Wild Goose Dreams" (with set design by Filipino American Clint Ramos).

Broadway credits for Mendoza include "Pacific Overtures" and "Peter and the Starcatcher." Recently, he was in the national touring production of "Small Mouth Sounds."

Actress Erin Quill moderated the panel. Quill was part of the original Broadway cast of "Avenue Q," which has music co-composed and lyrics co-written by Fil-Am Robert Lopez ("The Book of Mormon" and "Disney's Frozen").

Ethnicity and casting

Quill began discussions with the topic of playing characters who "happen to just be Asian" compared to playing Asian characters.

Jaygee Macapugay was in "School of Rock."

Chicago-native Macapugay shared her experience when she was cast in "School of Rock."

"I loved it because it was truly based on who I am and what I brought to the table and that's a dream come true," she said. "Because when you hear about casting, like, 'who's the token person of color there?'—it diminishes you as an actor.

"However, when it comes to casting, I do like the idea of revolving around ethnicity, because why not cast based on the world that is around you, that represents the world around you?

"From those two points of view, being cast on your talent, yes; but also ... for creatives to take an active role to want to cast people of color."

Increasing opportunities

Born in Manila, Mendoza moved to the US with his family when he was two years old. He expressed frustration over having to be relegated as the "token Asian" or the "ethnic alternative" actor in auditions and productions.

Orville Mendoza was in "Pacific Overtures" and "Peter and the Starcatcher."

"The painful [part is] ... it's part of the job. But you have to treat that audition like you're going to get it and you have to find it within yourself to give one hundred percent even though in the back of your head it's, like, 'I'm not going to get this,'" he said.

"It's wonderful when you don't have to think about it. When you're just playing a human being and you just happen to look like this," he said as he gestured to himself.

Macapugay praised the women she's been able to work with. "In the last couple years, working with female directors and female lesbian writers, I think [they] champion more, in my opinion, people of color and people who are different more than any other directors that I've worked with because women, in particular . they know what it's like to be `other,' so they champion 'others.'"

Financial success

Mendoza is hopeful that recent productions in theater and film with diverse casts that have succeeded financially will continue to encourage entities who create shows.

"When investors see that it's not a risk to put someone of color in a lead role, they are more apt to go 'okay.' This will not lose you money, hopefully producers see that. People really want to see this, this is not just a one-time fluke or gimmick thing, they actually are craving more diversity," he said.

The group went on to discuss different ways the industry could increase opportunities for Asian and Pacific Islander actors, including changing ingrained mindsets and current work practices-across audiences, actors, casting directors, directors, playwrights, producers, investors and even board members and donors.

Asian Americans on Broadway

Though not discussed during the panel, Fil-Am and visiting Filipino actors have continued to gain a presence in Broadway productions.

In 2018, Ali Ewoldt continued to play Christine Daae in "Phantom of the Opera."

Arielle Jacobs joined "Disney's Aladdin" as Jasmine where she joined Don Darryl Rivera (who has been playing Iago since the show opened) and several Fil-Am actors in the ensemble.

Catherine Ricafort joined "Spongebob Squarepants" for a few months before it closed in September. Lea Salonga was in "Once on This Island" (with costume design by Ramos), which closed earlier this year.

Clint Ramos handled costume design for "Torch Song" and Robert Brill handled set design for "Summer: The Donna Summer Musical."


RELATED STORIES:

Filipino-American Ali Ewoldt is first Asian to play Christine in 'Phantom of the Opera' on Broadway

Filipino Americans Arielle Jacobs and Lissa deGuzman play Jasmine on Broadway and nat'l tour of 'Disney's Aladdin'

Two Filipinos design for Broadway's 'Once on This Island'

Filipino Canadian Marie Barlizo’s play confronts pressures faced by youth

By WALTER ANG
January 16, 2019
Inquirer.net
https://usa.inquirer.net/18706/fil-canadians-play-confronts-pressures-faced-by-youth

TORONTO — In Marie Barlizo's play "Lucky," a young Filipino student Nina (played by Katharine King) can't meet her parents' high expectations. An encounter with Sylvain (played by Christian Jadah), a former skinhead haunted by his violent past, sparks a thrilling plan that could change both their lives.

Katharine King (left) plays Filipino student Nina
and Christian Jadah plays the haunted Sylvain.
Photo by Tanja Tiziana

Directed by Sophie Gee, the play examines the model minority stereotype of Asians in Canada-of being submissive, intelligent, well behaved-and the consequences of such cultural preconceptions. It also explores how cultural expectations can affect happiness and self-esteem.

"Lucky" is running until January 20 at Factory Theatre Studio as part of the 2019 Next Stage Theatre Festival.

Born in the Philippines and raised in Montreal, Barlizo studied Theatre at Concordia University, took up a master's in Creative Writing at University of British Columbia and studied Playwriting at the National Theatre School (where she now teaches).

Her plays have been showcased at Playwrights Theatre Centre's New Play Festival in Vancouver; fu-Gen Asian-Canadian Theatre Company's Annual Potluck Festival and Factory Theatre's CrossCurrent Festival in Toronto; and Playwrights' Workshop Montreal and Teesri Duniya Theatre in Montreal.

Inspired by real events

First performed at the 2018 Montreal Fringe Festival, "Lucky" is inspired by the shocking tragedy of Vietnamese-Canadian Jennifer Pan.

Playwright Marie Barlizo wrote "Lucky" to open discussions about mental health.

Under tremendous pressure from her immigrant parents to succeed, Pan had lied to them about being accepted to college after she failed to graduate from high school. In 2010, she was convicted for hiring hitmen to murder her parents.

Barlizo felt an immediate personal connection to Pan's story. In a statement, she said, "I was my parents' 'golden child,' I understand only too well what it means to be trapped by high expectations."

Barlizo set the action of the play in Montreal's Filipino Canadian community. To research the character of Sylvain, she consulted Christian Picciolini, a former neo-Nazi who now advocates for peace through his organization Life After Hate.

"I wrote 'Lucky' because I want to open up the discussion about the extreme pressures we, in the Asian community, put on our children and the effects on their mental health," she said.

The Next Stage Theatre Festival is produced every January by Toronto Fringe (which organizes the Toronto Fringe Festival every July).

"Lucky" runs until Jan. 20, Factory Theatre Studio, 125 Bathurst St., Toronto. Visit Fringetoronto.com.