Summer is the time to put your kids’ dancing shoes on and have fun under the heat while learning something new; so, dance your way to Robinsons Magnolia as it turns up the heat this summer with a free dance class under their RMalls Academy program. In collaboration with Robinsons Department Store and their new activewear brand for girls, KOA, Robinsons Magnolia brings you “Let’s Dance” this Sunday, May 26, 4PM, at the Central Garden.
Kids aged 4 to 12 years old can learn the world of hip-hop and other dance styles during the one-hour session with celebrity dance coach Sky Bautista that will begin at 4PM. By simply registering at the RMalls App, kids who would like to unlock their dancing skills can attend the dance class FOR FREE. Participants of the dance class will also get a chance to experience the fun activities prepared by Robinsons Malls to further make your summer memorable like face-painting and giveaways.
While your kids are having their time during the dance class, you can also shop, relax, and dine around Robinsons Magnolia’s wide array of tenants such as Konbini Store for some Japanese items, VIP Cinema for leisure time, and Deli by Chele for some sandwiches on the go.
So, lock the date and ready your grooves for the summer that we sure you don’t want to miss! Come through, bring your little ones, invite your friends, and let’s all dance this May 26 at Robinsons Magnolia! Visit Robinsons Magnolia’s official social media pages to know more about Let’s Dance summer class and other exciting activities this summer.
Are you ready, Manila? XG, the sensational seven-member girl group that has taken the world by storm, is set to mesmerize Manila with their debut world tour “The First HOWL.” As part of their electrifying journey that spans continents from Osaka to Kuala Lumpur and beyond, these dynamic divas are bringing their trailblazing talent to the Smart Araneta Coliseum on August 2, 2024.
Promoted by AEG Presents Asia and Ovation Productions, tickets for XG 1st WORLD TOUR “The first HOWL”Landing at Manila are priced from PHP 4,000. Fan club pre-sale begins May 24 (Friday), 12PM PHT and general on-sale will take place on May 25 (Saturday), 12PM PHT via ticketnet.com.ph.
XG: A Phenomenon in Motion
XG debuted in March 2022 with their 1st Single ‘Tippy Toes’, since then, they have performed on numerous international stages and media outlets, in countries including the United States, Japan, Korea, Australia, Singapore, the UAE, Malaysia and China. They were the first Japanese artists to have charted 1st place on the U.S. Billboard chart “Hot Trending Songs Powered by Twitter” and the first Japanese girl group to grace the cover of U.S. Billboard magazine.
The Tour That’s Taking Over
“The First HOWL” isn’t just a tour; it’s a declaration of XG’s global impact. Launching in Osaka and spiraling out to capture hearts worldwide, their tour promises a spectacle of high-energy performances and unforgettable moments. Whether it’s the electrifying beats or the captivating choreography, each concert is a testament to XG’s prowess and passion.
XG 1st WORLD TOUR “The first HOWL” Tour Dates May 18 & 19 – Osaka @ Osaka Jo Hall May 25 & 26 – Yokohama @ K-Arena Yokohama Jul 10 & 11 – Seoul @ Yes24 Live Hall Jul 13 – Taipei @ Taipei International Convention Center Jul 16 – Singapore @ The Star Theatre Jul 19 – Jakarta @ We The Fest Aug 2 – Manila @ Smart Araneta Coliseum Aug 4 – Bangkok @ UOB LIVE Aug 7 – Kuala Lumpur @ Mega Star Arena
More dates to be announced soon…
XG 1st WORLD TOUR “The first HOWL” Landing at Manila Date: 2 August 2024, Friday Show Time: 8PM (PHT) Venue: Smart Araneta Coliseum Ticket Prices: PHP13,800 / 8,800 / 8,000 / 6,800 / 5,000 / 4,000 (excluding booking fee) Ticketing Link: ticketnet.com.ph
XG is a 7-member HIPHOP/R&B-inspired girl group consisting of JURIN, CHISA, HINATA, HARVEY, JURIA, MAYA, and COCONA. They debuted in March 2022 with their 1st Single “Tippy Toes” under the global entertainment production company “XGALX,” known for creating artist groups with a unique worldview and broadcasting a “BOLD” culture worldwide. In September 2023, they released their 1st Mini Album “NEW DNA,” which claimed the top spot on the Billboard JAPAN “Hot Albums” chart. In November of the same year, they held their first solo live concert with a live audience, “XG ‘NEW DNA’ SHOWCASE in JAPAN,” at the Pia Arena MM. Operating primarily on a global stage, they have performed at numerous major music festivals and featured on media outlets in countries including the United States, Japan, Korea, Australia, Singapore, the United Arab Emirates, Malaysia, and China. They made history by topping the U.S. Billboard chart “Hot Trending Songs Powered by Twitter” as the first Japanese artists and gracing the cover of the U.S. magazine “Billboard” as the first Japanese girl group. The name “XG” represents “Xtraordinary Girls,” aiming to empower people from various backgrounds worldwide through their unconventional style of music and performances.
About AEG Presents
Combining the power of the live event with a focus on true artist development, AEG Presents is a world leader in the music and entertainment industries. Operating across four continents, the company has an unparalleled commitment to artistry, creativity, and community. Its tentpole festivals and multi-day music events — which include the iconic Coachella Valley Music & Arts Festival and the legendary New Orleans Jazz & Heritage Festival alongside American Express Presents BST Hyde Park, Stagecoach, Hangout Festival, Electric Forest, and Firefly — continue to set the bar for the live music experience. AEG Presents promotes global tours for artists such as The Rolling Stones, Elton John, Taylor Swift, Celine Dion, Justin Bieber, Kenny Chesney, Paul McCartney, and Katy Perry, in addition to — through its network of clubs, theatres, arenas, stadiums and renowned partner brands such as Goldenvoice, Messina Touring Group, Concerts West, The Bowery Presents, PromoWest Productions, Marshall Arts, Madison House Presents, and Zero Mile Presents — creating and developing an unmatched infrastructure for artist development and audience reach. More information can be found at www.aegpresents.com.
About Ovation Productions
Through the years, Ovation Productions has handled some of the biggest names in live entertainment. It has expanded the markets for international artists in the Philippines by pioneering in all major and minor provincial cities in the country aside from Metro Manila and has been awarded the Trailblazer Award by Filscap.
In 2022, Ovation Productions started ovationtickets.com in partnership with Singapore’s largest ticketing company, Sistic.com.sg and has sold more than 100,000 tickets to date.
Ovation Productions has recently established BlastTV, an ad-supported streaming platform founded in 2023. With 20+ live channels covering sports and entertainment plus an extensive library of on-demand content including popular TV shows, blockbuster movies, news, and factual entertainment, Blast TV aims to revolutionize the way viewers consume live TV and on-demand programming.
It has been a while since I’ve seen an original Filipino production that really moved me in the magical way that a good theater show really does. That ones that do are usually revivals (so you know that these are new, creative restaging of tried and tested works) or they are new jukebox musicals, in which case, they are hampered down in terms of concept and narrative structure because of the parameters of the existing songs. While based on a film by Kip Oebanda, ‘Bar Boys: A New Musical’ has such vibrant energy that is rooted in its wonderful cast and an excellent book that any of its weaknesses are overshadowed by all the play’s strengths that I found myself laughing loud, crying in certain scenes, and leaving the theater energized and inspired.
Directed by Pat Valera and Mikko Angeles, with book by Pat Valera and all new songs and music by Myke Solomon, ‘Bar Boys: A New Musical’ is an exciting new production that manages to capture the idealism and verve of the youth while also navigating this revolutionary spirit through the harsh realities of the world.
The play is, afterall, about four young friends who enter law school. Erik, Chris, Torran, and Josh come from very different backgrounds, but they all have the best of intentions in becoming lawyers. In fact, right before they enter law school, they are part of rally for their presidential pick – and based on the colors and the sentiments that are ingrained in the song, you know who they are voting for – and we see their hopes and dreams in full view. And then we see it struck down by the realisation that their beliefs are not shared by the rest of the country and the other candidate wins instead. They are now more galvanized than ever to enter law school to change the world.
Bar Boys set | Photo by Kyle Venturillo
The play’s first act then goes through the highs and lows of the four law students as they face various challenges and harsh realities: demanding teachers, fraternities, the demands of law school, and their own interpersonal relationships begin to suffer. Each one is also defined by their own backstory. Erik comes from a humble background, with his single father working as a security guard for a factory. Torran is a legacy child, whose loving mom can be a bit overbearing in her hopes that her son can also become a lawyer and carry the family tradition. Josh is filled with the youthful enthusiasm to change the world – he’s an environmentalist with hopes of using his law degree to make significant changes to the injustice of the world. Chris is the wealthiest of the four, and the most hard-working with the most go-getter attitude of the bunch. But Chris and Torran have secrets that will add another layer of challenges for them to deal with as the play unfolds further.
The first act is both funny and harrowing – detailing the difficult life of law students and how much they have to sacrifice to be able to meet their dreams. The worst part is the cold hard reality of how unjust this world is starts to bear down on them while still in school. It’s just a taste for what’s to come for all these characters.
The four leads are all terrific actors. Omar Uddin is extremely charismatic as Josh. Uddin keeps Josh from becoming the typical probinsyano stereotype. He incredibly shifts from Bisaya to English to Filipino, code switching when needed, showing off his dynamic skill sets but when reality rears its ugly head, Uddin manages to show Josh’s fragility in such a manner that makes you care for him as well as invest in his sudden transformation. Jerom Canlas is solid as Torran. He’s not as flashy as a performer at the other leads but when Torran’s secret is discovered halfway through Act One, the added nuance to his character allows him to really show off his acting chops. Alex Diaz infuses Chris with so much earnestness that he propels the show forward. It’s Chris’ idealism that serves as the fulcrum that allows the play to really test the limits of justice. Diaz has an innocence that never gets cloying. He makes Chris believable without making him annoying or corny, an incredible feat on his own. But it’s Benedix Ramos who really steals the show. If Alex Diaz fuels the play, Ramos is the show’s beating heart. His Erik is not rich, but he manages to instill such dignity in the character that it becomes the play’s center. All this talk of justice and goodness and righteousness only means something because Ramos has made Erik so symbolic of this and every interaction, he has with Juliene Mendoza (who plays Erik’s dad ‘Paping’) or Shiela Francisco (who plays Justice Hernandez, one of their mentors) the soul of this production.
Alex Diaz plays Chris Carlson, Nor Domingo plays Atty. Maurice Carlson | Photo by Kyle VenturilloSheila Francisco plays Justice Hernandez | Photo by Kyle Venturillo
We see the struggles of these kids as they must grow up so quickly in front of our eyes. There’s a wonderful directorial and production design decision that the four years that transpires in act one is marked by the upgrading of the clothes that characters wear. It’s such a small, tiny thing but it helps create the feeling of the passage of time that adds depth to the play’s story.
The four leads are also very fortunate to have an incredible supporting cast to prop them up. Mendoza and Francisco are incredible (both their scenes near the end are the reason why you must bring tissue to this production) as well as Gimbey Dela Cruz, who plays several characters as well as Torran’s mother. Topper Fabregas is excellent as Victor Cruz, an attorney who also ends up teaching the boys in one class. Rounding up the cast are Nor Domingo, Kakki Teodoro, and Carlon Motabato.
Alex Diaz plays Chris Carlson, Jerom Canlas plays Torran Garcia | Photo by Kyle Venturillo
But I’d really like to take this opportunity to point out what an excellent ensemble this show has. Diego Aranda, Joshua Ade Valenzona, Edrei Tan, Jannah Baniasia, Anne Cortez, Uzziel Delamide, and Meg Ruiz form the world that this play exists in. They are a protean bunch who, in one moment are part of the crowd in the rally or help transition scenes from each other by becoming people riding the MRT but they also end up filling up the classrooms of the law school sequences were they play particular students who have their own personalities. For that one or two lines that they have, they take the spotlight and elicit their own reactions from the audience and then they quickly disappear and become part of the crowd all over again. They are singing, dancing, filling up the spaces, and helping this play feel big and believable. It’s one of the best ensembles I’ve seen in a long time.
The play, though, is not perfect. While a lot of the original songs of Myke Solomon are great, there are some songs that don’t end with any finality – so sometimes the audience doesn’t know how to react; do they clap? Is it over? – while others tend to come off a literal or may be better spoken rather than sung. My biggest gripe comes from the choreography which I find a strange mix of contemporary movements and urban, and street movements. The movements don’t feel natural to the play. The play is so bound in reality, and contemporary themes and language and the choreography feels so classical and old school. There’s also so much of it like in one song, early in Act One, Chris sings about what his dreams are – for a place he can call home – and suddenly, the ensemble comes in and starts dancing around them. It felt so intrusive because this was a tender moment for Chris and his friends. A full-on dance number wasn’t needed at this point in time. There are a lot of moments like this when there’s just too much choreography in the show.
Also, the PowerMac Spotlight doesn’t have the best acoustics or technical components when it comes to sound. So the voices of all the actors are distorted by the microphones and speakers of the venue. It’s such a shame because the play is so rooted in that human element.
But it’s a small gripe when you consider the fact that this show manages to tackle so many different important themes without sacrificing any of the fun of a theater show. It’s very funny but it is also very relevant. And when you talk about justice and youthful idealism, I feel that this play can be quite timeless because the issues that are brought out as case studies for the young lawyers-to-be are morality issues that will be discusses over and over again through time.
And as the play talks about the harsh realities of the world and the cracks and loopholes of the justice system, it still manages to keep the stories very human and relatable. This is best shown in a showstopping number when Josh narrates a big song number about waiting for the results of the bar exams. The fantastic ensemble is on stage and Uddin conducts their emotions and it’s such a powerful, stirring scene that even I got goosebumps in this moment. It was so relatable because the whole first act showed us how hard it was for these people to get to that point.
It’s the way that the book of ‘Bar Boys: A New Musical’ is structured that all the emotional payoffs hit all the right notes.
I would love to see this show again and bring more people onboard. I’m so happy it is doing well because this is a show that really is in synch with the Filipino sense of joy and hard work. It speaks about our hopes and dreams and while it does not shy away from the harsh realities of life, it manages to find an answer to the pervasive question of why we should keep fighting when injustice makes it so difficult for the good people to win.
There’s so much more I want to say but I’ll keep it as simple as this. This show needs a re-run. No objections.
The upcoming Spartan Philippines: North ASEAN Series 2024 finds its home at Montclair Destination Estate in Porac, Pampanga. This sprawling development, clocking in as Robinsons Land Corporation’s largest at 233 hectares, prioritizes environmental sustainability. Montclair integrates green spaces throughout its urban planning, fostering a cooler, more biodiverse, and ultimately more resilient community.
It’s the perfect terrain for the much-awaited Spartan Philippines event, which happens from May 11 to 12 at the prime location. It’s not just any other Spartan race, too. The North ASEAN Series is making stops in Vietnam and Thailand, with the starting leg in Pampanga, where athletes and fitness enthusiasts from across the region can secure a spot in the broader Asia Pacific Championship circuit.
Spartan Philippines: North ASEAN Series 2024 features three challenging categories: the Sprint 5K, the Super 10K, and the Spartan Trail 10K. Each category is designed to push competitors to their limits while offering a unique blend of physical challenges and scenic beauty across the terrain in Porac.
The Sprint, known for its 20 obstacles over a 5K distance, is perfect for those new to the Spartan experience or looking to improve their obstacle course racing skills. The relatively easy trail features the classics: wall climbs, overhead wires, monkey bars, and more. It combines speed with obstacle management, making it a thrilling competition for both beginning racers and returning Spartans.
For those seeking a more demanding challenge, the Super 10K presents 25 obstacles over a 10-kilometer course. This race combines trail running with rigorous obstacle navigation, creating a demanding environment that tests even seasoned athletes. The Super’s obstacles are known for their increased difficulty, requiring not just physical strength and endurance but also strategic pacing and mental toughness. This category is specific to the North ASEAN Series Leg 1 (Montclair).
The Spartan Trail, a 10K race without the traditional Spartan obstacles, focuses purely on trail running. This race attracts both experienced trail runners and those looking to start their journey in trail running. It promises an engaging route through Montclair’s varied landscapes, characterized by its flat but challenging terrain due to the dry, sandy conditions typical of Pampanga.
Montclair Destination Estate is just a five-minute drive from Clark Freeport Zone, offering convenient access for participants already in the area. For those traveling from afar, they can simply take the North Luzon Expressway (NLEX) which will take less than an hour and a half to reach the event site from the Balintawak interchange. Simply follow the NLEX, exit at the Clark Spur Road, and then take the Subic-Clark-Tarlac Expressway (SCTEX) Exit towards Subic. Keep an eye out for the Montclair Interchange on your way and exit there to reach the event area at Montclair Destination Estate.
Like every Spartan Race, Spartan Philippines: North ASEAN Series 2024 in Montclair is expected to bring in runners from different backgrounds. The event is strategically planned to ensure smooth access and a great experience for all attendees.
Competitors are reminded to prepare for the high temperatures and intense sunlight that are characteristic of Pampanga during May. Proper hydration, sunscreen, and training for heat acclimatization are crucial for maintaining performance and safety during the races.
The Bacolod Film Festival is now accepting script submissions with the theme “Stories with a Smile” or those with a “potential to inspire laughter, warmth, and a renewed appreciation for the brighter side of life.”
The filmfest, set to be held in September this year, is open to filmmakers who are registered voters and residents of Bacolod City. They can be producers, directors, or scriptwriters of an entry.
The festival accepts short film scripts of any genre, such as romance, drama, comedy, or horror, in any Filipino language with English translation. Entries must be submitted on or before May 18, Saturday, 11:59 p.m., after which ten (10) finalists will be chosen.
Bacolod City Mayor Albee Benitez with the Bacolod Film Festival Team
Selected filmmakers will be given a production grant of 300,000 pesos each, to be released in two tranches, of which the first one is worth 200,000 pesos. The remaining 100,000 pesos will be released once the picture lock version of the film has been submitted.
The total running time of the produced films must be at a minimum of fifteen (15) minutes and maximum of twenty (20) minutes, including opening and closing credits. The short films must be in narrative live action form, when taken as a whole. Documentary, experimental or animation will not be accepted, except if added only as elements within the film.
Bacolod City Councilor Em Ang at work
The Bacolod Film Festival aims to create a venue where local filmmakers and producers can showcase their talents and further solidify Bacolod, known as the “City of Smiles,” as one of the creative hubs for filmmaking in the Philippines.
“Bacolod should be proud of its creatives. We have very artistic directors, and actors,” Mayor Alfredo Abelardo “Albee” Benitez, who also chairs the Bacolod Film Festival Council, said.
Bacolod City Mayor Albee Benitez meets with the Bacolod Film Festival Team
The Bacolod City Council or Sangguniang Panlungsod (SP) recently passed City Ordinance No. 1061, or the Bacolod Film Festival Ordinance, authored by Councilor Em L. Ang, with Councilors Cindy Rojas and Celia Matea Flor as co-authors. Councilor Ang, chairperson of the SP Committee on History, Culture and Arts, also serves as BFFC vice chair.
Aside from Mayor Benitez and Councilor Ang, the BFFC is composed of the chair of the SP Committee on Tourism, City Tourism Officer, City Legal Officer, City Budget Officer, Local Economic Development and Investment Promotion Officer, Department of Education Division Superintendent, representatives from SM and Ayala Malls Cinemas and the local film industry.
Bacolod City Council or Sangguniang Panlungsod in session
Members of the BFF Organizing Committee and their relatives (up to the second degree of consanguinity) are prohibited from joining the competition. There is no entry fee to participate.
Multiple entries are accepted, but each script must be submitted with a separate entry form and online registration. The selection committee will only consider one entry per finalist.
The short films must have their premiere at the Bacolod Film Festival this September.
Get ready for an exhilarating blend of adventure and music at THE BICOL LOCO FESTIVAL, taking place in Albay from May 3 to 5. Each day begins with the inaugural Bicol Hot Air Balloon event, offering breathtaking morning flights against the stunning backdrop of the iconic Mayon Volcano. This thrilling experience promises to captivate visitors with unparalleled views and a sense of adventure.
As evening approaches, the excitement shifts to the Old Legazpi Airport, with a stellar lineup of Original Pilipino Music (OPM) performances. Sarah Geronimo and Bamboo will light up the stage on May 3, followed by Ely Buendia and Jericho Rosales on May 4. Each evening promises an unforgettable showcase of some of the most respected talents in the local music scene.
Envisioned by Ako Bicol Party-List Rep. Elizaldy “Zaldy” Co, THE BICOL LOCO FESTIVAL aims to highlight the majestic beauty of Mayon Volcano and the vibrant culture of the Bicol region.
“This grand festival is more than just an event, it’s a platform for cultural exchange, a catalyst for economic development, and a grandiose expression of pride for the Mayon Volcano and the Bicol region’s vibrant heritage,” he said.
The festival’s rich program, featuring both hot air ballooning by day and musical performances by night, positions it as a landmark event that celebrates the adventurous spirit and musical heritage of Bicol.
“Through this grand festival, I envision a transformed Bicol, recognized globally, where the economy is as rich and lively as the experiences it offers,” Co added.
Robinsons Malls is making this summer more fun and memorable as it holds the final stage of competition for the finest amateur dancers in Metro Manila. SWAGThe Street Dance Battle 2024 is its first metro-wide search for the best dance group in the region and is a celebration of the overflowing talent and creativity of our local dance performers.
The search started in March this year through a series of elimination rounds held at Robinsons Malabon, Robinsons Novaliches, Robinsons Antipolo, Robinsons Las Pinas, Robinsons Metro East, and Robinsons Galleria. More than sixty dance groups competed during the first stage, but only 14 groups advanced to the final round.
The grand finals will be held on May 4 at the Main Atrium of Robinsons Galleria in Ortigas where the Champion and 2 runners-up will be chosen to win cash prizes and other surprises from Robinsons Malls and its partners GoTyme bank, Coca-Cola, Smart, Cignal, Shakey’s and Timezone.
So ready your cheer for your favorite street dance groups – Rizal Performing Arts Guild, ATM Dance Artists, Obs Fuego Eterno, Outstrip, Baby Boyz, New Breedz, U’Swagg, Obsequious, AMK Rocknation, Hustle N’ Flow, OBS PH.ICON, Vizzaroz, JF All Stars and Steps of Gold as they prove they got the swag to win the ultimate dance showdown.
For more information, visit our official social media pages or download the RMalls+ app for other exclusive mall deals and promos.
Are you ready to witness another Filipino masterpiece unfold on stage?Barefoot Theatre Collaborative, known for its hit productions like Mula Sa Buwan, Pride Plays, and The Last Five Years is all set to premiere another original Filipino musical – Bar Boys: A New Musical. Based on the 2017 Pista ng Pelikulang Pilipino film by Kip F. Oebanda, this musical promises to captivate audiences with its heartwarming story and catchy tunes.
A Tale of Friendship and Justice
Bar Boys: A New Musical chronicles the lives of four friends as they navigate the challenges of law school and strive to become champions of justice in the Philippines. Set against the backdrop of Manila, the musical delves into the highs and lows of friendship, ambition, and the pursuit of truth.
Creative Minds Behind the Scenes
Driving the creative force of Bar Boys: A New Musical are Pat Valera and Mikko Angeles, who co-direct and bring the story to life with their vision. All songs are composed by the talented Myke Salomon, marking his debut as a musical director. With Jomelle Era’s choreography and the stunning designs by the rest of the team, including Ohm David for set design and Meliton Roxas Jr. for lighting, Tata Tuviera for costume design, Bene Manaois for video design, Julia Pacificador for property design, and D Cortezano for technical direction, audiences can expect a visually stunning and immersive experience.
Meet the Cast
Leading the cast are Alex Diaz as CHRIS, Benedix Ramos as ERIK, Jerom Canlas as TORRAN, and Omar Uddin as JOSH, who embody the titular “bar boys.” They are joined by a stellar lineup including Sheila Francisco as Justice Hernandez, Juliene Mendoza as “Paping,” Nor Domingo as Atty. Maurice Carlson, Topper Fabregas as Atty. Victor Cruz, Gimbey dela Cruz as “Boss Mama” and other roles, Kakki Teodoro as Female Professor and other roles, and Carlon Matabato as Male Professor and other roles. Completing the cast are Diego Aranda, Joshua Ade Valenzona, Edrei Tan, Jannah Baniasia, Anne Cortez, Uzziel Delamide, and Meg Ruiz each bringing their unique talents to the stage.
Limited Engagement: May 3 to 19
Don’t miss your chance to catch Bar Boys: A New Musical, staged exclusively at the Power Mac Center Spotlight Blackbox Theater in Circuit Makati. The production runs for three weeks only, from May 3 to 19, with no extensions planned. Secure your seats early as there will be only over 250 tickets available per show.
Tickets for Bar Boys: A New Musical are now on sale via Ticket2Me (bit.ly/barboystickets) and show buyers. Act fast to ensure you don’t miss out on this unforgettable theatrical experience!
Bar Boys: A New Musical marks the beginning of Barefoot Theatre Collaborative’s 2024 season, promising audiences a captivating journey filled with laughter, tears, and everything in between. Get ready to be swept away by the magic of live theater and join us for an unforgettable evening at the bar!
ABOUT BAREFOOT THEATRE COLLABORATIVE
Barefoot Theatre Collaborative is an innovative theatre company that creates, produces, and manages relevant and world-class theatrical content for live performances and the many intersections in the local and global industry.
Comprised of award-winningand in-demand creators and producers, Barefoot leads the industry with its recent works: the mega-hit musical “Mula sa Buwan”, the critically-acclaimed “Pride Plays: Unica Hijas & Laro”, and the successful local staging of Jason Robert Brown’s “The Last Five Years.”
For its first offering this 2024 season, Barefoot is proud to debut an original Filipino musical, “Bar Boys: A New Musical” — adapted from the critically-acclaimed and well-loved film by Kip F. Oebanda.
Presented by the Animal Kingdom Foundation in partnership with Robinsons Land and its premier Destination Estate, Bridgetowne, “Love is a Four-Legged Word” is a fundraising event for the rescued animals at the AKF Rescue and Rehabilitation Center. Expect to have a lot of fun at this summer Fur Date with your pets and other pet parents. Think of it as Pet Coachella—it’s a concert and a pet fair, with exciting games, different booths, raffles, mocktails and munchies for you and your pets.
The 32-hectare Bridgetowne Destination Estate, with its sprawling spaces and lush greenery, is the perfect setting for “Love is a Four-Legged Word.” Bridgetowne connects Quezon City and Pasig City with its iconic 200-meter bridge and has plenty of space for both pets and their humans to enjoy. While there, spot the 20-story art installation “The Victor” by Jefrë—another Bridgetowne icon.
“Robinsons Land Corporation believes that pets are very important members of the Filipino family. That’s why it makes sure to provide facilities, activities and programs that uplift animal welfare, conduct activities espousing compassion for animals and responsible pet ownership, and support worthwhile events such as ‘Love is a Four-Legged Word,’’ said SVP and Business Unit General Manager for Robinsons Destination Estates Mybelle V. Aragon-GoBio.
Founded in 2002, the Animal Kingdom Foundation is an NGO that provides shelter and rehabilitation to rescue animals, fights against the dog meat trade and runs pet education and spay and neuter programs. The foundation is caring for more than 300 rescue animals at its AKF Rescue and Rehabilitation Center.
Each “Love is a Four-Legged Word” ticket is equivalent to one sponsored dog or cat. Regular tickets are P800 each and come with munchies, mocktails, a raffle stub and freebies while premium seating tickets are P1,500 and come with munchies, mocktails, a raffle stub and special goodies.
The event starts at 5 p.m. on April 27 at Bridgetowne Central Park. Register at https://bit.ly/2024LFLW.
The last time I saw ‘Miss Saigon’ was at the CCP sometime in the early 2000s when Lea Salonga had just returned from a triumphant run both in Broadway and the West End and won the Laurence Olivier award in London and the Tony in New York. She performed alongside Leo Valdez (as the Engineer), and it was the first time (as I recall) that the revolving stage was constructed and used in the CCP Main Theater.
Ever since, the music of ‘Miss Saigon’ by Claude-Michel Schonberg has always been anthemic. The songs (with lyrics by Richard Maltby Jr and Alan Boublil) are catchy. They have a gorgeous melody that really flows from song to song. It’s also a spectacle, demanding that the stage transform into a seedy, girly bar in Vietnam, and then later on to transform into the gates of the American embassy in Saigon where a helicopter takes away the soldiers as they flee the war – it’s an iconic moment in the play and grand spectacle that makes the play truly unforgettable.
Miss Saigon AU – Abigail Adriano | Photo by Daniel Boud
This would be my first time to revisit the musical since I saw it almost 25 years ago and time has changed both the play and me, as I’m watching it with more grown-up, more world-weary eyes.
This new 2024 touring cast production, first and foremost, with the orchestrations of William David Brohn really sell how gorgeous Schonberg’s compositions are. They are stirring and with the live orchestra just hitting every note wonderfully, showcases the great hooks of ‘Miss Saigon.’ On the other hand, the direction by Laurence Conner (with musical staging by Bob Avian and Asian tour production is directed by Jean-Pierre Van Der Spuy) leaves no space for subtlety. Everything is big and loud and frenetic. There seems to even be a direction that every should sing big and loud and at the strongest volume. The performances, at times, can feel more like they are singing for a concert rather than a play. This overall feel has advantages and disadvantages depending on the number or the character.
Miss Saigon AU – Abigail Adriano & Nigel Huckle | Photo by Daniel Boud
The popular love duet ‘Sun and Moon’ has an unnecessary tension because the direction has both Kim (Abigail Adriano) and Chris (Nigel Huckle), the star struck lovers who have spent a night together, wrapped in each other’s arms by the stairs of their little room. It is intimate and personal, but they are singing so loudly at each other when, visually, they are right in front of each other. The moment is transformed from one of tender recognition of each other as a place of safety into a concert-level performance. Singing loudly here, would have benefitted from being on the opposite ends of stage and filling that gap with their voices. Huddled so closely demanded a softer delivery of the popular song.
Miss Saigon AU – Photo by Daniel Boud
But while this direction distorts a lot of songs like ‘Sun and Moon,’ it does great wonders for Seann Miley Moore, who plays the Engineer. A lot of his songs are flashy and showy and this big, non-nuanced direction allows him to treat each of his songs – “If You Want to Die in Bed,” “What a Waste,” and “The American Dream” – as big showstopping numbers. He gets to infuse each number with so much verve and personality (of which Moore has a lot of) that he easily steals this entire production. It’s great to see such a dynamic performance of The Engineer.
Moore’s Engineer is coy and flirty and then he’d burst into an act of cruelty out of the blue. It keeps his Engineer so unpredictable that he adds his own danger to the role that truly makes it take center stage. You’re always waiting to see what he will do next.
Kiara Dario, who plays Gigi, is the only one I noticed who was able to find a space between the loud, extravagant performance and the drama of her character as she sings ‘The Movie in My Mind.’ Her solo is full of heartbreak that feels both authentic and powerful at the same time.
Photo by Andrew Beveridge
To match all that on-stage energy, the stagecraft of the whole production is a well-executed dance of moving sets, projections, and lighting. The stage design by Totie Driver and Matt Kinley is dynamic and mercurial, turning in one moment into the seedy girly bar Dreamland and then, in less than 5 seconds, becomes a bustling street in Saigon, and then in another moment turns into the gates of the American Embassy in Vietnam for the famous helicopter scene. Despite the size of it all, Driver and Kinley keep everything busy, cluttered, claustrophobic that gives the feeling that the collision of these diverse worlds – the US and the Vietnamese – was inevitable in this situation and forced upon by these circumstances. Everyone here is just a victim. The lighting design of Bruno Poet never fully illuminates the stage, turning everything into a spotlight that matches with the performative direction of the cast. It’s dark at the fringes, it is always about to be covered in darkness and highlights the plays refusal to ever just be a love story. This is a war story, and you can tell from the lighting.
Photo by Daniel Boud
I don’t know if it’s my age or my own experiences but watching this version of ‘Miss Saigon,’ I do not see any sort of American propaganda in the subtext of this story. There’s no whitewashing in this production of the fact that America’s presence in Saigon at this time was both unwelcomed and unwarranted. The way by which the Engineer sings about America highlights America’s capitalist tendencies and manages to not paint it in the good light; and when the suffering that is left behind by the Americans come to the fore – like in the way that Kim’s life is turned upside down by Chris’ affections – it becomes really ironic when Huckle, as Chris, sings out “I’m an American how can I fail to do good?” The irony falls hard when the play, in this version, shows Chris to be either ignorant or oblivious to the hurt the has caused.
Photo by Daniel Boud
It’s a very different from the play that I saw in the early 2000s that had a more heroic positioning of America and I appreciate it a lot more for it. This production does not treat the Americans as heroes, nor does it treat Thuy (Laurence Mossman) and the communist party as the bad guys – they are just agents in a war that is happening in Vietnam (of which the Americans had inserted themselves in).
Photo by Daniel BoudMiss Saigon AU – Laurence Mossman | Photo by Daniel Boud
I was looking for a fight, coming into this show but instead was once again charmed and wowed by the sheer spectacle of the material and the timelessness of the music of the play. Adriano, Huckle, Moore, Dario, and the rest of the cast are such great singers and really pull out all the stops to make ‘Miss Saigon’ the theater event that it is. It was not meant to be subtle and that may not be such a bad thing.
