It seems fitting that Jojo Urquico’s brand new play, “Last Dance – Hubo’t Hubad,” would run at a club in Poblacion. Halxyon Club in Poblacion, Makati transforms into a theater with a stage in thrust format for this story about male go-go dancers at a drag club. When a raid stops the show right as it begins, five male dancers share their stories with the newest member of the team. Halxyon Club gives an authentic sense of realism to the setting, though it is suggested to come prepared and wear something warm as the air conditioning is really cold and to get a seat near the front as the seats are monoblocs and you might not see what’s happening on stage if taller audience are sitting in front of you.
And while the play opens with a drag performance, Fewsha Umb and Lexi Era perform in amazing outfits, the five actors takes the stage: Gerald Magallanes as Ace, Paolo Domingo as Jay, John Segui as Dodong, Kriszan Manipon as Mark, and Robbie Padilla as Rafa (with alternates Ysmael Suarez for Dodong and Lance Cabradilla for Ace). They deliver a striptease and provocative dance in Greek-inspired togas, later shedding them for nothing but black briefs and harnesses. When the raid happens, the men rush to their dressing room, where Mama Lou (played by Jem-jem Ria Lopez) assures them that it was a false alarm, though it would be prudent to close for the night.
Left with nothing to do, the men begin to dress while questioning Jay, the youngest and newest member of the group.
Running approximately 90 minutes, the play takes “baring it all” to the next level. While catching their breath, the five actors are practically naked, with only their briefs keeping them from full nudity. But it is the stories they share that renders them vulnerable. The advice and insights woven into their individual stories expose each character naked in an emotional way. Every story paints a picture of desperate need, revealing this job as the only way out for these characters.
Throughout their sharing, they truly bare it all, dressing down and then going into casual clothes. The night on stage is over, but for some of these characters, it has just begun.
Of the cast, Magallanes is the only one with solid theatrical experience, and it shows. There’s a natural delivery of Ace’s rough and prickly exterior. His story is one of abandonment and a tough armor, one that is gruff and grim, serving as a safety mechanism. Yet Magallanes also subtly reveals Ace’s softer side in quiet moments. While others are deliver their stories, his expressions betray his character’s empathy. While others are doing their monologues, he’s still in character, reacting, keeping busy. He’s making it all feel real along with Manipon, whose portrayal of Mark has a job, but it isn’t enough to pay the bills and so he does this to provide for his family. There’s a sincerity to his portrayal that works well alongside Magallanes’.
The rest of the ensemble is still finding its balance. Domingo captures Jay’s exuberance and innocence, but his performance feels timed. It feels forcibly pushed out rather than coming from a genuine place. There’s an old school theater style emanating from his line delivery that feels off when matched with the others who take a more naturalistic approach. Segui and Padilla are hitting their cues, but Sequi often feels rehearsed, while Padilla still needs to work on projection. He’s in the moment but his voice and emotions fail to carry beyond the edge of the stage.
I thought it was quite clever, to have the characters begin practically unclothed, only to dress in front of the audience as they prepare to head home, while sharing their personal stories that leave them even more vulnerable than being naked. The play asks us to truly see them – not just their bodies, but their humanity. This marks Jojo Urquico’s first foray into playwriting, and it shows in places. Some of the stories could be further fleshed out, and the dialogue could be drawn out a little further so the characters can build to their emotional peaks gradually rather than abruptly. Yet there is a cleverness in the direction, evident in how seamlessly the stage transforms from a club into a dressing room in a quick blackout. The blocking within that tiny space, as the actors shift seats, move toward lockers to change while one actor delivers a monologue feels entirely organic and natural.
This is not a new story, but it is one that will continue to be told until we can fix the system so that no one has to do this out of desperation, or at the very least, until we can afford to give them dignity in the profession. After all, people do come to watch these kinds of shows. They are entertainers, and this is a profession. “Last Dance – Hubo’t Hubad” pulls back the curtain, revealing what lies behind the stage.
My Rating: 3 Stars
Five men. Five secrets. One last dance. Don’t miss Jojo Urquico’s Last Dance – Hubo’t Hubad as it transforms Halxyon Club in Poblacion, Makati into a stage for raw human vulnerability. The show runs through October 29, tickets available at Ticket2Me.
