Category: Theatre

THEATER REVIEW: Beautifully Broken – A Review of ‘Gruesome Playground Injuries’

CAST (Company of Actors in Streamlined Theater) caps off their season with the play ‘Gruesome Playground Injuries’ by Rajiv Joseph. It’s a deceptively simple play with only two characters in just roughly a little bit over an hour but there’s a wealth of humanity that is loaded within as it explores the literally painful love story of two friends over the course of 30 years. I say literally because we meet the two friends – Kayleen and Doug – in five-year intervals, from 8 to 38, and one of them is always hurt. It wasn’t kidding when it included “gruesome” in its title.

Photo courtesy of CJ Ochoa

Directed by Nelsito Gomez, the play makes full use of Mirror Studios’ wall mirror for actress Missy Maramara to write down the character’s ages and the location of each scene before it starts. The two actors, with Topper Fabregas playing Doug, change in front of the audience, going down to their underwear, making them vulnerable and exposed as the characters seem to fall into whenever they meet each other. The actors barely ever leave the stage (except for one scene shift when Fabregas leaves entirely), which means we get to see them put on their make-up and prosthetics for whatever injury their characters have gotten into before the scene begins.

Photo courtesy of CJ Ochoa

From 8 to 38, we see Kayleen and Doug navigate through very tough life experiences. Doug seems to get himself into situations where he can fall from very high places or maybe even lose an eye. Kayleen’s personal life – with her boyfriends and her parents – leads her to self-harm. In the scenes that makes up the play, set in a non-linear order, we catch the two find solace and comfort in each other and yet unable to say how they really feel, unless the timing is all wrong. These are characters who are so used to being broken, whether physically or emotionally, that they seem to be more comfortable leaning into the hurt than moving towards the safe space that they’ve made for each other.

Photo courtesy of CJ Ochoa

Despite the blood, the pain of their circumstances, and their inability to be truly honest with each other (and with themselves), the play is actually hilarious. Kayleen and Doug, on paper, are really sad and miserable people but when they are together, they bring out the best in each other and their wit and their candor are as true as any two best friends can be that it fills the stage with so much warmth. This is predicated by the effortless performances of Topper Fabregas and Missy Maramara.

Photo courtesy of CJ Ochoa

What’s incredible about the two as he easily they shift from 8 to 38, catching the joys and foolishness of our teenage years to the desperate rush of our 20s when we feel like everything is at stake, to the exhausted and jaded 30s when your life is not what you imagined it to be. All of these complex layers of people in these ages, the two actors are able to personify so perfectly while still adding on the added layer of these two specific broken individuals into the plate. It’s amazing to watch. And the fact that the play moves back and forth through time, means that Fabregas and Maramara must go from an adult back to a teen and then back to an adult again.

Photo courtesy of CJ Ochoa

The effect is captivating.

‘Gruesome Playground Injuries’ is not an easy play to digest. It asks you to laugh with (not at) these two poor individuals as they try to sort out their lives while dealing with disappointment and pain, scene after scene. The characters make fun of their injuries, some of them almost fatal, but it’s a coping mechanism that they both cling on to. They try to find humor in the brokenness of their lives but what ends up being amplified is how badly these two people really want to live. This is a daring play, and I honestly would never have thought to have been able to see a play like this in the Philippine theater scene. It’s bold. It’s mature. It’s surprisingly what we need now as world events are constantly making us think about our mortality.

My Rating:

Gruesome Playground Injuries will run on November 29, 30, and December 1, 2024. Get your tickets here. For inquiries about reservations or partnerships, contact gruesome.mnl@gmail.com.

Please note that the show includes themes and imagery of violence, self-harm, suicide, sexual assault, abuse, injuries, and blood.

November 19, 2024
THEATER REVIEW: ‘Tiny Beautiful Things’ and the Power of Vulnerability

I was fortunate enough to have been invited to the open rehearsal of The Sandbox Collective’s new production ‘Tiny Beautiful Things,’ a play based on the book by Cheryl Strayed and adapted for the stage by Nia Vardalos. Directed by Jenny Jamora, the rehearsal was already a powerful, moving experience that brought me to tears and I’m excited to see the actual run at the PowerMac Spotlight Blackbox Theater in Circuit this coming weekend.

Image Courtesy of The Sandbox Collective/@TheSandboxCo

The book is composed of a series of advice columns by a woman called Sugar and the play creates a space for the columnist to interact with the people writing the letters and asking for her counsel. As written, these letter writers (performed by three people playing multiple parts) share the same space as Sugar on stage, but not in reality but the furniture and the food and the drinks are all shared by them. Letter after letter, advice after advice, Sugar becomes more emboldened to give of herself – her life story, her darkest deeds and thoughts, the private parts of ourselves we usually keep hidden – and in the process the following letters are equally as exposing creating a whirlwind of emotions. In that space, healing can begin.

Set in the round, the audience circle the stage, which means the actors have nowhere to hide and while the three letter writers do have moments when they can exit the stage when someone else is interacting with Sugar, our protagonist never leaves the stage. She is a constant presence in their lives, and in the duration of the play, she becomes a constant in ours.

Image Courtesy of The Sandbox Collective/@TheSandboxCo

Taking the role of Sugar is Iza Calzado, her second foray into theater and she imbues Sugar with a genuine tenderness that can sometimes contrast some of the dark parts of Sugar’s life that she shares with her readers (and the audience). What it creates is a complex character who has seen much, been through hell and back, and is grateful for the opportunity to turn these experiences into nuggets of wisdom that might be able to heal someone else. Calzado makes use of her screen presence and transforms it into a power on stage that keeps the focus on her and permits the sincerity to bridge the gap with her perspective on life, which may not always be like yours, but the insight is something so deep and profound that it touches you.

Image Courtesy of The Sandbox Collective/@TheSandboxCo

The three actors during the rehearsal were played by Rody Vera, Gabby Padilla, and Ketchup Eusebio (with Brian Sy and Regina De Vera as alternates) and they have the great task to shift characters after every letter. When not portraying a letter writer, they stay on the stage, either engaging in the conversation Sugar has with one of the senders or taking space at some part of the stage and just doing ordinary things. This direction keeps the stage alive and vibrant, like life is bursting through regardless if the sender’s story is a funny one or a sad one. The three players can shift to any gender or age, but they don’t assume an overdramatic rendition except for some special moments. When one of Ketchup Eusebio’s characters is a little boy, he fully embodies it and transform but when he has to play the part of a transman, it’s not an affected performance. It’s like there’s a baseline for all the characters that they play that they don’t stray too far away from. It feels connected to the fact that none of these people use their real names. All the letters are anonymous, and even when they ask for Sugar’s real name, she doesn’t give it either.

Image Courtesy of The Sandbox Collective/@TheSandboxCo

It’s the tiny nuances like this that adds an extra layer of depth into the production. It was an open rehearsal – so the set design approximates what will be on stage at the PowerMac Spotlight Blackbox – and no spotlights or lighting effects were used, but already the play felt so full and powerful. The set is a full-on working home with a coffee machine that makes actual coffee, and I can imagine what that smell would do for that scene in the actual theater. It’s this fullness that pulls you in further as you get swept into the world of Sugar and her letter writers.

Image Courtesy of The Sandbox Collective/@TheSandboxCo

And the brilliance of the script, pushed forward by its very capable cast and the clear directions, allows for the play to hit hard at the end and you’ve come to realise that the vulnerability that was slowly growing onstage, from Sugar to the senders of the letters asking for her advice, is the same vulnerability you are experiencing as you are connecting to one of those stories.

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The play underscores how vulnerability is an essential part of healing. As someone who is going through therapy now and trying to get over something, this play touched me in a very profound way. And even if you are not going through something, there’s a story there that is going to remind you of someone – or yourself – and you’re going to nod your head and smile.

My Rating:

Tiny Beautiful Things will run from November 16 to December 8, 2024, at the Power Mac Center Spotlight Black Box Theater in Circuit Makati. The intimate venue is the perfect setting for a play that thrives on human connection and emotional vulnerability. Tickets are available through Ticket2Me.

November 15, 2024
A Heartfelt Theatrical Journey with ‘Tiny Beautiful Things’ Coming This November
This November 2024, Tiny Beautiful Things: A Play About Life – In Letters makes its much-anticipated Philippine premiere, bringing heartfelt stories and human connections to the stage. Presented by The Sandbox Collective, this production wraps up the company’s 10th-year anniversary season, celebrating a decade of innovative theater. Directed by Gawad Buhay awardee Jenny Jamora, the play is set to deliver a powerful emotional experience for audiences of all ages.

Adapted from Cheryl Strayed’s book, Tiny Beautiful Things brings to life the stories from Strayed’s time as an anonymous advice columnist. The play draws from real-life letters, reflecting the highs and lows of human emotions, and offers thoughtful advice that touches the soul.

A Story of Life, Love, and Letters

At the heart of Tiny Beautiful Things is the character of “Sugar,” who writes under a pseudonym while responding to deeply personal letters from readers. The questions she receives range from heartbreak and grief to love, relationships, and self-doubt. Sugar’s responses are raw, real, and full of wisdom, making this play a poignant reminder of the power of empathy and understanding.

Director Jenny Jamora leads the artistic team in crafting a play that blurs the lines between fiction and reality. She shares that the set design—Sugar’s apartment—mirrors the journey of the characters, particularly the relationship between Sugar and the letter writers. “How much Sugar shares of herself is reflected in how she and the letter writers share the physical space,” Jamora explains, “The space is physically the same, but toward the end of the play the way they use it should also reflect the community this group of people has become.” Showcasing the importance of connection and community in navigating life’s challenges.

Iza Calzado Takes on the Role of Sugar

Stepping into the role of Sugar is none other than the acclaimed actress Iza Calzado. Known for her strong screen presence, Iza is sure to bring depth and emotional gravitas to this layered role. Sugar isn’t just an advice columnist—she is a guide, a friend, and a mirror for those who are searching for answers in life.

Photo courtesy of The Sandbox Collective/@TheSandboxCo

Calzado will be joined on stage by Rody Vera, Gabby Padilla, and Ketchup Eusebio, who will portray various letter writers seeking advice from Sugar. These letter writers remain anonymous, but their stories—covering the full spectrum of human emotions—will feel relatable to everyone in the audience. Additionally, Regina De Vera and Brian Sy will take on the roles of letter writers in select performances.

Photo courtesy of The Sandbox Collective/@TheSandboxCo

Together, the ensemble cast will bring these letters to life, creating a dialogue between the audience and the characters that speaks to universal experiences of love, loss, and everything in between.

Photo courtesy of The Sandbox Collective/@TheSandboxCo

An Artistic Collaboration for the Ages

Behind the scenes, Tiny Beautiful Things boasts an impressive roster of talents in its artistic team. With Jenny Jamora directing, audiences can expect a fresh and engaging take on the material. Marcel David serves as assistant director, while Kayla Teodoro handles set design, and Kiefer Sison takes charge as lighting and technical director. Arvy Dimaculangan manages the sound design, with Krystal Kane as costume stylist, and JV Rabano behind the lens as the production’s photographer.

Each member of the team has played a vital role in building the world of Tiny Beautiful Things, ensuring the play is both visually stunning and emotionally moving.

The People Behind The Sandbox Collective

The Sandbox Collective has long been a key player in the local theater scene, known for bringing innovative and thought-provoking productions to Filipino audiences. For Tiny Beautiful Things, Toff De Venecia serves as Managing Artistic Director, alongside Anna Santamaria as Finance and Operations Director, Sab Jose as Marketing and PR Director, and Maine Manalansan as Design Director. This powerhouse team has worked tirelessly to ensure that this play resonates with Filipino theatergoers.

Photo courtesy of The Sandbox Collective/@TheSandboxCo

Rounding out the production crew are Charyl De Guzman as Production Manager, Pachot Festejo as Head Stage Manager, Loreta Arroyo as Marketing and PR Manager, and Marielle Filoteo as Social Media Manager. Together, this dedicated team has shaped a production that not only entertains but also touches hearts.

Catch Tiny Beautiful Things This November

Tiny Beautiful Things will run from November 16 to December 8, 2024, at the Power Mac Center Spotlight Black Box Theater in Circuit Makati. The intimate venue is the perfect setting for a play that thrives on human connection and emotional vulnerability.

Showtimes:
- Fridays: 8:00 PM
- Saturdays and Sundays: 2:30 PM and 7:30 PM
Tickets are available through Ticket2Me at bit.ly/tinybeautifulmnl. Given the buzz surrounding this production, tickets are expected to sell out quickly, so be sure to grab yours before they’re gone!

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The production is presented by The Sandbox Collective in partnership with Concord Theatricals and Samuel French, Inc., and is made possible with the support of MAC Cosmetics (official makeup partner), Privato Hotel (official hotel partner), and Pitchworks (official billboard partner).

For more updates, behind-the-scenes content, and ticket information, be sure to follow The Sandbox Collective on their social media channels:

Instagram: @thesandboxco Facebook: @thesandboxcollective X (formerly Twitter): @thesandboxco
#TinyBeautifulMNL #SandboxNowandTen

In a world where we often feel isolated in our struggles, Tiny Beautiful Things serves as a reminder that we are never truly alone. Whether you’ve experienced heartbreak, loss, or even the highs of love, there’s a letter in this play that will speak to you. And with a powerhouse cast led by Iza Calzado, supported by a talented creative team, this production is bound to be one of the most memorable theater experiences of the year.

So, mark your calendars and prepare to be moved by the stories, emotions, and insights shared in Tiny Beautiful Things. Whether you’re a long-time theater lover or someone who’s simply looking for an evening of reflection and inspiration, this play is a must-see.
October 24, 2024
THEATER REVIEW: ‘Six’ is Fun-Filled History Lesson on Women Empowerment Disguised as a Pop Concert

I’m a musical theater puritan, growing up and raised on Stephen Sondheim, Maury Yeston, Kander & Ebb, and Lerner and Lowe. Later on, I discovered Lynn Ahrens and Stephen Flaherty. So, I’m not the kind of guy who truly enjoys a jukebox musical, much less new musicals that stray so far away from what I am used to. I didn’t like the thought of ‘Hamilton’ until I finally got to see it and it completely changed my mind. So, I find it funny that I was against coming in to watch the musical ‘Six’ because of its usage of pop music as its aesthetic and motif; but I was – once again! – made to eat my own words and when I saw the show and realised how amazing it is.

SIX UK Tour 2023 | Pamela Raith Photography

The 2017 musical by Lucy Moss and Toby Marlow reimagines the six wives of Henry VIII – Catherine of Aragon, Ann Boleyn, Jane Seymour, Ann of Cleves, Katherine Howard, and Catherine Parr – as an all-girl pop group, who are in a concert and decide to hold a competition to decide who would be the group’s main vocalist. The winner will be determined by who suffered the most under Henry VIII.

The whole show takes on a full pop concert aesthetic. The backdrop is a dynamic LED light board that plays off on the songs. The band, called “Ladies in Waiting” are on stage with the performers and also part of the show in their own nuanced way. The bright, structured costumes are a mix of 70s Eurythmics and Devo inspired outfits with added touches of Victorian-era designs. And the five actresses come out, singing their hearts out and calling out to the audience, in our case “Hello, Manila,” as if they were straight out of a tour (which they are).

SIX UK Tour 2023 | Pamela Raith Photography

The opening song, “Ex-Wives” got me afraid, and proved my point about how pop songs aren’t fit for musical theater. The song is in the narrative mode and tries to establish the characters and the setting in a pop song and it sort of comes off clunky and verbose. Musically, it feels all over the place and it made me feel smug and petty.

In-between, the actresses are doing an amazing job at bringing these characters to life. The women are feisty, filled to the brim with personality, and are all leads in their own way. To prove they suffered the most, they each get a song – a monologue, if you will – to explain the hardships they endured, and this is when my feelings about the show shifted.

Pamela Raith Photography

Each individual song, after the opening, tells a story about the sort of oppressive world women have to live through each day. There’s sexism, unfair beauty standards, and oppression of all sorts that somehow work so well in each individual story. The songs, when focused on just one person’s story works so well and each wife has their own distinct musical style that was purposefully inspired by an existing pop star (according to some online articles).

Pamela Raith Photography

The touring cast is insanely talented, and they take each song and just knock it out of the ballpark. Billie Kerr plays Catherine of Aragon and I love how she never hid her thick Scottish accent while playing the English queen who hailed from Spain. It creates a layer of artifice that fits so well to the show and adds another layer of humor that just fits perfectly. Yna Tresvalles plays Ann Boleyn, and she is so full of charm and spunk. In my opinion, her character has the funniest lines, and she keeps it going throughout the whole show. Jane Seymour, the only woman who King Henry VIII supposedly loved, is played by Liberty Stottor, who gets to sing the emotional power ballad. Her soaring vocals creates a truly emotional moment that helps break the hilarity of the first two songs. Hannah Victoria kills it as Ann of Cleves, whose song is ready for the Top 40 supremacy. Lizzie Emery channels Britney Spears as she portrays the provocative Katherine Howard, whose song is more an acting piece than a vocal piece and Emery sells the story of sexual exploitation so convincingly that it brings you back into the story (the way Jane Seymour’s song does). Finally, Eloise Lord nails Catherine Parr and has the unenviable position to play the character that turns the show around. Her incredible vocals turn her R&B flavoured song into a showstopper.

Pamela Raith Photography

I had to mention all the six actresses because they were all phenomenal. ‘Six’ is pretty much a monologue play that is sung-through and despite it’s silly pop-concert conceit, manages to really bring to light the sort of challenges women continue to face every day. They use the stories of the six wives but told with modern touches – lingo and jargon, dating apps, and the like – to show that the way the patriarchy has objectified women hasn’t much change in 500 years.

Pamela Raith Photography

Except for the first song, which I’m not a fan of, the rest of the songs fit perfectly as both narrative exploration of character as well as rousing pop songs that will get you clapping to the beat. It’s such a fun show that I was taken completely by surprise and fell immediately in love with the musical. In fact, I don’t want to listen to the album on a streaming site because I want to remember how it sounded with this touring cast in my head. I wish I could see it again and I wish more women get to see it for its message of reclaiming your identity from the patriarchy.

My Rating:

SIX the Musical is currently running for a strictly limited engagement at The Theatre at Solaire until October 20. For more updates and exclusive peeks behind the royal curtains, keep your eyes on gmg-productions.com and follow @gmg.productions. This October, the queens of “SIX” aren’t just rewriting history—they’re making it.

October 16, 2024
THEATER REVIEW: Theater as Voyeurism – A Review of ‘Request sa Radyo’

There’s a magic, a spontaneity, that live theater offers that movies can never really capture. I love both, dearly, but while the power of film as a storytelling technique is how it uses the camera to capture the essence and truth about life and the human experience – the camera (and editing) being able to come close to the subject, distend time, connect images together – theater allows us to see it in front of us in real time. The narrative is unfolding right there, on the stage, and if one is so bold (and one should never) you could get up and touch it. It’s that presence, what cultural theorist Walter Benjamin would call art’s “aura,” that makes the theatrical experience like no other.

This aura is pushed beyond its limits in the masterpiece play ‘Request Program’ (or ‘Request Concert,’ depending on the translation), a 1973 play by Fran Xavier Kroetz. It’s a roughly 70+ minute play with absolutely no dialogue. Just one person coming home after what seems like a long day and we witness their evening activities before going to bed. No dialogue whatsoever except the character switching the radio on, giving us a clue to what lies underneath.

At the Samsung Performing Arts Theatre in Circuit, Makati, a revival of the play with distinctly Filipino touches has been reimagined as ‘Request sa Radyo’. The production stars both Lea Salonga and Dolly De Leon, who perform separate shows just an hour apart. It is produced by an incredible team, including theater director Bobby Garcia and stage and costume designer Clint Ramos, a 6-time Tony Award nominee and recipient of the Tony Award for Best Costume Design.

Bobby Garcia

At the Samsung Performing Arts Theatre in Circuit, Makati, a revival of the play with distinctly Filipino touches has been reimagined as ‘Request sa Radyo’. The production stars both Lea Salonga and Dolly De Leon, who perform separate shows just an hour apart. It is produced by an incredible team, including theater director Bobby Garcia and stage and costume designer Clint Ramos, a 6-time Tony Award nominee and recipient of the Tony Award for Best Costume Design.

Clint Ramos

Theater, sometimes called Drama (as in “to dramatize” a story), usually follows an event, a complication or a struggle that can be enjoyable to watch or even disturbing, with the idea of evoking thought and emotion. It’s why we go to the theater or the movies: this never ending need to consume stories and to make it what we will. What separates ‘Request sa Radyo’ apart from almost all of the theater productions you’ve seen is that it asks us to observe and experience the mundane, the ordinary.

Photo courtesy of Sandro Paredes

The character simply enters her home – in this iteration, it’s a flat in New York, the character in hospital scrubs, either a doctor or a nurse, most probably a nurse – and settles in for the night. She cooks dinner – she actually prepares rice – and microwaves leftovers from the refrigerator. She washes a stain on her blouse while listening to the radio. Once in a while, she stares out into space. She eats her dinner. She cleans up. She does some art while listening to a radio station that markets specifically to Filipinos in America, playing mostly Tagalog songs and subtly creating the play’s narrative thrust.

Photo courtesy of Sandro Paredes

In the hands of Lea Salonga, a multi-awarded theater luminary, the role takes on weight and meaning. You’re expecting her to sing at any moment, but she enters with heavy steps and not an ounce of glamour or sophistication on her. The silence is deafening and, oftentimes, as she’s waiting for the rice to cook, she stares out into space and there’s nothing there to fill up the empty space except the songs from the radio. Salonga’s character is so striking from how numb she seems to be. It felt like this was a performance for film, surprisingly, like you want to come in close to look straight into her eyes. I was seated far away, and I was fascinated by the absence of drama.

Until that unsurprising ending note, which you can feel is coming, but you aren’t quite sure why or how you know.

Photo courtesy of Sandro Paredes

‘Request sa Radyo’ is a brilliant piece of theater and that is demanding and thought-provoking. Garcia and Ramos create a space – an actual living space – where Salonga can cook and clean and be as ordinary as she can be and it builds such a strange rapport with the audience. I can’t even help it, but I found myself saying things like ‘Lea washes dishes differently than me’ or ‘I’d switch off some of the lights’ and finding myself connecting with the character in some form or another.

Despite the lack of dialogue, the role is so difficult because, despite the fact that four hundred people are watching her, Lea Salonga has to go through her character’s evening routine as if no one is watching her. It’s an acting exercise that is a true test of one’s skill and talent: to be completely un-self-conscious and to be completely ordinary and mundane for 70+ minutes.

‘Request sa Radyo’ is a meditation on loneliness and longing. The art of theater and even movies is about voyeurism, but this amplifies it and highlights it where the play asks you to really just watch someone be without any real promise for a story. There is, though, if you look hard enough; and the experience is so riveting.

My Rating:

Request sa Radyo is currently running for a strictly limited engagement at the Samsung Performing Arts Theatre in Circuit, Makati until October 20. For exclusive updates, including ticket sale releases, visit TicketWorld.

October 15, 2024
Unveiling Silence: “Request sa Radyo” Stars Lea Salonga and Dolly De Leon in a Poignant Theater Experience

Yesterday, Manila welcomed the opening of “Request sa Radyo,” a unique theatrical experience that delves deep into the echoes of solitude through the meticulous nightly routine of a solitary woman. Staged at the prestigious Samsung Performing Arts Theatre in Makati City, this play offers a profound exploration of quiet introspection and the hidden yearnings for connection. With internationally revered talents Lea Salonga and Dolly De Leon alternating in the solo performance, this limited engagement is set to redefine theatrical storytelling in the Philippines.

The strictly limited engagement, featuring 20 performances, began on October 10 and will run until October 20, 2024, at the Samsung Performing Arts Theatre in Makati City, Philippines. Lea Salonga and Dolly De Leon will take turns performing the solo piece in scheduled alternating performances.

The Essence of Solitude

Crafting Emotions Without Words
Franz Xaver Kroetz’s “Request Program” captures the essence of solitude through the meticulous routine of a solitary woman. Her interaction with a radio program unfurls layers of profound loneliness, portraying how isolation deeply embeds itself in human existence. This narrative beautifully converts mundane activities into a captivating exploration of the human condition, leaving the audience with lingering thoughts on the complexities of solitude.

Conversation in Spotlight – a talk moderated by Clint Ramos alongside Lea Salonga and Dolly de Leon

Stellar Cast, Stellar Performance

Featuring a duo of the Philippines’ most celebrated actors, this production sees Salonga and De Leon in alternating solo performances. Each brings their unique interpretation to the stage, enriched by their vast experiences and international acclaim. This casting choice alone makes “Request sa Radyo” a monumental event in Philippine theater.

Lea Salonga: A Global Icon
Lea Salonga, a beloved Filipino star renowned worldwide for her unparalleled voice and perfect pitch, has captivated audiences for decades. Her illustrious career includes iconic roles in Miss Saigon and Les Misérables, earning her both a Tony Award and an Olivier Award. Salonga’s undeniable talent and global reach make her a true icon in the world of theater. Reflecting on her involvement in Request Sa Radyo, she enthused, “When I was asked by Clint and Bobby if I was interested at all in this project, an experience that told a probable and possible story that absolutely applies to our people, I said sure, even before knowing the details. It will be a challenge though, but hopefully, it will lend a figurative voice to those who are suffering.”

Dolly De Leon: A Rising International Sensation
Dolly De Leon, a celebrated actress in film, television, and theater, has swiftly emerged as a global sensation. Her breakthrough role in the critically acclaimed film “EO” earned her Golden Globe and BAFTA nominations, solidifying her status as one of the most sought-after actresses in the world. De Leon’s versatility and passion for her craft shine through in every performance. She expressed her excitement about returning to the stage, saying, “I’m so looking forward to coming back to my first love, the theatre, after five long years, and I am equally excited that it is in Request Sa Radyo—a play that is relevant and timely.”

Behind the Scenes

A Creative Team Like No Other
The genius behind the curtain includes Clint Ramos and Bobby Garcia, whose visions for the play have set new benchmarks in theatrical storytelling. Ramos, a 6-time Tony Award nominee and recipient of a Tony Award for his designs in Eclipsed—making him the first designer of color to win in this category—brings his innovative design philosophy to the production, ensuring that every aspect resonates with thematic depth.

Garcia, a respected figure in the world of theatre, returns to Manila after a four-year hiatus to direct the play with a fresh perspective on loneliness and isolation—themes that are poignantly relevant today. Reflecting on his homecoming project, Request Sa Radyo, Garcia shared, “The last show I worked on in Manila was The Band’s Visit, which sadly never got to open because of the pandemic.

It was a poignant musical about loneliness, isolation, and the need for human connection. It feels almost like fate that I now return to Manila after four years to direct Request Sa Radyo, a chilling and haunting piece of theatre about those very same issues, but completely different in approach, form, and style. I am thrilled to be working with two of the country’s finest performers, Lea Salonga and Dolly De Leon, who will alternate in performing this unique theatrical experience about our universal need for human contact and the global crisis that is loneliness. I am also thrilled to reconnect with Manila audiences after some time away and re-engage with them through the art of storytelling.”

Experience the Unspoken

Engage in a Unique Theatrical Exploration
“Request sa Radyo” goes beyond traditional theater by offering a space to reflect on the silent struggles of everyday life. It challenges the audience to find meaning in silence and to connect with the undercurrents of solitude that we often overlook.

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A Limited Engagement Not to be Missed

With a strictly limited run from October 10 to October 20, 2024, tickets are expected to be in high demand. Audience members are encouraged to secure their seats early to experience this unique and transformative theatrical event.

For more information on ticketing and showtimes, visit the Request Sa Radyo’s website or follow the show’s updates on Instagram and Facebook. Don’t miss the opportunity to witness this extraordinary blend of talent and narrative, where every silent moment speaks volumes.

October 11, 2024
Ang Pinakamakisig sa mga Nalunod sa Buong Daigdig

Co-presented by the FEU Center for the Arts (FCA) and Alumni Relations Office (ARO), the FEU Theater Guild (FTG) returns to the uncanny coasts of Isla Esteban and restages for the fourth time “Ang Pinakamakisig sa mga Nalunod sa Buong Daigdig” to close its 90th theater season.

Set on water, this mystery-filled play was adapted from Gabriel Garcia-Marquez’s “The Handsomest Drowned Man” by Teresa Lorena Jopson.

Jeff Hernandez composed the music, along with musical direction by Jesus Singh III (IAS ‘17).

Dudz Teraña, the Artistic Director of the FTG handled the overall direction and choreography. “I do not know another local group that successfully captured the Garcia Marquez magic-realist combination of otherworldly ambiance and ground human tragic-comedy,” wrote Arturo Hilado in the Philippine Daily Inquirer after he watched the late 2018 staging.

Premiering on October 2, 2024 at the FEU Center of the Arts Studio, the sound of mellow waves will welcome you to Isla Esteban where a big mystery threatens to disturb its calm shores.

As an FTG first, the play is set on water! “It’s challenging to work with water which we have not done in the past three stagings of this play.

This staging makes it so exciting,” remarked Teraña.

The play is accompanied by stirring musical compositions that move through this narrative tale brought to life by the skillful ensemble of actors and singers of the FTG.

There will be two sets of townspeople with an all-female and all-male principal cast with each character played by either current members of the FEU Theater Guild or its alumni:

Brigitta Marilla (IAS ’25), Kesiah Aritao (IAS ‘25), and FTG alumna Raven Relavo Singh (IAS ‘17) to play as ‘Pipi’ the narrator.

Kesiah Aritao (IAS ‘25) and alumnus Kobie Hachero (IAS ‘19) alternate as the hopeful ‘Buntis.’

Heleina Li (IAS ‘27) and Jonas Cunanan (IAS ‘25) take turns as ‘Ipokrita.’

Julia Ramas (FIT ‘26) and FTG alumnus Jasper Estaras (IAS ‘18) are the playful ‘Haliparot.’

Maria Delos Reyes (IAS ‘27)

and alumnus Jesus Singh (IAS ‘17) portray ‘Lola’

Raffaelle Pascua (IAS ’25) and Aaron Bayani (FIT ’25) alternate as the strong ‘Kapitan.’

Co-presented by Far Eastern University, the FEU Center for the Arts, and the Alumni Relations Office, you can catch the FTG’s “Ang Pinakamakisig sa mga Nalunod sa Buong Daigdig” at 6 PM on the following dates: October 2, 4, 5, 9, 10, 11, 12, 16, 17, 18, 19, 23, 30, and November 6, 7, 8, 13, 14, 15, 20, 21, 22, 23, 2024

Ticket prices are 200PHP for the FEU Community, 400PHP for Guests, and 600PHP for VIPs.

#FTGMakisig #TaraSaEsteban #FTGNobenta

September 26, 2024
REVIEW: 9 Works Theatrical’s revival of ‘Once on this Island’ takes a modern approach to the classic (and outdated) love story

I have been a fan of ‘Once on this Island’ since I first heard the soundtrack sometime in the early 90s. The musical, by Lynn Ahrens and Stephen Flaherty is an adaptation of the 1985 novel ‘My Love, My Love’ or ‘The Peasant Girl’ by Rosa Guy, which is a reimagining of the fairy tale The Little Mermaid by Hans Christian Andersen but set in the Caribbean. The musical has won the Laurence Olivier award at the West End in 1995 and the Tony for Best Revival in 2018. The play, almost completely sung-through, boasts incredible music by a large array of loveable characters and a love story that can be quite problematic in the current time but is very much a throwback to the love story depicted in The Little Mermaid.

Photo by Reine Paisley | Courtesy of 9 Works Theatrical

9 Works Theatrical’s production, on the direction of Robbie Guevarra, does an interesting turn on the musical emphasizing the craziness of the dated love story of the play. ‘Once on this Island’ is set in an island in the Caribbean. In the midst of a huge storm, the villagers tell a story about Ti Moune to calm a child. The story goes that Ti Moune was an orphan that the four gods – Asaka, Agwe, Erzulie, and Papa Ge – saved so that she can teach the island a lesson. The island is split into two – the peasants and the Grand Homme – and these two worlds never meet. Except Ti Moune longs for bigger things, having been told that the gods have saved her for something special. She sets her eyes on a Grand Homme, Daniel, who drives through the island in his Mercedes Benz. Having fallen in love with the young man, Ti Moune proclaims that she will marry him, and the gods laugh at her bravado. But Erzulie, the goddess of love, insists that love is stronger than the earth, water, and death, the domain of Asaka, Agwe, and Papa Ge. The gods then decide to use Ti Moune and Daniel to test Erzulie’s proposition: that love is stronger than death.

Photo by Reine Paisley | Courtesy of 9 Works Theatrical

The play is Ti Moune’s journey from her village to the land of the Grand Homme to be able to marry Daniel and prove the power of love. Back in the 90s, the very ‘Little Mermaid’-ish storyline was innocent and idealistic. But in today’s sensibiliites it is a little foolish, if not outright mental. Guevarra leans into this, turning Ti Moune’s longing and passion into something rash and delirious. When Ti Moune and Daniel first meet, Daniel crashes his car during the rain and Ti Moune nurses him back to health. She sings a song about her love for him and Guevarra highlights this by doing a pretty neat trick by letting his Daniel appear on another part of the stage to sing their love duet despite the fact that the audience was left to believe that Daniel was on the bed with TI Moune when the scene starts. Guevarra uses his talented ensemble in multiple ways to weave his players in and out of scenes that keeps the energy on stage strong and vibrant.

Photo by Reine Paisley | Courtesy of 9 Works Theatrical

He also directs the cast to play up the storytelling aspect of the play. Since the story is told through the villagers, when they perform the scenes of the Ti Moune story, there is a child-like wonder to the performances that keeps the play buoyant despite such themes as death and class division. Coming up to match this direction is its very abled cast with standout performances by Angela Ken (in the show I saw, Thea Astley alternates) as Ti Moune, Lorenz Martinez as Papa Ge, Garret Bolden as Agwe, Lani Ligot as Mama Euralie, Raul Montesa (for the show I saw, Noel Rayos alternate), and Krystal Kane (alternate Shanaia Gomez) as Andrea.

Martinez is always reliable, but his Papa Ge is a lot more human than a previous show I saw 20 years ago and from clips I’ve caught on the internet. It’s not a caricature of a “sly demon” as his intro to the play suggests but a textured portrayal that brings in an air of freshness. Bolden has an impressive stage presence and has a magnificent voice that made his solo song ‘Rain’ a showstopper in the show I caught. For the little Andrea gets to do in the play, Kane was so memorable and was able to add a new layer to Andrea, not pushing her into the level of an antagonist (as some productions do). The scene stealers of the show, though, belong to Ligot and Montesa, who play the parents of Ti Moune. Their singing is imbued with so much heart and passion that they easily served as the show’s emotional anchor.

Photo by Reine Paisley | Courtesy of 9 Works Theatrical

Ken is a wonderful discovery. She has spunk and presence and is unafraid to show the deliriousness of Ti Moune’s love for Daniel. The girl can sing, and she can demand for her spotlight on that stage, even when it is completely filled by that cast. I discovered this is still her first lead role and you can see the inexperience, sometimes relying on facial expressions that feel rehearsed or practiced but what she lacks in experience, she makes up for charisma and bravado. She’s an amazing talent and I can’t wait to see her grow.

Mio Infante’s set is both beautifully designed but can also create staging limitations for the production. There are curtains draped right above the center in a circle with strips of fabric falling down making it look like a gorgeous ethereal jellyfish when the lights hit it at a particular way and the stage itself has a thin loop that encircles the center. Actors can jump on the loop that is tilted towards the audience. It’s interesting because it allows the characters to go in and out of the center to direct us to the action, but it can also create an upper and lower level for certain scenes where height and leverage can come into play. Unfortunately, when the action is focused right in the middle, the circle can become limiting and when the whole ensemble is dancing together, it can sometimes feel too cluttered or busy. It makes the play feel smaller than it is.

Photo by Reine Paisley | Courtesy of 9 Works Theatrical

But the musical direction of Daniel Bartolome keeps the score intact but adds extra percussion flourishes in certain songs – the dance-oriented ones, specifically – that adds an extra kick to the already-wonderful music of Stephen Flaherty. The singing by this ensemble is exceptional and so if the story isn’t to your liking, you can just enjoy the beautiful music.

Photo Courtesy of 9 Works Theatrical

There’s a lot to love in this beloved staging of the classic musical ‘Once on this Island.’ I appreciate the modern approaches it takes on some parts of the book that can feel dated, but it also manages to highlight the play’s stronger themes as it tackles class discrimination. This staging also manages to push a message that we make our own choices, regardless of what the gods (or whatever metaphor you decide the gods are representative of) has in store for you. For that alone, it’s reason why we must keep telling this story.

My Rating:

ONCE ON THIS ISLAND is running until September 29 at the Carlos P. Romulo Auditorium, RCBC Plaza, Makati. For ticket details, visit Ticket2Me.

September 12, 2024
Mula sa Buwan Announces Two Final Shows on September 14

If you’ve been waiting to catch “Mula sa Buwan,” this is your last chance! The beloved Filipino musical that has captured the hearts of many is set to stage its final two performances on September 14 at 2 PM and 7:30 PM. After these shows, the curtain will fall, marking the end of an era for this acclaimed production.

A Definitive Farewell

As announced during the curtain call, the upcoming performances will be the last opportunity for LaBuwans to experience “Mula sa Buwan” in its definitive form. The show, a retelling of Edmond Rostand’s Cyrano de Bergerac, set against the backdrop of 1940s Manila, has been a beacon of Filipino theater, blending history, romance, and the enduring spirit of defiance.

Creator Pat Valera shared the poignant news that “Mula sa Buwan” will not be returning to the stage in the near future. This means that on September 14, actors Myke Salomon, Gab Pangilinan, MC Dela Cruz, Phi Palmos, and Jillian Ita-as will take their final bows as members of this extraordinary troupe.

The Actors’ Heartfelt Goodbyes

Each of the five actors who have been central to “Mula sa Buwan’s” success shared their reflections on what the show has meant to them and the legacy they leave behind.

Gab Pangilinan, who played Roxane, described “Mula sa Buwan” as a dream come true, stating, “Roxane was my first big Filipina role. I’ve grown so much as an artist and as a person through Roxane, and through this musical.”

Myke Salomon, who portrayed Cyrano, expressed that “Mula sa Buwan” represents everyone who has been part of the production, saying, “Ang Mula sa Buwan ay tayo, bawat taong nasa loob ng tanghalan.”

Photo Credit: Jaypee Maristaza

MC Dela Cruz shared his deep connection with the show, calling it “HOME,” as it marked the beginning of his journey as a theater actor. He added, “Kahit anong shows na ang nagawa ko, MSB pa rin ‘yung uuwian ko.”

Phi Palmos, who played the role of Rosanna, highlighted the significance of LGBTQIA+ representation in the show, stating, “Mula sa Buwan is one prime example of LGBTQIA+ representation. That during the war, we exist. Nandun kami at hinding-hindi mabubura.”

Jillian Ita-as, who joined the production as Gabriel in 2022, described “Mula sa Buwan” as a familiar piece of hope. “It’s just this timeless, classic story that people love coming back home to again, and again, and again,” she said.

What Will Be Missed the Most

As the cast prepares for their final performances, they shared what they will miss most about the show.

Gab expressed her gratitude for the “fools, dreamers, misfits who love telling the story just as much.” Myke mentioned missing everyone who has been part of this journey, and MC reflected on the lessons his characters, Maximo and Christian, taught him.

Phi emphasized the closeness and camaraderie among the cast, saying, “When you’re really together, everyone genuinely cares for each other. And I believe that’s the reason the effect of the musical is like that.”

Jillian spoke fondly of the people involved, describing them as family. “Para kaming mga classmate na buong school year magkasama, that’s really how deeply I feel for each and everyone one of them,” she shared.

Photo by Paw Castillo

A Final Message to LaBuwans

The actors also left heartfelt messages for their supporters.

Gab encouraged everyone to carry the lessons and emotions from the play with them, saying, “Lagi’t lagi, pag-ibig ang mananaig.” Myke hoped that the light of “Mula sa Buwan” is etched in everyone’s hearts, while MC simply said, “Salamat, kaibigan.”

Phi expressed deep gratitude, saying, “Hindi sapat ang sanlibo sa laki, puspos, at nag-uumapaw ninyong pagmamahal.” Finally, Jillian conveyed her deep gratitude, thanking everyone who supported her character, Gabriel, and the entire production.

Tickets for the last two shows are available through Ticketworld or bit.ly/msb2024tickets. The production must close on September 14, so don’t miss this final chance to be part of “Mula sa Buwan‘s” magical journey. Magkita-kita tayo muli para sa huling pagkakataong ito at sabay tayong magsabi ng #PaalamBuwan.

September 7, 2024
Bar Boys: A New Musical is Back This October

EVERYTHING BEGINS TODAY as BAR BOYS: A NEW MUSICAL, the law school musical that surprised everyone, returns this October 2024.

In response to the clamor of audiences, Barefoot Theatre Collaborative brings back Bar Boys: A New Musical for a very limited FIVE-WEEK RUN.

During the curtain call of Mula sa Buwan earlier, the much awaited rerun of Bar Boys was announced by Benedix Ramos (Erik), Alex Diaz (Chris), Jerom Canlas (Torran), Omar Uddin (Josh), and Sheila Francisco (Justice Hernandez). The five cast members are set to reprise their roles while further casting has yet to be announced.

The musical will run this October 4 to November 3, 2024 at the Power Mac Center Spotlight Blackbox Theater, Circuit Makati.

A musical stage adaptation of the well-loved 2017 Pista ng Pelikulang Pilipino film by Kip F. Oebanda, Bar Boys: A New Musical follows the life of four friends and their journey to become defenders of justice in the Philippines.

Book and lyrics are by Pat Valera, who will return to direct alongside Mikko Angeles. Myke Salomon, who composed the adaptation’s original songs, also serves as the musical director. Jomelle Era will also return for movement direction.

OPENING WEEKEND TICKETS are now available via Ticket2Me (bit.ly/barboystickets). Don’t miss the chance to catch this run of Bar Boys: A New Musical!

September 2, 2024