Category: Theatre

REVIEW: A total theatrical experience, ‘Mula sa Buwan’ dazzles with Gab Pangilinan taking center stage

I saw ‘Mula sa Buwan’ a few years ago, straight out of the pandemic, and as well lauded as the show was, I personally found it chaotic despite the fantastic songs and the incredible singers who were cast in that show. I couldn’t quite get into it then but that show alone showed all of Gab Pangilinan’s star power and her capacity to fill a stage with her presence and vocal chops. Coming to see this revival of the show, still at the Samsung Performance Arts Theater, the new direction by Mikko Angeles expands the stage work to include video projections that manages to amplify the narrative and creates a whimsical, almost fairy-tale like quality to the show (and a dark twisted one later in Act 2) and somehow centers the emotional weight on Pangilinan’s Roxane. It was a clever move because Pangilinan has really pushed herself to a level, I’d like to say is equal to “national treasure” because not only can she sing, but she infuses the work with all the emotions of the scene that it fills the whole theater with electricity.

‘Mula sa Buwan’ is a Filipino adaptation of ‘Cyrano de Bergerac.’ Set in Manila, right before World War II, the play follows Cyrano (Myke Salomon), a poetic genius with a comically large nose. He is known about town as a poet, a stern ROTC commander, friendly to the outcasts of society, and seems unafraid to use his wits and skills to best anyone he feels does not live up to his standards for a civilized life. At the show’s beginning, he comes off as a bully, breaking up a theatrical show for not having authenticity and making a fool out of his commanding officer, the son of a general, for his uncouth ways. But Cyrano finds himself in a sticky situation as the love of his life (and childhood best friend) Roxane has fallen in love with the handsome Christian (MC Dela Cruz), who has just come to town and is stationed under Cyrano in ROTC.

Insecure over his appearance, Cyrano accepts Roxane’s request to ensure that Christian is to be kept from trouble and when he discovers that Christian feels the same way as Roxane, he orchestrates a deception to get the two together. The thing is, Christian is not good with words and can be very clumsy, and Roxane has a poet’s heart and is attracted to wit and eloquence. Under the cover of night, Christian serenades Roxane while she’s on her balcony with Cyrano hiding in the darkness feeding him the words.

It’s the classic mistaken identity love story trope that no longer feels as romantic in the midst of 2024 sexual politics. In the current climate, what Christian and Cyrano do is catfishing – no matter how good their intentions may be – and Roxane was made to be a fool. The era nor the poetry of Pat Valera’s script can soften that so what Mikko Angeles does is to play up Cyrano’s and Christian’s selfishness. He doesn’t hide from it but he plays it up. In fact, there’s an old school theatricality to the performances – the line delivery and the blocking – which highlights the naivete of the time. It’s crucial for the emotional shift that happens on Act 2.

Because World War 2 does come and the playful romance and idealism of Act 1 is torn asunder and reality kicks in so when Roxane is forced to face heartache and pain caused by the war, Pangilinan brings all that pain, built up since Act 1, into a powerful solo that brings the house down that even I was in tears. Roxane is the heart of this production and by putting her at the center, played with by the two boys and their affection for her, the sting of the second act hits harder.

It’s not a perfect show, though. There’s a whole section in the play about the ‘Makulay na Kabataan,’ a group of outcasts (queer people and artists) who are fighting for freedom and independence but there’s no real feeling of oppression that pervades the first act. There is talk of independence, but never do we ever really feel the American occupation haunting the scenes. The title song, ‘Mula sa Buwan’ is a call for a place that is more forgiving, a place that is free from oppression but there’s none of the things that they are wishing for is seen in the play. The love story is front and center but the going-ons in the background feel empty and hollow. What are the colorful children protesting against? Why do they need independence when they can put up plays and sing out in the streets? Anything outside of Cyrano, Roxane, and Christian’s love triangle seems more like filler than something that is integral to the show nor does it inform on the love story itself.

With that said, this production of ‘Mula sa Buwan’ is still a total theatrical experience. The set designs by Ohm David are brilliant. It’s a barrage of moving sets with strange perspective that really amplifies the whimsical tone of the show. It’s immersive in a way that it feels that the world is large and wide and deep. The lighting design Meliton Roxas Jr magically illuminates the most important parts of the scene that allows us to follow the story (though I do wish the balcony sequence was just a bit darker to really sell the idea that Roxane can’t see who she is talking to) while the video projections of Joyce Garcia is immensely transformative turning the show into a fairytale. Myke Salomon’s musical score creates urgency and builds emotions. The first song of the second act is absolutely brilliant.

And the performances – Myke Salomon, Gab Pangilinan, MC Dela Cruz, Phi Palmos, Jillian Ita-as, and Jerom Canlas – fantastic singers and dancers and are able to carry the comedy as well as the romance and then the sudden dramatic shift for Act 2. It’s a total theatrical experience that is so inspiring to see on the Philippine stage.

My Rating:

‘MULA SA BUWAN’ is running until September 8 at the Samsung Performing Arts Theater. For ticket details, visit mulasabuwan.com or purchase your tickets through TICKETWORLD or bit.ly/msb2024tickets.

August 31, 2024
REVIEW: A Matter of Privilege: a review of the new original play ‘Patintero sa Ayala Avenue’

Full disclaimer: I am a founding member of CAST (Company of Actors in Streamlined Theater) and have been a part of their first two seasons before the pandemic. But I have not been an active member since the pandemic and I have no participation whatsoever in this latest season or in their latest production, the new original play ‘Patintero sa Ayala Avenue’ written and directed by Rafael Jimenez and starring Zoe de Ocampo and Teia Contreras. I sat down on the opening night as an audience member and a critic. I may be friends with the producer but had no idea what I was about to witness.

‘Patintero sa Ayala Avenue’ is a play written by Rafael Jimenez, his thesis for his degree in Theater from Mint and it is a powerhouse of emotions, almost entirely a monologue by its lead character, simply known as The Boy, except for a few scenes with The Boy’s 10-year-old sister Nora. The Boy is a high school student in a prestigious boarding school in Manila, but he is failing four out of his five subjects and faces expulsion. It begins pretty much with Zoe de Ocampo talking to someone named Mike. “Dear Mike” he starts, almost like he’s writing a letter. He talks about his current predicament and with a light change, he goes from an internal monologue into a real-world conversation – whether it’s his problematic roommate or the principal of his school – and we discover that The Boy is not in a good place.

Photo courtesy of May Celeste

He shares his observations about the bullies of his school and the effects it has on other students – one extreme case follows that someone tried to take his life – and what’s implied but never spoken out until much later is how he has a lot of issues with his parents, most especially his father, who is a director. It’s so bad that he decides to sneak out of the boarding house (it involves bribery) and walking around Poblacion. He shares his candid views about the red-light district that is Burgos street, mentioning more than once the number of foreigners (white folk) with a Filipina in their arms. He tries to stay the night at the hotel in front of Filling Station but can’t get a room because he’s underage and meets a woman who he tries to flirt with until he discovers she’s a sex worker. We follow The Boy through his traipse around Makati, constantly asking about where the Christmas lighting decor that adorn Ayala Avenue go when the Christmas season is over, while telling Mike about all his angers and frustrations about the world. Very quickly, we discover that The Boy is also unreliable narrator, because even his musings to Mike are also filtered by his own need to look like he’s in the right.

The Boy discusses family relations, memories of a happier, simple past, and his thoughts about suicide or running away to Baguio. We seem date girls and screw that up because he’s kind of misogynistic and overall toxic and what we get is a snapshot of the dark, inner world of the privileged youth.

What makes it hard to bear is while any suffering should be dealt with sympathy and empathy, The Boy is not without options. He’s wealthy. Who else gets to run away and tries to book a room at a hotel so he can spend the night. This is a kid who has run away from home and will book a Grab to go from Ayala Triangle to Glorietta. He complains that all Filipino movies are bad (he uses harsher terms than that) and all because his dad is a film director and he hates his dad. When he is with his guy friends, he takes on the posture of the toxic male and it bleeds into his dealings with the girls that he likes.

Photo courtesy of May Celeste

For one hour, all of the first act, we have to follow this boy’s misadventures and its hard to empathize when he has so many options that are available to him. There’s even a moment when he talks to a pares vendor and The Boy becomes the vendor, all hunched, smoking a cigarette, and talking about how life doesn’t mean anything because it’s all going to end. The vendor is the only other character The Boy interacts with that The Boy inhabits and voices out and this adds an extra layer of privilege that comes from the playwright and not just the character. These vendors who work under the neon lights of Burgos are some of the nicest, friendliest people I’ve come to know because I live in Poblacion. The working class don’t think about the world ending, they live in the moment. They are happy that they can work, that they can provide. They are the first to tell us stories about the things they’ve seen (and they’ve seen plenty) and it’s what I cannot stand about poverty porn because most of the working class, and even lower class know how to have fun, to laugh, and to take each day on its own merits.

Everything comes together by the second act, when the specifics of The Boy’s backstory lay out everything that the first act was just symptoms of his own lashing out. But by that point, I’m no longer on his side, and this play needs us to be on his side. He’s someone who needs a friend, an older figure (definitely parental) but there’s no one there. The audience can become that person, the only one who can care about him, but we don’t. The play didn’t give us that option. So, when we finally see him interact with his sister, Nora, the only person he loves and possibly loves him back, it comes too late for the audience to imbibe the message that the play tries to give.

What makes it a powerful debut, nonetheless, is that it felt very authentic to the milieu and the sensibilities of the character. The references, the use of language: all of these were unapologetically cued in to its zeitgeist and that’s not an easy thing to do. It’s a demanding work for both the audience and its cast. The playwright loves his character and while there’s nothing wrong about writing about privileged people, the writing must open itself up to larger perspectives that can make it inclusive to a larger audience who will not share these experiences.

Photo courtesy of May Celeste

Zoe de Ocampo is a promising powerhouse, who is able to capture and engage the audience all by his lonesome up on that stage. I think what he needs is more experience as the demanding play asks him to immediately shift from internal monologue (his letters to Mike) to the one-man dialogue with characters in the play (who are not present). There are nuances and shifts that need to be more refined because it’s so subtle that the delivery can come across as monotone through the whole play. The way he talks to the sex worker should be different from when he talks to his guy friends, his abusive rommate, or a pares vendor in Burgos. It’s most prominent when he speaks to Nora, played effectively by Teia Contreras. That’s where the shift becomes really clear. With more experience – both on stage and off stage – De Ocampo is going to do very exciting things for Philippine theater.

‘Patinteto sa Ayala Avenue’ is a strong debut, regardless of what I think about its politics, and brings in a fresh new voice in Philippine Theater in English. Most original Filiipno plays I’ve seen are in Filipino and most English plays I’ve caught are revivals of Western work. New voices like these should be heard and these are important steps to their growth. With all the success recent theater productions have been getting, ‘Patintero sa Ayala Avenue’ is proof that Philippine theater is blooming.

My Rating:

‘Patintero sa Ayala Avenue’ last week runs from July 6 to July 7 at The Mirror Studios. Tickets details are found on CAST’s Facebook Page and Instagram.

July 5, 2024
One More Chance, The Musical Rerun Tickets Available Starting July 1

The Philippine Educational Theater Association’s (PETA) hit musical, One More Chance, The Musical, featuring the songs of Ben&Ben, is set to return from August 22–October 27, 2024 at the PETA Theater Center, due to insistent public demand.

Since it opened in April, PETA has added 29 shows to its original run to accommodate more audiences after tickets sold out months before the musical opened.

For its rerun, PETA will open 50 additional shows.

Tickets for the feverishly anticipated show will be made available via TicketWorld.com.ph starting July 1.

Metrobank pre-sale

From July 1–3, a pre-sale will be made exclusively available for credit cardholders of Metrobank, PETA’s co-presenter and official bank partner.

To join the pre-sale, Metrobank credit cardholders must enter the first six digits of their card as the passcode. Each cardholder can enjoy a maximum of four (4) tickets per transaction.

Waitlist and public sale

The Metrobank pre-sale will be followed by a special sale for the TicketWorld waitlist from July 4–5.

The general public sale starts on July 6.

To sign up for the waitlist, go to https://bit.ly/OMCRerunWaitlist.

The TicketWorld waitlist registration closes at 11:59 p.m. on Thursday, June 20, 2024.

For more information, follow PETA’s social media accounts at @petatheater (Facebook, Instagram, X, and TikTok). For partnerships, contact PETA’s Marketing and Public Relations Office at 0917-5765400 or petatheater@gmail.com.

June 21, 2024
Experience The Best Of British Theater A Second Time Around with New CCP NTL Season

A bigger, brighter, and bolder second season of the Cultural Center of the Philippines’ National Theatre Live (CCP NTL) is set to delight its devoted Filipino audiences with a new lineup of world-class stage plays filmed live from Britain’s most exciting stages.

After a successful first season boasting waves of support from theater enthusiasts, playwrights, artists, and the broader public, the CCP National Theatre Live forges on to provide yet another exceptional ‘live’ performance experience with the best of what British theatre has to offer in more cinemas near you.

Through the partnership of the CCP with National Theatre Live and Ayala Malls, the second season of CCP NTL will premiere at Ayala Malls Cinemas in Greenbelt, Makati, Vertis North in Quezon City, and at the Ayala Center in Cebu from June 25, 2024 to May 27, 2025.

Award-winning plays Vanya, Dear England, The Motive and Cue, and Nye will grace the big screens in the Philippines.

Crowd favorites Fleabag, King Lear, Frankenstein, and Hamlet from the past season will make their comeback.

Hopes, dreams, and regrets are thrust into sharp focus in Vanya, a one-man adaptation premiering on June 25 at the Ayala Malls Cinemas in Greenbelt, Makati. Exploring the complexities of human emotion, Andrew Scott brings multiple characters to life in Chekhov’s Uncle masterpiece, filmed live in West End, London.

Returning on June 25 at Ayala Vertis North and Ayala Center Cebu is Fleabag, a rip-roaring look at some sort of woman living her sort of life. Written and performed by Phoebe Waller-Bridge and directed by Vicky Jones, Fleabag may seem oversexed, emotionally unfiltered and self-obsessed, but that’s just the tip of the iceberg. With family and friendships under strain and a guinea pig café struggling to keep afloat, Fleabag suddenly finds herself with nothing to lose. The hilarious, award-winning play that inspired the BBC’s hit TV series with the same title was filmed live on stage in London’s West End in 2019.

On July 30, James Graham’s Dear England arrives at the Ayala Malls Cinemas in Greenbelt, Makati. With the worst track record for penalties in the world, Gareth Southgate knows he needs to open his mind and face up to the years of hurt, to take the team and country back to the promised land.

The contemporary retelling of Shakespeare’s tender, violent, moving and shocking play King Lear will be re-screened on July 30 at Ayala Vertis North and Ayala Center Cebu. Considered by many to be the greatest tragedy ever written, King Lear sees two aging fathers – one a King and another, his courtier – reject the children who truly love them. Their blindness unleashes a tornado of pitiless ambition and treachery, as family and state are plunged into a violent power struggle with bitter ends. The play is directed by Jonathan Munby and stars Sir Ian McKellen.

In Jack Thorne’s The Motive and Cue, audiences are offered a glimpse into the politics of a rehearsal room and the relationship between art and celebrity. Coming to Ayala Malls Cinemas in Greenbelt, Makati on August 27, Richard Burton, newly married to Elizabeth Taylor, will play the title role in an experimental new Broadway production of Hamlet under John Gielgud’s exacting direction. But as rehearsals progress, two ages of theater collide and the collaboration between actor and director soon threatens to unravel.

Theater lovers and moviegoers at Ayala Vertis North and Ayala Center Cebu will have the chance to see Vanya on August 27.

Directed by Academy Award-winner Danny Boyle, with adaptation by Nick Dear, Frankenstein will return to the Ayala Malls Cinemas in Greenbelt, Makati on September 24. The thrilling, deeply disturbing Mary Shelley classic combines scientific responsibility, parental neglect, cognitive development and the nature of good and evil. Child-like in his innocence but grotesque in form, Frankenstein’s bewildered creature is cast out into a hostile universe by his horror-struck maker. Meeting with cruelty wherever he goes, the increasingly desperate and vengeful Creature determines to track down his creator and strike a terrifying deal.

Captured live on stage in 2011, the sold-out production stars Benedict Cumberbatch and Jonny Lee Miller, alternating between the roles of Victor Frankenstein and his creation. For September 24, Miller will be playing as the Creature.

The Motive and Cue will be shown at Ayala Vertis North and Ayala Center Cebu on September 24.

Come October 30, Fleabag will return to the Ayala Malls Cinemas in Greenbelt, Makati for the third time. Frankenstein, this time with Benedict Cumberbatch as the Creature, will premiere at Ayala Vertis North and Ayala Center Cebu on same day.

Witness Nye’s mind-bending life journey on November 26 at the Ayala Malls Cinemas in Greenbelt, Makati.

In Tim Price’s opus, Aneurin “Nye” Bevan confronted death in the eye, as he recollects his deepest memories from his childhood to mining underground, and his fights with Churchill.

Benedict Cumberbatch plays the title role of yet another great Shakespearean tragedy, Hamlet, premiering on November 26, at Ayala Vertis North and Ayala Center Cebu. As the country arms itself for war, a family tears itself apart. Forced to avenge his father’s death but paralyzed by the task ahead, Hamlet rages against the impossibility of his predicament, threatening both his sanity and the security of the state. The play is directed by Lyndsey Turner.

Closing the 2024 CCP NTL’s lineup, Hamlet will return to the Ayala Malls Cinemas in Greenbelt, Makati on December 17. Dear England will premiere on the same day at Ayala Vertis North and Ayala Center Cebu.

Witness the magic of London National Theatre through CCP National Theatre Live. First launched in June 2009, the National Theater Live is a groundbreaking project to broadcast the best of British theatre live from the London stage to cinemas across the United Kingdom, around the world, and now in the Philippine shore.

Digitally filmed in high-definition quality, the NTL films their plays in front of live theater audiences, but optimized for the big screen and made accessible to theater fans across the globe.

All screenings will be at 6:00pm, exclusively at Ayala Malls cinemas in Greenbelt, Makati, Vertis North in Quezon City, and at the Ayala Center in Cebu. Regular ticket price is at ₱300.00 in Makati and Cebu, and ₱350 in Vertis North, while special ticket price for students is at ₱150.00.

This new season also brings exciting bundles and subscriptions for dedicated NTL fans. Audiences in groups can avail the Barkada Pass for ₱1200 which includes five tickets at the price of four, while students can avail the Barkada Pass Student bundle at ₱600. Subscriptions for the full season cost ₱2500 and ₱1500 for the half season, allowing audiences 30% and 20% discounts respectively.

Tickets can be purchased at sureseats.com.

To get the latest updates on CCP National Theatre Live, follow the official CCP social media accounts on Facebook, Twitter, Instagram, TikTok, and YouTube.

June 10, 2024
Tanghalang Ateneo Presents ‘Mga Multo’
Tanghalang Ateneo, the longest-running theater company of the Higher Education Cluster of Ateneo de Manila, presents this June 2024, Mga Multo, a classic play based on Henrik Ibsen’s Ghosts, directed by Ron Capinding, and translated to Filipino by Ron Capinding and Guelan Varela-Luarca.

Set within the confines of a seemingly idyllic home, Senyora Alvino, in an effort to honor her late husband’s memory, establishes an orphanage. However, the return of her son Oswaldo from abroad sets off a chain of revelations. Long-buried secrets and suppressed truths come to light, exposing the haunting legacies of the past. Mga Multo explores the intricate and painful dynamics of a family bound by duty, love, and the destructive power of lies. As the characters grapple with their own ghosts, they are forced to confront the unsettling question: can the truth truly set them free, or will it entrap them further in a web of despair?

Mga Multo delves into rebellion within domestic spheres, shedding light on the personal revolutions that parallel societal upheavals. The play reflects the season’s exploration of the power of love and the necessity of uprising, both in the public arena and within the private confines of family life. Through the struggles and revelations of its characters, the material resonates with the collective yearning for change, truth, and liberation.

Coming up as the organization’s newest production, Mga Multo is championed by a cast of seasoned, veteran actors from the organization’s alumni, making a return to the stage:
- Miren Alvarez-Fabregas as Senyora Elena Alvino
- Yan Yuzon as Oswaldo Alvino
- Joseph Dela Cruz as Pastor Mande
- Mark Aranal as Jacobo Estraño
- Sabrina Basilio as Regina Estraño
The Artistic Team for this production is composed of the following esteemed individuals:
- Ron Capinding for Direction and Translation
- Guelan Varela-Luarca for Translation
- Gino Gonzales for Production Design
- Monino Duque for Lighting Design
- Andrei Fabricante for Assistant Lighting Design
- Ara Fernando for Make-up Design
- Jean Pierre Reniva for Costume Design
- Andy Reysio-Cruz for Sound Design
- Danilo Vaquilar Jr. for Photography
- and Beatrice José for Graphic Design
Completing the crew for this production are a mix of Tanghalang Ateneo’s current members and alumni serving as Production Heads: Beatrice José (Production Management), Rommielle Morada (Assistant Production Management), Raliza Guanlao (Stage Management), Yabs (Technical Direction), John Bermio (Set), Kat Batara (Props), Zak Capinding (Sounds), Paul Adrian Martinez (Costumes), Reamur David (Documentation and Publications), Jazzel Ortiz and Elio Severa (Promotions and Publicity), Denise Dabon (Sponsorships), Eric Tan and Nicole S. Chua(Marketing), Maia Punzalan (House Management), and Andrea Sudario (Sales Management).

Mga Multo opens its limited nine-show run on June 23, and will run until June 30, 2024 at the Doreen Black Box Theater in Areté, Ateneo de Manila University. Matinee shows will be at 3:00 PM on June 23, 29, and 30, while evening shows will be at 7:00 PM on all show dates. Tickets are priced at PhP 850 for the general public (exclusive of service fee), Php 680 for Senior Citizens, PWDs, and Tanghalang Ateneo Alumni, while Ateneo students (LS, SHS, JHS) may avail for their tickets priced at Php 600.

Tickets are available for purchase online via https://bit.ly/MgaMultoTickets.

For bulk-buying ticket inquiries, please contact Nicole Chua at 0906 266 2563. For sponsorship opportunities, kindly email the production team at tanghalangateneo.externals@gmail.com.

For more information about the show, follow Tanghalang Ateneo through the following platforms:

Facebook: fb.com/TanghalangAteneo
Twitter: twitter.com/TAOfficial_
Instagram: instagram.com/tanghalangateneo
TikTok: tiktok.com/@tanghalangateneo
June 3, 2024
Mula sa Buwan Soars Back to the Stage with a Stellar 2024 Cast!

The award-winning Filipino musical Mula sa Buwan is returning to the stage for a limited run this August, and it’s bringing back some of the most beloved actors and actresses from its 2022 run alongside some exciting new faces! Brought to life by Barefoot Theatre Collaborative, this production made its mark in 2022, emerging bravely from the shadows of the pandemic. Now, amidst a bustling theater scene, Mula sa Buwan returns with renewed vigor.

Familiar Faces and Fresh Talent

Get ready to see the original dream team of Myke Salomon, Gab Pangilinan, and MC Dela Cruz reprise their roles as Cyrano, Roxane, and Christian, respectively. They’ll be joined by returning cast members Phi Palmos (Rosanna), Jillian Ita-as (Gabriel), and the squad of beloved cadets: Rapah Manalo (Rosario), Khalil Tambio (Limon), Jep Go (Gimo), and Ericka Peralejo (Carissa).

The 2024 production also welcomes new stars to the Mula sa Buwan family. Watch out for Jerom Canlas (Tato), Omar Uddin (Maestro), and Brian Sy (Maximo) as they bring their own magic to the stage.

The talented ensemble cast also gets a boost with new members Ade Valenzona, Daniel Wesley, Jannah Baniasia, Cheska Quimno, Dippy Arceo, Iya Villanueva, and Jules Dela Paz.

And for those who want to make sure they catch the show no matter what, Paw Castillo will be on standby for Cyrano, Teetin Villanueva will be the standby for Roxane and the female swing, and Rofe Villarino will be the male swing.

A Timeless Tale Gets a Filipino Twist

Mula sa Buwan is a captivating Filipino musical based on Edmond Rostand’s classic Cyrano de Bergerac. But this isn’t your typical Cyrano. While it keeps the core story of unrequited love, beauty standards, and the fight for what you believe in, it reimagines the setting to 1940s Manila.

This fresh take lets the story unfold amidst wide-eyed dreamers, fools, and misfits, all fueled by harana (serenades), kundiman (love songs), and overflowing with genuine friendships. Through witty dialogue, heartwarming stories, and beautiful music, the characters fight for their place in a city on the cusp of change.

But when war strikes, love, ideals, and truth are put to the ultimate test. The young characters are forced to confront a harsh reality and find a way to “grow up” faster than they ever imagined.

A Legacy of Love for Theater

Created by Pat Valera and William Elvin Manzano in 2010, Mula sa Buwan has become a beloved Filipino tradition. Each new staging, from the GSIS Theater in 2011 to the Samsung Performing Arts Theater in 2022, has brought something fresh to the table while staying true to the play’s core message of love and resilience.

Don’t Miss Your Chance!

Mula sa Buwan 2024 runs for a limited engagement only, from August 16 to September 8, 2024, at the Samsung Performing Arts Theater in Circuit Makati. Book your seats now and experience the magic of Filipino musical theater at its finest!

For more information and ticket reservations, visit mulasabuwan.com or purchase your tickets via TICKETWORLD or bit.ly/msb2024tickets. Get ready to be transported to a world where love knows no bounds and resilience reigns supreme. See you at Mula sa Buwan 2024!

June 1, 2024
REVIEW: ‘Bar Boys: A New Musical’ is a triumph of a show, no objections

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.

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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 Venturillo

Sheila 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.

My Rating:

Bar Boys: A New Musical is currently running at Power Mac Center Blackbox Theater until May 19. Tickets are available via Ticket2Me (bit.ly/barboystickets) and show buyers.

May 8, 2024
Bar Boys: A New Musical Takes Center Stage This May 2024!

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.

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Get Your Tickets Now!

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-winning and 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.

Fresh, determined, and brave, Barefoot promises captivating stories excellently staged. #StoriesWellStaged

April 23, 2024
REVIEW: The show is on in Solaire; ‘Miss Saigon’ comes at full force in the new touring cast production

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 Boud

Miss 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.

My Rating:

Miss Saigon is currently running at The Theatre at Solaire until May 12. Tickets are available exclusively through TicketWorld.

April 8, 2024
Award-Winning ‘SIX the Musical’ Coming to Manila This October

This October, Manila’s theater scene is about to witness the arrival of a sensational musical direct from the West End: “SIX the Musical.” Presented by Kenny Wax, Wendy & Andy Barnes, and George Stiles, in association with GMG Productions, this groundbreaking musical phenomenon will captivate Filipino audiences at the Theatre at Solaire from October 1 to October 20, 2024, with its revolutionary blend of history and electrifying pop anthems.

SIX UK Tour 2023 | Pamela Raith Photography

Redefining Royalty with Riffs and Rebellion

“SIX” unfolds the extraordinary saga of King Henry VIII’s six wives, but with an empowering twist. Forget the dusty history books; Toby Marlow and Lucy Moss have reimagined Catherine of Aragon, Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine Howard, and Catherine Parr as pop starlets with stories that echo through the ages. They’re not just wives; they’re warriors, each reclaiming her narrative with sass, class, and a microphone in hand.

SIX UK Tour 2023 | Pamela Raith Photography

A Phenomenon Fit for the Throne

Since its Edinburgh Festival debut in 2017, “SIX” has left a trail of glitter and girl power across the globe. Critics have been enchanted, with the UK’s Daily Telegraph hailing it as “A theatrical phenomenon” and Vogue celebrating it as a “riotous explosion of wit.” The musical’s trophy cabinet gleams with 35 international awards, including Tony Awards and a Grammy nod, solidifying its status as a global powerhouse.

SIX UK Tour 2023 | Pamela Raith Photography

Manila, Get Ready to Bow Down

Carlos Candal of GMG Productions couldn’t contain his excitement, “SIX The Musical’s arrival in Manila is not just an event; it’s an experience. This production’s unique blend of empowerment, entertainment, and historical sass is unlike anything Manila audiences have seen before. We’re ready to offer a night of regal rebellion and unmissable empowerment.”

SIX UK Tour 2023 | Pamela Raith Photography

Tickets: Your Gateway to the Court

The countdown to the crowning begins, with tickets launching on April 19, available exclusively through TicketWorld. UnionBank of the Philippines shines as the royal sponsor, offering an early pre-sale privilege to its members. Want insider access? Join the GMG Six the Musical waitlist from March 10 to April 12, with pre-sale tickets up for grabs from April 15-17.

Join the Royal Rendezvous

Prepare to be part of a groundbreaking HER-story as “SIX the Musical” transforms The Theatre at Solaire into a palace of pop, power, and pulsating beats. For more updates and exclusive peeks behind the royal curtains, keep your eyes on www.gmg-productions.com and follow @gmg.productions. This October, the queens of “SIX” aren’t just rewriting history—they’re making it.

Don’t miss your chance to be part of HER-story! Witness the rise of the Queens and experience the electrifying phenomenon that is SIX the Musical!

March 8, 2024