Category: Theatre

  • Boy Noriega’s ‘Bayan Bayanan’ is Now a Musical from Director Anton Juan

    Internationally recognized theater and film director Anton Juan has transformed the classic play of celebrated playwright Bienvenido Noriega, Jr. into a refreshing new musical billed as Bayan Bayanan.  This will be staged at the CCP Tanghalang Nicanor Abelardo on July 15, 16, 2022 (7pm shows) and July 17, 2022 (matinee).

    The play portrays the heart-warming and, sometimes, heartbreaking stories of Filipinos trying to carve a better life for themselves abroad.

    Making up the cast are well-known theater actors as well as first-time stage performers.   Professional theater actress and singer Banaue Miclat-Janssen portrays the central character, “Manang.” Banaue has performed in various spaces and films in the Philippines and abroad.  She is an Aliw Awards Foundation Hall of Fame for Best Performer awardee.

    Ava Olivia Santos, a singer, recording artist, and an actor in theater, film and television, portrays a Filipino nurse, struggling to carve a better life for herself abroad, seeking a fairy tale love.

    Noriega wrote himself into the story as Dino, a scholar sent to study abroad on an international scholarship, much as Boy Noriega was, when he was inspired to write the play.  Dino is portrayed by theater actor and classically trained singer Carlo Mañalac, who is remembered for having played several roles in different presentations of “Kanser,” a theatrical adaptation of Rizal’s “Noli Me Tangere.”

    Roxy Aldiosa, a soprano who is both a theater actress and musical director, teams up with tenor Carlo Angelo Falcis, who is a singer, actor, and voice coach, to portray a comically annoying couple, status seekers who believe that any life abroad, even hardship posts, are better than life in the Philippines.  Jacinta Remulla, who is known for her acting in “Suntok sa Buwan,” has been cast as the couple’s sultry and flirtatious niece, “Connie.”

    Richard Macaroyo is Pol, the TNT, the illegal migrant, luckless in so many ways.  Greg de Leon, who portrayed “Elias” in Noli Me Tangere:  The Opera, is the perennially homesick Ginoong Luz, whose loneliness can only be lifted by the melodious singing of his wife.  Opera singer Jane Wee is Ginang Luz.

    Completing the Bayan Bayanan cast are Christine Angelica Evangelista, Carlo Mañalac, Timothy Carlo Racho, Kendrick Tamayo, Abigail Sulit, Jane Florence Wee, Matteo Teehankee, Karina Macaspac, and Adrian de Ubago.  All with golden voices, and engaging acting talents.  Watch the show and be moved by their refreshing performances.

    “I have directed this play many times before in Europe, and each time there is always something new. It grows like a pearl, takes shape in the memory and hearts of those who perform it and those who watch it: why? Because it is real. It is grounded on real characters we can identify with, in all their beauty and vulnerability, in all their strengths and their weaknesses,” says Anton Juan.

    “BUT ALWAYS we are grounded in that HOPING, in that FAITH — by which the Filipino nation is known for. There may be floods, martial laws, oppressions, interventions, and schisms in our history. But we always remember two things: 1. To laugh at ourselves and forgive – be it ourselves, others, or nature (sometimes to a fault, those who are greedy and malevolent to us and our people); and, 2.  To pray, and to hope and have faith — without which there is no salvation.”

    “I dedicate my direction of this play to all the migrant workers and migrant friends who “homed” me, “nationed” me in my times of study and work abroad, who “cradled” me as they cradled each other in times of crisis and personal rollercoaster times of highs and lows; to the entire cast and the production for taking special time to share their talent and their esteemed careers, countless dearest friends who helped, and our audiences  — who are ALL part of the play because this play is about them, us, a nation outside their country.”

    For more information, visit the CCP website (www.culturalcenter.gov.ph).

  • Here’s the VLF Playwrights Fair 2022 Schedule

    With the return to the live stage of the well-loved CCP Virgin Labfest this June, the Playwrights Fair, a staple in the Festival, goes onstage and online for a lively round of panel discussions from June 17 – July 3, 2022.

    VLF Playwrights Fair 2022

    Here is the schedule of the onsite sessions that will be held at the CCP’s Tanghalang Manuel Conde:

    On JUNE 17, 5pm, in Critics’ Choice, two critics, Gibbs Cadiz and Chunchi Cabasaan, share their list of the top ten plays of VLF from its inception in 2005 to the present.

    On JUNE 18, 5pm, in Playwrights in the Academe, writers Guelan Luarca, Vladimeir Gonzalez and Urie Clamor share their thought and processes on writing plays in university theatres.

    On JUNE 24, 5pm, in Adapting Literature/Fiction to Stage, playwrights Alvin Dacanay, Eljay Deldoc, and May Cardoso share their experiences/creative process in adapting fiction to the stage.

    On JUNE 25, 5pm, in Scriptwork: Directors Take on New Work by Playwrights, directors Tuxqs Rutaquio, Roobak Valle, Issa Manalo Lopez talk about their processes and approaches to directing new works by playwrights.

    Here is the schedule of the premiere streaming of the online sessions through the following Facebook Pages: Cultural Center of the Philippines (https://www.facebook.com/culturalcenterofthephilippines), CCP Intertextual Division (https://www.facebook.com/CCPIntertextualDivision), and The Virgin Labfest (https://www.facebook.com/thevirginlabfest):

    On JUNE 29, 7pm, in Hango sa Totoong Buhay with playwrights Dustin Celestino, Layeta Bucoy and Nicolas Pichay. At 8:30 pm, in Folklore in Playwriting, playwrights Jerry Respeto and Carlo Vergara share their experiences, processes, and insights in writing folklore plays.

    On JUNE 30, 7pm, in Playwriting for Children and Young People, writers Luna Inocian and Christine Bellen share their wonderful journey in writing plays for children and young people. At 8:30 pm, you can watch the live recorded session of Critic’s Choice by Gibbs Cadiz and Chunchi Cabasaan.

    On JULY 1, 7 pm, in Remembering Rene Villanueva, writers Luna Sicat-Cleto and Jun Lana reminisce about their memories of Rene Villanueva and how he inspired and influenced them. At 8:30 pm, online streaming of Playwright in the Academe with playwrights Guelan Luarca, Vladimeir Gonzalez and Urie Clamor.

    On JULY 2, in Writing Musicals, musical director Ejay Yatco talks about his ideas and inspirations in writing music for theater musicals. At 8:30, you can watch the online stream of Adapting Literature/Fiction to the stage with playwrights Alvin Dacanay, Eljay Deldoc and May Cardoso.

    On JULY 3, in Teaching Playwriting, playwright Glenn Sevilla Mas discussed the approaches to teaching playwriting both in academe and non-academe settings. At 8:30 pm, online streaming of Scriptwork: Directors Take on New Work by Playwrights with directors Tuxqs Rutaquio, Roobak Valle and Issa Manalo Lopez.

    The Playwrights Fair is held under the direction of Rody Vera and coordination by the CCP Intertextual Division.

    The Playwrights Fair is one of the components of the VLF, the festival of untried, untested and unstaged plays, established in 2005. It is free and open to public. The online sessions of the PW Fair will be streamed for the entire duration of the VLF.

    For its 17th edition, after two years of the pandemic, VLF returns to live stage with 12 new works slated on June 16 to 26, at Tanghalang Huseng Batute (CCP Studio Theater).

    For this year, VLF follows the theme “Hinga” to “underline the need to breathe, to be present and feel alive.”

    VLF also brings back the VLF Fellowship Program, with mentor Glenn Sevilla Mas and director Dennis Marasigan and introduces the new Theater Talks, a curated forum series on theater and creative processes.

    For more information, visit the CCP website (www.culturalcenter.gov.ph). Follow the official CCP social media accounts on Facebook, Twitter and Instagram for latest updates.

  • Gary Valenciano Brings Pure Energy to ‘Joseph the Dreamer’ Musical

    Mr. Pure Energy, Gary Valenciano, returns to musical theater after 23 years! Taking time off from television shows Idol Philippines and ASAP Natin Ito, he adds his legendary energy to the role of Jacob, Joseph’s father, in the triumphant return of Trumpet’s longest-running musical, “Joseph the Dreamer,” slated for July 2022.

    FB with trumpets

    Gary played the titular role of Joseph in the 1999 run of the musical and now takes on the role of the father. The musical highlights the relationship between father, Jacob, and son, Joseph, and this year’s revival also marks another father-son connection as Paolo Valenciano directs his father in this production.

    In its 2020 restaging, “Joseph the Dreamer consistently enjoyed standing ovations, sold-out shows, and critical acclaim. It completed its phenomenal run a week before the lockdown due to the pandemic was imposed.

    The musical’s 2022 run signals the return of Trumpets to live theater.

    Sam Concepcion reprises the role of Joseph along with a stellar cast that includes Audie Gemora (Jacob), Kayla Rivera (Asenath), Carlo Orosa (Pharaoh), and Bituin Escalante (Rachel, Joseph’s mother), who will also be playing the same parts they did in 2020.

    The production’s Dream Team consists of Paolo Valenciano, the country’s foremost concert director, Associate Director Nelsito Gomez, Musical Director Myke Salomon, Choreographer MJ Arda of the A-Team, and the award-winning Production Designer Mio Infante. “Joseph The Dreamer” 2022 will run at the Maybank Performing Arts Theater, BGC this July.

    For tickets, please call Ticketworld at 8891-9999 or visit https://bit.ly/JTD2022

    Follow @JTDTheMusical and @trumpetsinc on Facebook and Instagram for the Latest news on Joseph The Dreamer 2022!

  • CCP Announces Fellows Accepted to The Virgin Labfest 17 Writing Fellowship Program

    The Cultural Center of the Philippines is pleased to announce the fellows accepted to the Virgin Labfest 17 Writing Fellowship Program which will take place online on June 14 – 26, 2022:

    1.     Wilfredo C. Alipala
    2.     Christian Antonio D. Castillo
    3.     Lauren Angela C. Chua
    4.     Bernardine B. De Belen
    5.     Adrian Carlo A. Fajardo
    6.     Mark Andy Pedere
    7.     Justin Myron R. Ramos
    8.     Harvey R. Sallador

    The Virgin Labfest Writing Fellowship Program is a two-week mentorship program on the study and practice of dramatic writing for the stage. The Fellowship Program is part of the Cultural Center’s desire to train young aspiring playwrights. It consists of lectures, script critiquing, writing sessions and interactions with known playwrights, directors and selected actors.

    The eight (8) fellows accepted to the program will be mentored by Glenn Sevilla Mas, a multi award-winning playwright, and will be given access to all Virgin Labfest 17 plays as part of their mentorship. The Fellowship Program will conclude in a staged reading of the fellows’ works directed by Dennis Marasigan which will take place at the CCP on June 26, 2022, 5PM and streamed online via CCP Facebook.

    The Virgin Labfest 17 Writing Fellowship Program is a project of the CCP Artist Training Division of the Arts Education Department.

    For further inquiries, kindly email artist.training@culturalcenter.gov.ph or call 8832-1125 local 1605.

  • Ateneo Blue Repertory’s ‘First Date’ Brings You the Cute, the Class, & the Cringe in Today’s Romance

    After showing the world that “We Aren’t Kids Anymore” during its 30th Season Newbie Production, Ateneo Blue Repertory is ready to take you on a First Date. Written by Austin Winsberg and featuring music and lyrics by Alan Zachary and Michael Weiner, the 30th Season Finale Production will show you the cute, the class, and the cringe of pursuing romance in the modern age. 

    Originally staged in 2012, First Date follows the story of blind date newbie Aaron and serial-dater Casey as they see if they could be a match. This 2022 staging will feature a stunning and lively cast of actors from the organization, ready to take the audience’s hand and lead them into the fun and lighthearted world of blueREP’s First Date.

    This production is led by Director Topper Fabregas (Company, Rabbit Hole, This Is Our Youth, Tribes) Musical Director Rony Fortich (Company, Breakups and Breakdowns, Stages of Love, The Bluebird of Happiness), Movement Designer Franco Ramos (Bring It On, Rent, Real Life Fairytales) Production Designer Tata Tuviera (Antigone vs People of the Philippines, Next to Normal, Azul: Ang Sirena ng Sigwa), Lighting Designer Jethro Nibaten (Stop Kiss, The Medium, Spamalot), Sounds Designer Arvy Dimaculangan (Every Brilliant Thing, Ang Huling El Bimbo), Director of Photography Nate Bosano (Spring Awakening, Bring It On, We Aren’t Kids Anymore), Graphic Designer Bea Jose (Next to Normal, Engkwentro, Welcome to IntelStar), and Orchestrator Daniel Monong (We Aren’t Kids Anymore).

    Tickets are be available on ticket2me.net. For inquiries, contact Carlo Sarrosa at 0917 157 2851. You can still catch The First Date this May 28 and June 4.

    Follow blueREP on Facebook (@blueREPERTORY), Instagram (@ateneobluerepertory), and TikTok (@bluerep). Check out the hashtag #FirstDateblueREP.

  • Here Are The 12 New Works Coming to The Virgin Labfest (VLF) Live Stage

    After two years of online performances and the streaming of archived works, the Virgin Labfest (VLF), the festival of untried, untested, and unstaged plays, returns to live stage with 12 new works slated on June 16 to 26, at Tanghalang Huseng Batute (CCP Studio Theater).

    For its 17th edition, VLF follows the theme “Hinga” to “underline the need to breathe, to be present and feel alive.”  

    “After being isolated in our houses, we now focus on the importance of community — the need to share space and time and revel in one another’s presence — and the urgency of theatre and performance,” said VLF festival director Tess Jamias who is sharing the role with TP associate director Marco Viaña. 

    Aside from marking its return to THB, its original home, VLF 17: HINGA reintroduces the practice of grouping plays into sets under shared themes and other commonalities.

    Set A: Life is Full of Surprises revolves around life’s unexpected turns. This set features: Eljay Castro Deldoc’s Walang Bago sa Dulang Ito; Ma. Cecilia de la Rosa’s Mga Balo; and Bibeth Orteza’s Bituing Marikit.

    Directed by J. William Herbert Sigmund Go and Tess Jamias, Walang Bago sa Dulang Ito follows the pursuit of a woman in understanding myriapods and how this would lead to bewildering encounters and finding herself preyed on by those in positions of power.

    In Mga Balo, a writer tries to decide on the future of the play she is writing. She returns to her material and seeks the help of the widows who rightfully own the story. The play is directed by Adrienne Vergara.

    Under the direction of Carlos Siguion-Reyna, Bituing Marikit tells the death of a man’s second wife and how much of a “bituing marikit” his wife is to their boys. The play was in memory of film and theater director Mel Chionglo.

    Three plays show that fiction is stranger than life in Set B: Life is Strange Fiction. The plays are:  BJ Crisostomo’s Absurdo: Event Day; Jerry O’Hara’s Liberation; and Juan Ekis’ ‘Nay May Dala Akong Pancit. 

    In Absurdo: Event Day, in between working as project coordinators at a massive end of the world party and dealing with absurd client demands, two co-workers must come to grips if their jobs have any ultimate meaning before time runs outs. Directed by Mara Agleham, Absurdo: Event day is part of a trilogy dealing with the craziness of the Philippine event industry.

    Directed by Dennis Marasigan, Liberation is the story of three Japanese soldiers left behind to engage the enemy at whatever cost in a desperate effort and put up pocket resistance in southern districts of Manila in 1945. How would they act in the face of death?

    In ‘Nay May Dala Akong Pancit, two siblings are stuck in a metaphysical loop of a Pinoy soap opera trope. Every time the older brother comes home with pancit, their mother dies. The siblings must now find a way to escape the loop and save their mother once and for all. Karl Alexis Jingco directs the play.

    Stories of characters who are at a crossroad find their way to Set C: Life Choices, which include Mikaela Regis’ Unica Hijas; Andrew Bonifacio Clete’s Punks Not Dead; and Anthony Kim Vergara’s Student’s Handbook.  

    In Unica Hijas, two girls are called into the principal’s office after they were caught by a nun in an almost-kiss. With less than an hour left until their future is decided, the two are forced to confront each other, their past, present, and their own selves.  It will be directed by Pat Valera.

    Directed by Roobak Valle, Punks Not Dead is about a mother who complains to her son’s teacher regarding a discriminating item.  As the characters argue about the item, the play shows what’s permanently inked with prejudice.

    Student’s Handbook, directed by Erika Estacio, shows what happened when a few pioneer students were caught violating some of the institution’s most outrageous regulations. The rules were put into question and things started getting ridiculously clairvoyant.

    Plays set in schools and involve life lessons that must be learnt and unlearnt are grouped together in Set D: School of Life. They are: Dustin Celestino’s Fermata; Ryan Machado’s Huling Haraya Nina Ischia at Emeteria; and George Vail Kabristante’s Bienvenuta Al Lido Di Venezia. 

    Directed by Guelan Luarca, Fermata follows the son of a dead celebrated musician as he investigates the truth about his father.

    Directed by Regina De Vera, Huling Haraya Nina Ischia at Emeteria shows the endearing moment between a mother and her daughter as they prepare for the daughter’s departure. As the conversation gets deep, the daughter realizes that this might indeed be their last evening together.

    In Bienvenuta Al Lido Di Venezia, a couple who works as Filipino domestic helpers for a wealthy contessa with Alzheimer’s conspired to poison their employer. But things have gone awry. The play is co-directed by Nanding Josef and Antonette Go. 

    VLF 17 will have a new component, Theater Talks, a curated forum series on theater and creative processes. To be livestreamed during the festival, these talks feature theater practitioners who will share their know-how on production works and take in questions from the audience to elicit a lively dialogue on contemporary theatre-making.

    The festival brings back its mainstay components such as the VLF Fellowship Program, with mentor Glenn Sevilla Mas and director Dennis Marasigan, and the VLF Playwrights Fair under the direction of Rody Vera and coordination by Beverly Siy.

    For more information, visit the CCP website (www.culturalcenter.gov.ph). Follow the official CCP social media accounts on Facebook, Twitter, and Instagram for latest updates.

  • Beneath the Horrors: A Review of PETA’s ‘A Game of Trolls’

    To celebrate PETA’s 55th year anniversary, the theater company is streaming a recording of its 2017 musical ‘A Game of Trolls.’ It’s a production that was necessitated by events back in 2017, the continued return to prominence of the late dictator’s family, and the proliferation of fake news and misinformation about the Martial Law era. Five years later, the show’s message still rings loud and clear, the impetus to screen this show is as timely as ever, with the upcoming elections and all.

    Written by Liza Magtoto, directed by Maribel Legarda, and with songs composed by Vincent De Jesus, ‘A Game of Trolls’ takes on a more in-your-face approach to narrative, using the play as a platform to give voice to the people who have suffered under the horrors of the Martial Law era. It’s the story of Hector, an operator on a troll farm, who must come to terms with his mother, who was absent for most of his life due to her activist endeavors. The catalyst for this confrontation comes in a supernatural form, as he uploads photos of Martial Law victims into his computer’s cloud and they come to visit to recount their stories of suffering, loss, and pain.

    In a way, it takes a similar narrative frame as Charles Dickens’ ‘A Christmas Carol,’ where voices of the dead come to tell their stories to change the present and, hopefully, to steer the future into something better. 

    A Review of PETA's 'A Game of Trolls'

    Using this narrative framework allows the play to take a didactic approach to storytelling. Hector must fend off the ghost and their stories as he defends his work as a troll and justifies his estranged relations with his mother.

    At the front and center of this play are the real-life stories that are interwoven into this narrative and while this gives the show its weight, it comes at the price of the story of Hector, his mother, and his friends. While the recounting of the atrocities during the dictatorship is important, it overshadows and sublimates the plotline and undercuts the learning of the main characters.

    Hector has to change because of the sheer force of the hauntings of the past rather than an action he takes on his own. Later on, he suffers a backlash for the work he does as a troll but this feels like a subplot. Again, the stories of the horrors of Martial Law completely overshadow the narrative. The aspect of Hector being a troll isn’t fully explored and the resolution that unfolds between his strained relationship with his mother comes too easy.

    A Review of PETA's 'A Game of Trolls'

    It doesn’t help that this is not Vincent de Jesus’ most affecting work. Unlike his work in ‘Himala: the musical’ or ‘Changing Partners,’ there are only two songs that have really captivating melodies. 

    The recording is also not the best in terms of coverage of this production. There are only two angles and the sound blows up on my speakers. Hopefully, subtitles will be added to future releases. Because of the limited coverage, it’s hard to see the full stagecraft at work. This is a very busy play, with lots of stage movement as the cast manipulates the blocks after each scene to create a new formation to mark the change in location. There is a video wall that is constantly screening old footage of the Philippines in the 70s and 80s, newspaper headlines, and graphics that align with what’s happening on stage.

    I feel that this show would have such a powerful effect when seen live. Myke Solomon is always captivating on stage and Gold Villar Lim seems to hit every beat in her portrayal of Cons, Hector’s socially aware roommate, and his adversary online as a troll. But the distance of the coverage doesn’t always pick up what is probably amazing in a live performance.

    It’s when the play actually gets down to the humanity of Hector – like his everyday interactions with Cons – that the show’s potential rises. The person behind the troll, outside of all this discussion about the history and the past, is what can ground the play into something palpable. Because the large motherhood statements about freedom and democracy and the complexities of the relationship of a child who feels abandoned by his activist mother can only be felt and understood through the person underneath. I was hoping for more of that. It gets swallowed by the play’s thrust to ensure that the stories are not forgotten. 

    A Review of PETA's 'A Game of Trolls'

    But I’m not the audience of this play. This production seems hell-bent on ensuring that misinformation and fake news doesn’t erase the voices of the victims. It takes a clear and defiant stand on what must be remembered and what we must resist. This play is for all the youth who may be victims of propaganda and revisionism. It’s for people who need ammunition when engaging with people who spread lies.

    For that, I can see its importance. For that, I completely understand PETA’s release of this play on streaming just months before the elections and on its 55th anniversary. Theater has always addressed the needs of its community, and ‘A Game of Trolls’ answers that call.

    My Rating:

    5 stars - Don't Look Up review




    ––

    A Game of Trolls is streaming via ktx.ph for P150 (Video On Demand with 24-hour access) on April 8, 22, and 23, 2022.

  • Docufilm ‘Backstage Pass: Life Behind the Curtains’ to Screen at the CCP

    The Cultural Center of the Philippines in cooperation with Southern Lantern Studios and Daluyong Studios, presents a short feature documentary on the backstage work of the Center’s Theater Crew on March 30, 2022 at 3:00PM at the CCP Tanghalang Aurelio Tolentino (CCP Little Theater).

    Billed as “Backstage Pass: Life Behind the Curtains”, the 30-minute feature documentary directed by award-winning indie filmmaker Joseph Mangat covers the back-of-house activities of the CCP Theater Crew in lights, fly, and stage areas. Featured crew members likewise share their unique backstage stories in the film.

    Backstage Pass Life Behind the Curtains

    Since the CCP raised its curtains on September 8, 1969, various local, regional, and international productions, events, activities in dance, music, theater, visual arts, film, television, radio, and literature were staged in its hallowed halls.  People from all walks of life have set foot in this iconic structure to include Presidents, High Ranking Officials, and Royalties.  Artists of local and international caliber have performed and have graced performances, events, launches, screenings, exhibits in the main performance spaces, exhibition spaces, and screening rooms.

    The pandemic caused booked and scheduled performances from March 16, 2020 up to October 2021 to postpone, cancel or reschedule; bringing theater activities to a halt.  It displaced a significant number of artists, theater workers/technicians, carpenters, painters, seamstresses and several other skilled craftsmen.  

    With the imposed dark theater lull extended indefinitely, the theater crew were re-assigned to an intensive maintenance program; with some, doing research and skills development, as well as design and fabrication of a few work implements.

    The situation lent itself for capturing life happening behind the curtains in a short film documentary. The feature pays tribute to the unsung heroes who tirelessly work behind the curtains, people who create a seamless event spectacle, unseen by the audience, garbed in standard-issue black, weaving their way through huge sets and high voltage dimmers, as well as grids and catwalks in dizzying heights.

    For more information, visit the CCP website (www.culturalcenter.gov.ph) or follow the official CCP social media accounts on Facebook, Twitter, and Instagram.