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Thursday, November 12, 2009

Dulaang UP's Mary Stuart: the duelling royals

Shamaine Centenera-Buencamino as Elizabeth I and Anna Abad Santos as Mary, Queen of Scots in Dulaang UP's English-language production of Mary Stuart. Tess Dumpit alternates with Abad Santos as Mary.

Dulaang UP's fourth production for its 34th theater season is the Philippine premiere of “Maria Stuart”, a play by renowned German playwright and poet Friedrich Von Schiller, whose 250th birth anniversary is marked this year in the theatrical world.

“Mary Stuart” is a dramatization of a historical clash between two strong-willed women in history: Queen Elizabeth I of England and Queen Mary Stuart of Scotland--two iconic women whose struggle for power exemplified one of the most moving and thrilling displays of passion and politics the world had ever seen.


Stella Cañete as Elizabeth I and Banaue Miclat as Mary, Queen of Scots in the Filipino-version Maria Stuart, with translation by Palanca Award winner Allan Palileo.

Directed by Tony Mabesa, the production also features Floy Quintos, Ces Quesada, Richard Cunanan, Flor Salanga, Alegria Ferrer, Ku Aquino, Jaques Borlaza, Allan Palileo, Ron Capinding, Gwyn Guanzon, Fonz Deza, Evert Gandarosa, Eric dela Cruz, Reuben Uy, JJ Ignacio, Brian Arda, Josh Deocareza and Zafrullah Masahud.

Set design by New York-based designer Clint Ramos and costume design by Eric Pineda. Others in the artistic team are Voltaire de Jesus (lights), Winter David (video), Jojit Lorenzo (photography), Meliton Roxas Jr. (technical direction), Katte Sabate and Carlo Cannu (associate direction).

“Mary Stuart” will run from Nov. 18-Dec. 6, every Wednesdays to Fridays at 7 p.m. and every weekend at 10 a.m. and 3 p.m. with Saturdays at 7 p.m. For more information, call 0906-2263032 or the Dulaang UP Office 9261349, 9818500 loc 2449 or 4337840.


Aliw Awards 2009 set for November 17

Veteran lighting designer Joey Nombres is directing this year's edition of the Aliw Awards, to be held on November 17, 2009, at the Mega Tent, Meralco Avenue, Pasig City. Show proper will start at 6:30 p.m.

Most people do not realize that Nombres, one of Manila ’s premiere lighting designers, started his career as a director, giving life to plays written by Goldoni and Alberto Florentino.

This Bachelor of Arts, Major in Literature graduate in fact did all the “dirty jobs” in theater--from stage management to production management and and technical direction--prior to finding his niche in lighting design.

He credits Tony Espejo, Gantimpala Theater Artistic Director and his close friend for more than four decades, as his mentor.

“I was intrigued by the colors, and the possibilities that it offers,” says Nombres. “It was Tony, during the early stages of Gantimpala, who saw my potential. He assigned me as his lighting designer for the productions he was directing. Soon enough, I was hooked, the magic of lights intrigued, amused and enthralled me, making me forgot my other preoccupations.”

Gantimpala/CCP's beginnings
“Many are unaware of this; Tony Espejo was not only the first Filipino but also the first Asian scholar in the Royal Academy of Dramatic Arts in London. When he came back, after a year or two, he started Gantimpala. And I was fortunate to be part of his original group, together with Rey Albano and Ed Murillo.”

“Mrs. Imelda Marcos created the CCP with the vision that it would be like an opera house. It was really a serious venue for high art. What Tony and the plays of Gantimpala did was to bring the masses into CCP. The CCP had a play-writing contest and it was Espejo’s company who gambled and staged untested Filipino materials. If I remember it right, during our first production, it was Boni Ilagan’s 'Katipunan: Mga Anak ng Bayan.' Our working budget for 2 weekends, six shows, cast and production cost was only P2,000. We did not expect that it would be the start of something big, that Katipunan would become a hit and the company would grow and become of the most respected theater companies in the land.”

“The arts scene was booming during the late 70’s,” he adds. “This was the time when it was important to be seen at the CCP. The Metropop Music Festival happened. There was no cable TV; the malls were not that popular, so going the theater to watch a play, dance concert, an opera or ballet was what the people did. I remember, when 'Swan Lake; was first presented at the CCP, the queue was from the artist center up to Harrison Plaza , ganun kami ka-bongga nun.”

The value of lighting design
So, what does a lighting designer bring to a show? “A good lighting designer contributes a design that serves as a guide to the audience. The lighting design must never overpower a production. If that happens, it is no longer a design but a showcase. Hindi siya dapat ang lumulutang. Pwede niyang tagni-tagniin ang isang pangit na palabas at pagandahin.”

Also, “A good lighting design can enlighten scenes that are deemed too dark. It can make vertically challenged people appear taller. It is a wonderful medium to use into progression, or prepare people for a climax; it can scare, set the mood for romance or drama.”

Nombres' lights design has been employed in countless concerts, plays, ballets, television specials, awards nights, beauty pageants, corporate events, national and international spectacles. This time, he has his hands full directing the Aliw Awards.

On the Aliw Awards and its voting process
“The Aliw Awards is the oldest and most prestigious award giving body that recognizes the talents of artists from the live entertainment circuit,” says Nombres. “Because of my training, I was tasked to direct the TV presentation and the live awards night. As its director, it excites me to know that it continues to enliven the entertainment industry and that many still aspire to receive one.”

“Yours truly is not a voting member,” he clarifies. “And so is Frank Rivera; we have been alluded to as supposedly being very influential in outcome of winners. Let us make this crystal-clear, all the Aliw Awards members are not voting members except for the president. The Board of Judges are invited by foundation and they are the ones who deliberate and choose the winners. There is this mistaken impression that members also serve as judges. Let me to stress this, Aliw members are not judges, there are sets of judges that come from the different sectors of society. Their names and photos are in the souvenir program.”

The most critical of the ALIW’s choices are members of the theater circle. Nombres welcomes these comments with an open mind.

“It makes us realize that we should always be on our toes, and that much is expected from us,” he says. “Hindi masama ang loob namin doon. We all have our different tastes. We all have different opinions on what is best and what is worst. On a personal capacity, what irks me is that when you impose your taste to others and that your taste is supposedly more superior than all of us and that should be followed.. We welcome those who question the choices of Aliw. After all we are in a democracy. We cannot please everybody.”

“We are looking forward to another exciting night. All the nominees in each category are some of the finest performers in the industry today. The Entertainment of the Year category is very competitive. Ang ganda ng laban! The awards night will be very simple. This is labor of love working, since we have a very menial budget. And despite this reality, we go on because we believe in the Aliw's vision to honor the world class talents of Filipinos.”


Shadow play

The infamous photograph of Lee Harvey Oswald holding a rifle in his backyard would have been nearly impossible to fake, according to a new analysis by a Dartmouth College professor.

Oswald, who was shot to death days after being charged with the 1963 assassination of President John F. Kennedy, claimed the photo of him holding a rifle in one hand and Marxist newspapers in the other had been doctored. Over the years, many others have pointed out what appear to be inconsistent lighting and shadows.

But Hany Farid, director of the Neukom Institute for Computational Science at Dartmouth, said the shadows are exactly where they should be.

“You can never really prove an image is real, but the evidence that people have pointed to that the photo is fake is incorrect,” Farid said Thursday. “As an academic and a scientist, I don't like to say it's absolutely authentic ... but it's extremely unlikely to have been a fake.”

-- “Dartmouth scientist says Oswald rifle photo real”

Oliver Stone, what say you?

Wednesday, November 11, 2009

Drivel alert

More specifically, bad PR alert:

In [name of painting exhibit], the seeming disparate but not wholly unrelated elements are combined resulting in euphemistic pokes at metaphors that usually bespeak of the time-tested sentiments on mortality, faith and human existence. In one painting titled _____________, where a pile of donuts is intruded by a blue paint brush whose bristles are dipped in scarlet paint, an obvious innuendo may be forthcoming in such juxtaposition, but the titling makes such an association smirkily broken down and takes the very coded invented word as a ludicrous masking to someone who isn't in on the joke.

1. This is an actual press release. We get hemorrhoid-inducing twaddle like this everyday, peddling everything from flip-flops to face creams to credit cards to clothes to, that's it, art exhibits. Anyone who tells me my job helping edit the lifestyle section of the country's no. 1 paper must be a lark gets a cackling laugh; the daily Babel we get on our mail (and have to rework--because the same PR gets sent to the other papers, get it?) can make you rend your garments, don sack cloth and head-butt the wall.

2. Any artwork that requires explanation is, in my opinion, a failed artwork. In particular, much of today's abstract art leans so heavily on convoluted curatorial notes that you end up concluding... a) the artist is so insecure about his work that he has to explain, justify, itemize what it all means; b) the curator/agent who writes the notes/press releases (they're often one and the same, the latter merely lifted from the former) is a frustrated creative writing guy--with apologies to real creative writing guys. Maybe the gibberish is meant to mirror the artwork?

3. Same with movies. Young director whose indie movie I didn't like sidles up to me and says, sotto voce, “Someday I hope to sit down with you so I can explain my film.” Huh? I saw the movie twice, just to try to get it. What happened to “Show, don't tell”?

4. Discuss: “Art doesn't have to be about anything to be good. In fact, the easier it is to say what a work is about, the less interesting that work becomes.” -- Jonathan Jones, “The best art is meaningless”

Tuesday, November 10, 2009

Ang Panggagahasa Kay Fe opens in theaters November 11

Writer-director Alvin Yapan's Ang Panggagahasa Kay Fe (The Rapture of Fe), 2009 Cinemalaya Special Jury Prize awardee, is opening on Wednesday, Nov. 11, at Robinsons Galleria, Robinsons Place and a few other select theaters, including in Cebu. The opening coincides with its premiere screening at the Cairo Film Festival where it is competing in the International Digital Category.

The film has also been shortlisted for the Chicago Film Festival, Osian's Cinefan (Festival of Asian and Arab Cinema) in New Delhi, and the Bahamas Film Festival where it will compete in December. It stars Irma Adlawan, Nonie Buencamino and TJ Trinidad.

A sampling of the critical raves:

On what turns out to be the most disappointing year of Cinemalaya, when it has again proved its refined taste in movies, Ang Panggagahasa Kay Fe becomes too prominent to be ignored. It stands out, and it stands best. -- Richard Bolisay, Lilok Pelikula

If Yapan's visual frankness is admirable, his decision to cast Adlawan, in a role that allows the criminally underused actress to explore the several facets of womanhood (as victim, object of desire, breadwinner, and prize) without compromising the integrity of the character, is simply inspired. -- Oggs Cruz, Lessons From the School of Inattention

There’s pleasure in unexplainable magic in a small town. Grade: A. -- The Bakla Review

A bold attempt at yoking together the fantastic and the real, in the process commenting on domestic violence and globalization. -- Jonathan Chua, The Philippine Star

The well-researched story is rich in cultural authenticity and social relevance. -- Fidel Antonio Medel, Philippine Entertainment Portal

Solidly scripted and directed, Ang Panggagahasa Kay Fe is an effective and restrained film that offers a portrait of a woman always looking for a way out. -- Alvin, The Relief Room

Alvin Yapan is a fabulist who knows to tell his story with the right pitch and detachment--to achieve the proper effect and affect and never strain for the sensational, the melodrama of fear and horror. -- The Persistence of Vision

My take: The movie is bold, assured, enigmatic--able to say much with an intriguingly quiet, off-centered style. It's original enough to challenge convention and assumption on point of storytelling and character psychology, but empathetic enough to reel you in and haunt you long after the final blackout. In short--go watch.

Sunday, November 08, 2009

Mark Twain was right about Syria

Philippine Daily Inquirer, 11.08.2009

He called Damascus ‘Eternal City’—indeed, a visitor can savor the present through its past

SAMUEL CLEMENS, AKA MARK Twain, he of the sparkling American wit and humor, wasn’t joking for once when he wrote of a favorite city: “To Damascus years are only flitting trifles of time. She measures time not by days and months and years, but by the empires she has seen rise and crumble to ruin. She is a type of immortality.”

Twain wrote that in 1869. These days, the tourist map tends to overlook Damascus and Syria itself for flashier outposts in the Middle East—Cairo in Egypt with its glamorous pharaohs and pyramids, Israel and its profusion of holy places, even Jordan with Petra. But Damascus can hold a bright candle to these destinations with its own extremely rich history and culture, beginning with its claim to be the oldest inhabited city on earth.

Cradle of civilization
Syria is “historically the cradle of civilization and religion,” said Tourism Minister Dr. Sa’ad Alaah Aga Alkal’ah, citing as proof, among others, the world’s first alphabet (found carved on a mud tablet in the Phoenician city of Ugarit); the definitive development of Christianity as we know it, with St. Paul’s conversion on his way to Damascus (the “Street called Straight” on which he met St. Ananias still bisects the city today); the march of the great Biblical tribes across the country’s length and breadth—Hittites, Amorites, Akkadians, Sumerians, Babylonians, Phoenicians, the Roman legion—along with history’s mightiest warrior-kings from Nebuchadnezzar and Darius to Saladin and Richard the Lion-Hearted.

[Click on photos to enlarge.]

Statue of Saladin, the Crusaders' greatest foe, in front of the Damascus Citadel

Damascus Citadel at night. The fortress was built by Saladin's brother in the early 13th century. Beside it is the famed Al Hamidiyeh souk (market).

Minaret and inner courtyard of the Omayyad Mosque, built in 705 AD and the heart of old Damascus. Inside the mosque is a shrine to St. John the Baptist.

Byzantine mosaic displayed at Al Ma'ara Museum, in the northwestern part of Syria between Hama and Aleppo

Satellite dishes--preferred by Syrians over cable TV--bloom in profusion on apartment rooftops in Aleppo.

Modern Syria is pegging its tourism efforts on the rediscovery of the country’s pivotal role in world history, specifically its central part in the spread of commerce, culture and technology through the Silk Road, the fabled 7,000-mile trade route that transported goods from China to Europe, to Africa, the Mediterranean and back for nearly 3,000 years.

Along the way, Syrian cities such as Palmyra, Aleppo and Damascus became important cosmopolitan trading centers and restful oases for caravans of merchants and adventurers traversing the gruelling transcontinental route.

To highlight its international Silk Road heritage, the country has been mounting a lavish festival every year since 2002 as a way to attract more tourists, visitors and connoisseurs of history and culture. This year’s festival, for instance, brought together performers, musicians and artists from Turkey, Yemen, India, Iraq, Jordan, Spain, Tunisia, China and (much applauded) some high-kicking martial dancers from the Carpathian mountain region of Romania.

Banner announcing the 2009 Silk Road Festival

Opening program of the Silk Road Festival featuring performers from India, China, Africa, Spain, Romania and other countries once linked to the ancient trade routes

(The Philippine Department of Tourism, representing a country itself touched by the southern maritime fringe of the silk route, has a “Memorandum of Understanding” with Syria that calls for “deepening the cooperation in the field of tourism between the two countries, [paying] special attention to cultural and historical tourism.”)

Prickly relations
Despite lingering perceptions of Syria as a dangerous country, derived mainly from its prickly relations with the US—which has accused Syria’s authoritarian government of supporting terrorist groups such as Hezbollah in neighboring Lebanon, among other charges—six million tourists are expected to pour in this year, up 10 percent from last year. That includes, said Deputy Prime Minister Abdal-allah AlDadari, an average of 50,000 American tourists a year, despite the absence of direct flights from the US mainland.

What they see when they arrive in Syria is a country that breathes its past even as it embraces the present. Glittering bars and restaurants in Damascus testify to a thriving modern nightlife, even as the city’s most famous souk (market), the Al Hamidiyeh Bazaar, with its ribbons of shops and streets brimming with fruits, perfumes, spices, garments, brass and metalware, handicrafts, brocades, native delicacies and handblown glass, provides a direct echo of the times, peaking in the Middle Ages, when Damascus, with the colonnaded Roman metropolis of Palmyra planted in the desert and the prosperous Aleppo to the north, resounded with the din of caravansaries from far and wide descending on the country.

Women buying fish at Al Hamidiyeh Bazaar in Damascus

Fruits in a riot of colors being sold on the streets of the seaside city of Tartus

Young Syrian outside his garment shop at the Suleymaniye Islamic-Ottoman Complex, Damascus

DVDs of Hollywood movies for sale; CDs of Western artists are also abundant.

Man offering cups of traditional Syrian drink to pedestrians for a fee

Bananas--big ones-- sold on the sidewalk in Tartus

These men saw our cameras, went outside their store and asked to have their picture taken.

That age-old mercantile tradition seems to have bred in Syrians a sense of gregariousness and hospitality. Not very many speak English, but even those who don’t will cry “Welcome!” or nod and smile when they see foreigners on the street. Children, especially, love to mug before tourist cameras.

Girls crowd out the boys and confidently vogue for the camera.

Two boys playing at the Omayyad Mosque courtyard pause for a pose. Kids are allowed to be frisky not only at the courtyard, but inside the mosque itself.

Bedouin boys in traditional garb

Schoolkids, two of them in their trademark blue grade-school uniform, have fun in front of the camera.

More schoolkids, this time crowding around a Japanese journalist

After offering me a cup of hot chocolate bought from the vendor in the background, this boy segued into his pose.

The boys were playing soccer, but forgot their game at the sight of the camera; the girls scampered after them.

Adorable kid in native garb with beaming mom and dad inside their clothing shop

Shy kid with grandma

The young boy was no match to the two perky girls, who kept dragging him along and introducing themselves to visitors, including to us.

They came at us from nowhere, smiling endlessly, wanting to have their picture taken and gamely following our hands-on-chin instructions.

This kid's a born performer, joining a group of adult males perform a traditional welcome dance.

Two young boys eating ice cream on a hot afternoon in Aleppo

And just like that, this tyke obliges our colleague Ron Jayme's camera.

While the state apparatus remains palpable with heavy police and military presence everywhere (ensuring low crime on the other hand), Syrian society itself appears to be more open and tolerant than its Arab neighbors.

The October 2009 issue of “Syria Today,” an English-language magazine, openly discusses the question of “Breaking Taboos”—specifically the “Forbidden Trinity” of Syrian society: sex, religion and politics.

The articles tackle changing perceptions about living-in and premarital sex among young couples; the stigma attached to social outcasts such as the homeless and mentally handicapped; the lives of Syrian gay men and women; the increasing popularity of tattoos.

Remarkable chapter
Syrian history has one remarkable chapter that perhaps illuminates its attitude toward women. The desert town of Palmyra, known as Tadmor in 19th century BC, became a magnificent city of Roman arches, columns, temples and an amphitheater with the rise of the Silk Road.

Palmyra's Roman ruins, fronted by the 2nd-century AD Monumental Arch or Arch of Triumph

What remains of the colonnaded avenue leading to the amphitheater

These ruins were once a glittering cosmopolitan destination in the middle of the desert--an oases for Silk Road caravans

Impressively built amphitheater with great acoustics and a breathtaking view of the surrounding plain

The main avenue where once the Arab queen Zenobia had her triumphant processions

Timeless ruins bathed in sunset

The ancient metropolis dramatically lit at night--a sight to behold after driving in pitch-black darkness through the desert

In 267 AD, its king was supplanted by his second wife, Zenobia, who, like Egypt’s Cleopatra centuries before her, would govern her kingdom with a crafty blend of ruthless cunning and feminine wiles.

From her majestic desert city, Zenobia waged war on other tribes, conquering the whole of Syria before grabbing lower Egypt and parts of Asia Minor. Rome, enraged at the loss of its wealthy Eastern province, eventually raised an army which defeated Zenobia. She was brought to Rome and paraded in humiliation before jeering crowds.

Syria, though, has acknowledged Zenobia as a proto-patriot and heroine. From the seminal coins carrying her likeness that the queen had struck in defiance of the Roman emperor Aurelian, there are now Zenobia streets, Zenobia stores and shops, Zenobia five-star hotels and Zenobia ballrooms within five-star hotels, Zenobia brands from textiles to household products, and, no doubt, Syrian girls named Zenobia.

The influence of her headstrong life and example can still be seen. Though many still prefer to be covered head to toe in all-black robes, Syrian women are free to dress in Western-style clothing, even showing skin. They are allowed to go to school, drive cars, hold office, interact with the other sex publicly.

Maya, our pert and pretty guide, a Journalism student at Damascus University

Bedouin girl taking care of her baby brother. Note the eyes rimmed with kohl.

While the other children were checking out their picture in Ron's camera, this girl tugged at my shirt and asked for her own shot. Sure, kid.

Young woman by the door of her family's dress shop

Mother with two kids in tow crossing the street in Tartus

Veiled women avert their faces at the sight of camera-toting foreigners.

Common sight
In the seaside city of Tartus, a Templar stronghold in the 12th-13th centuries (a well-preserved Romanesque church stands in the old part of town), it’s a common sight to see young lovers cuddling by the seashore, enjoying the sun and breeze.

The seaside city of Tartus, a Templar stronghold in the age of the Crusades

Young couples enjoying each other's company in the sun and sea breeze of Tartus. Men and women are free to intermingle in Syria.

Of Aleppo, meanwhile, John Kelly, in “The Great Mortality,” his exceptional book on the Black Plague, writes that the city was already “an important international trading center and listening post in the Middle Ages.” By 1207, it had its own trade agreement with the powerful city-state of Venice.

The city’s enduring symbol is the Aleppo Citadel, an imposing structure of fortified gates and towers that dates back to 312 BC and sits on a lofty mound from which the rest of the city radiates.

Aleppo Citadel, the ancient city's landmark and the scene of mighty conflict, among them the bloody siege of Tamerlane in 1400 AD

Entrance to the fortress, lit up for festivities

Cathedral-like corridor leading to an inner courtyard

Complementing the fortress is the nearby Aleppo Museum, which houses priceless treasures from various eras, from the Assyrians to the Greeks, the Byzantines and beyond.

Entrance to the Aleppo Museum

Magnificent head of Assyrian statue made of basalt, a jewel in the museum's collection

The statue in profile--a fantastical creature with the head of a man, torso a combination of lion and scorpion, topped with eagle's wings

Mark Twain himself didn’t reach Aleppo. But of “Beautiful Damascus, the Oldest City on Earth,” he was categorical: “Though another claims the name, old Damascus is, by right, the Eternal City.”

A compliment he could have paid the rest of Syria as well.

PLUS: Relinking--Going to market--at Damascus' famous Souk al-Hamidiyeh

Tony Mabesa directs Mary Stuart for Dulaang UP

For its 34th Theater Season, Dulaang UP presents “Mary Stuart” by Friedrich Von Schiller, directed by DUP’s founding artistic director Tony Mabesa.

“Mary Stuart” is a dramatization of a historical clash between two strong-willed women in history: Queen Elizabeth I of England and Queen Mary Stuart of Scotland.

The play will be presented in English and Filipino, with Filipino translation by Allan Palileo. The stellar cast includes Ana Abad Santos, Tess Dumpit and Banaue Miclat as Maria Stuart; Shamaine Buencamino and Stella Canete as Queen Elizabeth; with Ces Quesada, Alegria Ferrer, Flor Salanga, Floy Quintos, Richard Cunanan, Ku Aquino, Jaques Borlaza, Allan Palileo, Ron Capinding, Gwyn Guanzon, Ces Aldaba, Fonz Deza, Evert Gandarosa, Eric dela Cruz, Reuben Uy, JJ Ignacio, Brian Arda, Josh Deocareza, and Zafrullah Masahud.

In the artistic team are Eric Pineda (costume), Clint Ramos (set), Voltaire de Jesus (lights), Winter David (video), Jojit Lorenzo (photography), Meliton Roxas Jr. (technical direction), Katte Sabate and Carlo Cannu (associate direction).

“Mary Stuart” will run from Nov. 18-Dec. 6, every Wednesdays to Fridays at 7 p.m. and every weekend at 10 a.m. and 3 p.m. with Saturdays at 7 p.m. For more information, call 0906-2263032 or the Dulaang UP Office 9261349, 9818500 loc 2449 or 4337840.


Thursday, November 05, 2009

Are locally-mounted Broadway musicals a waste?, part 2

The bulk of the highly stimulating, thought-provoking discussion here, with valuable inputs from both sides that need to be read in their entirety. Since my Multiply and Facebook accounts also had their share of comments--mostly well-argued additions to the back-and-forth--I'm reposting them here verbatim for those who have no access to my sites there.

About my stand on all this--you can deduce that by now from reading this blog and my reviews over the years. I'd like to see all kinds of Filipino-made productions, whether remounted, adapted, inspired by or wholly original, whether English-language or in the vernacular, whether perfectly accented or not. I might not like all of them; better that than the monotony of parochial drama. The more types of theater we do, the better in the long run for our actors, artists, practitioners and audience, I think. That's one kind of promiscuity I'm happy to lay credit to and wallow in some more.

The full text of Oggs' review of Spring Awakening is now online, by the way--here.

From my Facebook:

RALPH B. PENA: very old subject. yes, more original works must get produced, no question. but it's too easy to say that staging b'way musicals in manila are about mimicry. they're not. like all theater, some are bad, and some are good. personally, i would rather see more zsa zsa zaturnahs than spring awakenings, any day. but i've also come to accept that theater is big enough to contain us all. even if one can take the position that foreign musicals don't advance the cultural profile of the filipino, it still employs actors and gives them a venue for expression. bottom line: producing companies must invest in filipino writers to begin developing original work. they should set aside a portion of the money they make from producing larson, shiek, et.al., and use that to support an original project. until that happens, then b'way musicals should feature all naked casts.

BOBBY MARTINO: They are a good source for any actors in rehearsal process.I agree that they are only relevant if we put the Pilipino heart in these characters and stories.It benefits the audience to have identification for all of the plots can happen at any point in time, location and race. Our ultimate goal is to at least produce one original Pilipino work, may it be in english or tagalog. It can start with the collaboration of all the Pilipino producers, a national contest where all the new writers can submit original work and established Pilipino artist who have done international works can collaborate with local actors and directors. Our work as talents have always been profitable to foreign producers. It is time that we hone our national identity cultivated by our own stories and raise our voices singing original Pilipino songs. We have done so many rehearsals it is now time to be in "show" mode. To wait for another big international producer to give us a break is like waiting for them to harvest the best fruits of our land. It is time for our own golden harvest season!

Isa sa bawat taon, if we are staging 20 foriegn , ISA lang ang dapat naman para sa atin.It is an industry that needs investments , we have the talent, that is given. we have to nurture the young writers, when this works, more people will benefit and yes the obvious that we are Asia's Broadway will finally be realized. 2010 is the first year, from this year alone so many stories to write, the natural calamities, our acknowledgement and new respect for mother earth is very universal. We have film clips and images, a painted set of real stories, already a lot of songs are written. Local producers should collaborate, artist both locals and international, multi- disciplines, all the best Pilipino's ,O tayo na!

SUSAN ISORENA-ARCEGA: theatrical material is still literature. you appreciate it for what goodness it adds to the soul. the physical interpretation is another thing. the performance methodology i help to espouse is not that popular among production groups that do western musicals, and even less among artists in showbiz. perhaps, therein lies the difference. siguro, sa audition pa lang, kailangan muna ipag-sense memory, mag-ragdoll at humingi ng piso. .just to add to the believability.

MIGUEL DIAZ: i think spring awakening was just a pile of shit. but filipinos love things-foreign. they prefer mcdonalds to sweet potato.

OLIVER OLIVEROS: Broadway and Off-Broadway theatre productions promote diversity. I see the same thing occurring in the local theatre scene. I guess, this all boils down to a matter of preference. If you feel your money and time is best spent in watching Broadway imports, then watch one or two. If you feel you’d rather spend time and money on original Filipino productions, then do so. For the local theatre producer, it has always been a big challenge to fill up the theatre in every performance. Artistic and marketing issues must always strike a compromise. Unless, you want your cast to play to an empty room.

VALERIE FERIA-ISACKS: In some European countries (Schengen ones in particular) they re-adapt the piece to local language, culture, references rather than taking the thing whole cloth like most pinoy theaters do. There are so many parallels between Ibong Adarna and Mid-Summer Nights Dream I'm surprised that nobody (at least that I know and I could be wrong) has done an adaptation playing in that sandbox (using the Adarna creatures and metaphor but the MSND storyline). Then you could sell it to the Shakespeare lovers and the Local theatre lovers...

JOEY TING: Honestly, we, Filipinos, love to replicate things based on what we hear and see from the other side of the world (US and Europe). We are more capable in patronizing art rather than appreciating art. We are more deliberate when it comes to choosing what's in and what's hot but we actually do not even bother to balance what's art and what's not. It's not really bad to replicate for as long as the audiences get satisfied in what these companies present. In reality, we learn from the Americans and Europeans and it's not bad to learn from them. We just do not know how to have a Philippine accent or trademark in order to say that it is indeed a Philippine staging of a particular Broadway hit. More so, we are not ready to have a series of Filipino musicals, not yet. I believe a playwright must learn to unlearn to achieve a greater impact in the world theater. So far, these playwrights have the same and as old as that of Philippine rituals. More competent theater directors are not given the commercial theaters' slots. Why? they choose not to be part of a patronizing society like our very own culture - the 'showbiz' theater world.

ALEX DOROLA: Whatever, original Filipino musicals are still the best! Adaptation of foreign works, somehow, can be poisonous to Filipino culture. Be original! Kaya naman natin gumawa ng musicals na sa atin lang galing.

ANGELICA-LEE ASPIRAS: Hmmm... I think it's always a challenge to see artistic efforts criticised-especially when referring to fledgeling efforts of a developing theatrical profile in Manila. Here's my thought: regardless of the many good and bad opinions of the production's outcome, we need to be supportive of the intention. Projects may not resemble their American counterparts on many levels, but it takes so much courage and love to commit to ( and be held accountable for) an ambitious idea such as this one. How wonderful it is! Filipinos are known for their ability to adapt to ... well, you name it we've assimilated. This is a quality that sustains us and also camouflages us. When paired with a solid work ethic, it can take us so far :) but now, it would be beautiful to see our identity develop, especially in a venue of endless possibility and expression. They have so much to say over there! The fact that we have the opportunity to even discuss this is so exciting. Each thought is as a seed...

NICO QUEJANO: i agree that there is some form of "cultural disonnect" but good theater is good theater, good art is still good art, regardless of any cultural persuasion that a person might have...not really a total waste, but a little "filipinization" can go great lenghts, i mean i remember watching West Side Story and was totally disappointed with the total "mimicry"

From my Multiply:

MITS SHIMIZU: spring awakening, how appropriate, huh? the critic was one "lucky guy" to watch the musical on broadway that's why may comparison sya. so, are we going to deprive the "unlucky ones" to see the musical in its original form? :) here we go again... chicken and egg phenomenon..apples and oranges... let us not be myopic. think global. art knows no boundaries... we can still retain our filipino identity without resorting to 'filipinizing" everything in our midst. also, i think we have enough filipino materials to negate our concerns regarding the so-called foreign invasions. much ado about nothing really.

JULIE CRUZ: Blargh. I mean, I watch US television series instead of local ones not because they're foreign, but because they're better. Because I've TRIED to like some local stuff, but the sad truth is that a lot of it is crap. Same goes for films, books, and yes, theater. I would be more than happy to support a well-done original Filipino musical production, if it were good enough. Maybe I'm just not looking in the right places? But boy, what a sad, sad thing Philippine theater would be without Avenue Q, or Altar Boyz, or Songs for a New World. I think it's ridiculous to imply that we should shun these things just because they're not our own. I fucking LOVE Red Concepcion's original spin on the Mark character. Felix Rivera was an absolutely winsome Princeton. Joel Trinidad's talent and sense of humor is unique, sparkling and inimitable. I would hardly call any of their performances carbon-copies of their Broadway counterparts.

LAWRENCE VILLEGAS: Agree with the comments above, but I think we're being too simplistic here. I can see several points of discussion we can break this down to:

1. Material: Foreign material have the edge here. Before something reaches a place like Broadway or the West End, it gets edited and rewritten, usually based on the intended audience and marketability. Local material don't get that much care and attention. This could be what's lacking with local material.

2. Training: Most of our seasoned performers have gone to greener pastures either abroad or to other industries like TV & film. And we don't have a lot of venues for training new ones before they need to perform professionally. Hard to blame theater people who still need to make a living.

3. Money: Don't expect a Broadway-style production (or expect to mount one) when the audience cannot (or refuse to) pay for proper theater. In the art film world, I think they're trying to solve this by finding artistic material that requires less funding to produce. Maybe we can learn a thing or two from this.

4. Commercial or art: Like film, productions are done either for profit or for art. Seldom do both happen. Should we be mounting commercial productions than will sell, or should we patronize serious art production? Don't get me wrong, there could be a lot of artistry in commercial productions.

We've seen Shakespeare commercialized and Filipinized. Purist would call that bastardation of the classics, but it does serve its purpose to capture new audiences. We've seen great productions of it, and we've seen thousands of bad ones. But it doesn't mean we should stop doing Shakespeare.

Maybe the Spring production just wasn't ready when it had to run. That's always a risk taken in mounting theater productions. But good thing there are still people taking that risk. And there are still the critics who tell us the truth for us to learn from.

ALWYN IGNACIO: Tama na! Itigil na ang mga "second rate, trying hard, copy cat" theater companies na masyadong bilib sa mga ginagawa nila, At pagalitan rin natin ang mga broadsheets na OA sa pagbibigay ng espasyo sa mga press releases ng mga copy cats na ito na para bang hindi magiging kumpleto ang buhay natin kung di natin mapapanood ang kanilang mga palabas.What do we gain from these imports? Ano pa, eh di actors who speak with peculiar accents? Hahaha. That's all.

LEA SALONGA: Shows like Avenue Q, Spring Awakening, and the like will always have a place wherever they play, because they have something relevant, funny, and pointed to say. As for foreign versus local, there is a lot of crap on both sides of the Pacific... it's all just a matter of figuring out which is which.

Reverend, you are so busted

Via The Daily Dish:

A northeastern Pennsylvania priest has been removed from his duties after church officials say he accidentally displayed inappropriate pictures from his computer before Sunday Mass.

The Diocese of Scranton said the Rev. Edward Lyman was using his computer on Oct. 25 to project an informational DVD about the annual diocesan fundraiser when four photos were displayed. They featured what church officials describe as “minimally attired adult males.”

Diocese spokesman William Genello said the photos were not pornographic, did not include minors and were not taken by the priest.


“Minimally attired adult males.” Love the primness.

Wednesday, November 04, 2009

Video: Not While I'm Around, by Marvin Ong and Menchu Lauchengco-Yulo



She plays Mrs. Lovett, he plays Tobias in Repertory Philippines' production of Stephen Sondheim's Sweeney Todd, which opens November 14, 2009 at Onstage Greenbelt 1, Makati City.

For some reason, YouTube has been acting up and won't upload my new videos, except this clip of Marvin and Menchu singing perhaps Sweeney Todd's most familiar song, during the presscon held last week. Preceding the YouTube fuck-up (excuse my Fwench) is my Flip video running out of battery during the song and chopping off the closing lines. When it rains--it floods, indeed.

What refuses to be uploaded are two more clips--one of Franco Laurel (as Anthony) and Lena Mackenzie (as Johanna) singing Kiss Me, and, most interestingly, Audie Gemora (as Sweeney Todd) and Menchu tearing into A Little Priest, at the end of which hot pies were served to the media crowd. Macabre touch, delicious pies.

After having listened to them, I can say with assurance at this point that this Sweeney Todd will be better--much better--sung than the movie version. The score, including the choral parts excised from the Tim Burton film, will be performed in its entirety.

The rest of the cast includes Roger Chua (Judge Turpin), Robbie Guevara (Beadle), Liesl Batucan (Beggar Woman), Robbie Zialcita (Pirelli) and Juno Henares (Mrs. Lovett understudy).

And the ensemble: Ring Antonio, Cara Barredo, Teenee Chan, Red Concepcion, David Cruz, Hans Eckstein, Jejie Esguerra, Naths Everett, Jay Glorioso, Rona Guba, Collins Gutierrez, Gary Junsay, Raul Montesa, Jay Pangilinan, Meynard Penalosa (who also understudies Sweeney Todd), Marisse Santos, Glory Sicam, James Stacey, Oliver Usison (Mr. Fogg and Judge Turpin understudy), Joy Virata and Rem Zamora.

A sprawling cast, an expensive musical that's also dark and daunting, and in December yet. Why this, why now, why not next year, say February--was a question asked of co-director Michael Williams. “It'd be worse in February, during Valentine,” he quipped. The long and short of it: Rep wants a topnotch musical to close its season with a bang, and the actors are keen to challenge themselves. “Sweeney Todd is like the Olympics for any theater actor,” said Audie.

“A dream come true,” echoed everyone else--a trite phrase, but you could tell they were dead serious about it. This is Sondheim, after all--and not only minor Sondheim, but Sweeney frickin' Todd.

The musical runs November 14-December 19, 2009. For tickets and inquiries: 8870710, 8880887, 8919999. Visit www.repertory.ph or www.ticketworld.com.ph

Tuesday, November 03, 2009

Belated All Souls' Day entry: Historic Nagcarlan Underground Cemetery

This National Historical Landmark (so designated by the National Historical Institute) was part of the itinerary of the Quezon-Laguna heritage tour I joined a couple of months ago. [Click on photos to enlarge.]

The Underground Cemetery in Nagcarlan, Laguna is said to be the only one of its kind in the Philippines. Built in 1845-1851 by Franciscan friar Father Vicente Belloc, the cemetery became the burial ground first of Spanish clergy then of the town's wealthy or prominent inhabitants. The chapel, the catacomb and the wall surrounding the premises--of Baroque design, with wrought-iron grills and stonework--seem to be well-preserved.

Because the subterranean space was limited, many more were eventually interred above ground, or their remains moved there. The catacomb now holds only 36 crypts, while the impeccably manicured park above ground has around 250 graves stacked box-like on both sides of the wall that flank the chapel. During the revolution against Spain, the underground vault, entered through a side door in the chapel, also became a hiding and meeting place for Laguna Katipuneros.

It's an eerie, transporting experience descending the stone steps toward the underground cavern--and more so reading some of the 19th-century names and dates on the remaining gravestones. Travel blogger Byahilo says no photo- and video-taking are allowed inside the chapel and vault. But on the day we visited, our group was allowed to. Lucky me, because now I can bring you all the way from the park to the chapel to the historic underground cemetery with my images.

Next time you're on a trip to Laguna, make sure to drop by this unique heritage destination. The place is open 8 a.m.-5 p.m. Monday to Sunday; entrance is free.

Gantimpala Theater's El Filibusterismo opens November 8

“El Filibusterismo”, Dr. Jose Rizal’s second novel, comes alive on stage as a riveting drama beginning November 8, 6 p.m., at the Open Air Open Auditorium in Luneta, Manila.

Penned by playwright Jomar Fleras under the direction of Roobak Valle, this stage adaptation is the final installment of Gantimpala Theater’s Four Classics.

The play’s central character is Don Simoun, the scheming jeweler who secretly plans a revolution, to be played by actor Roeder Camañag.

“Being Simoun is extremely tiring to do but very fulfilling,” says Roeder. “The biggest challenge is to be able to convey all the complex emotions of the character knowing the obvious physical limitations. As Simoun, I must wear a wig, dark shades, an old gentleman’s hat, a coat that constricts my movements. Thus, I must make use of my body effectively so that the audiences can feel my emotions.”

“This season, the drama will present a more fluid narrative. We are weaving the story in such a way that the unfolding of the plot is very smooth. With the help of our director Roobak, all the actors, whether they portray major or minor roles, are discovering fresh nuances about their respective characters,” he adds.

“It’s my commitment to Gantimpala,” he says of the role which he is doing for the fourth time. “Most people do not realize that staging the Four Classics is a big challenge and a responsibility. Our audiences are students, and majority of them are watching a theater production for the first time. As an actor, this is my opportunity to nurture the future watchers or shall we say supporters of Philippine theater through these plays. I am supportive of the company’s advocacy, which is to present Filipino classics to the youth. They must embrace and be proud of their own heritage first. Let me concretize this, in England, when they want Shakespeare, then all they do is watch the Royal Shakespeare Company. In our country, if you are a teacher, or a well-rounded Filipino who has a liking for the classics, then by all means, it is imperative that you watch a Gantimpala play. We guarantee you that what we present is excellent Filipino theater. This is an experience you will never forget.”

Camañag’s co-actors are Dante Balois (Padre Florentino), Ronald Concepcion (Kabesang Tales), Abel Napuran (Tata Selo/Don Custodio), Francis Cruz III (Basilio), Hazel Orencio (Juli), Pamela Hundana (Doña Victorina), Billy Parjan (Kapitan Tiyago/Ben Zayb), Kristian Chua (Isagani), Meldea Flor Formacil (Paulita Gomez), Mark Paolo Angelo Cayabyab (Juanito Pelaez), Arkin Da Silva (Placido Penitente/Imuthis), PJ Paule (Padre Salvi) and Richard Manabat (Padre Camorra).

The creative team also includes Joseph Mattheu (lights designer), Charyl Chan-de Guzman (production manager), Glendel Dacumos (stage manager), Jojit Lorenzo (photos) and Tony S. Espejo (Artistic Director).

Other performances are slated on November 13 and 14, (10 a.m./2 p.m.), Cinema 3, SM Southmall in Las Piñas, November 20, 21, 27 and 28 (10 a.m./2 p.m.) at the AFP Theater in Quezon City.

For information, bookings and ticket reservations, please call 8995745, 8963503, 474-5198, or visit www.gantimpalatheater.multiply.com


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