Circus, Circus

Circus, circus CHASING TOFF By Christopher De Venecia (The Philippine Star) Updated March 14, 2011 12:00 AM

There’s a certain feeling of romanticism evoked by the circus. The performing acts, the stunts, the costumes, the clowns, the incredulous set pieces, the eerie sort of enchanting music that accompanies each one are all part and parcel of the magnificent three hundred sixty-degree live experience of every circus spectator. Whether young or young at heart, audiences are moved and fundamentally captivated, all the while being kept on the edge of their seats.

Juggling. Photo by Rick Diamond. Costume by Eiko Ishioka.

Over the years, the circus has been able to entertain scores of audiences worldwide. But for one particular circus troupe, it has been able to go beyond the realms of unadulterated entertainment, making possible the impossible and informing audiences in as much as they are able to inspire and ignite their passion, sensitivities, and imagination. The group is quite possibly the foremost authority on anything ‘circus’-related as the word has grown synonymous and fantastically betrothed to the group’s existence. They are none other than Cirque du Soleil and they’re finally coming to Manila.

Flight of the Icarus. PHOTO by Benoit Camirand. Costume by Eiko Ishioka.

Origins

Cirque du Soleil literally means “Circus of the Sun.” Founded in 1984 by Canadian Guy Laliberte, the show was meant to carry out the festivities across the province of Quebec to commemorate the 450th anniversary of Canada’s discovery. Since the show had garnered considerable success during that time, it continued on, and has remained to this day, vibrant, indefatigable, and constantly in the making, performing to over hundreds of millions of spectators around the globe.

With over 5,000 employees worldwide, Cirque has also enabled thousands of artists of various cultural diversities to showcase their unique talents whether onstage or offstage. At present, the group is performing a total of 19 different shows, including Quidam, Dralion, Corteo, Mystere and Zumanity, to name a few, all in lieu of their mission to invoke the imagination, provoke the senses, and evoke the emotions of people around the globe.

Georgian Dance. PHOTO by Rick Diamond. Costume by Eiko Ishioka.

 Cirque-Xperience

My first Cirque-xperience happened in 1998 when I first caught O at the Bellagio in Las Vegas. The show, whose name is pronounced aseau, like “water” in the French vernacular, featured a gamut of water-themed acts over a stage that rose and fell to accommodate synchronized swimming, death drops, contortionists, trapeze, and quite possibly the most stunning imagery that accompanied each one. The hydraulics of the underwater stage lift made moments where the performers seem like they were dancing on top of the water possible and quite possibly, gave me the most breathtaking, albeit expensive, cirque-xperience of my life.
Years later, I was able to catch The Beatles’ Love, a Cirque show that channeled the youthful energy of the British underground, underscored by aerial performances, extreme sports, and freestyle dance to the musical legacy of The Beatles. Of course by then, I was old enough to drink so I was able to enhance my viewing experience with a huge mug of frozen pina colada that made moments like Lucy in the Sky with Diamonds, incredibly trippy. It’s Vegas, baby! But watching Cirque substantiate and convey the essence of the Beatles through the conventions of the circus, I was reminded about Cirque du Soleil’s immense beauty and how a show that doesn’t necessarily follow the tell-all machinations of theater can still captivate audiences and give them the full breadth and depth of a relatable show.

The Betrothed. PHOTO by Eric Piche. Costume by Eiko Ishioka.

Varekai Comes To Manila

Alas, as many others I assume, I am quite possibly a fan boy of Cirque du Soleil. Recollections of O and The Beatles’ Love to this day can still exact goose bumps usually brought about by powerful Broadway material; such that when I was invited to attend the media launch of Cirque du Soleil’s Varekai last Thursday at the prestigious Manila Hotel, I was floored and at the same time, titillated with the idea that my Cirque-xperiences would be recreated on Philippine soil.

The word Varekai means “wherever” in the Romany language of the gypsies — the universal wanderers. Written and directed by Dominic Champagne, the show pays tribute to the nomadic soul, to the spirit and art of the circus tradition, and to those who quest with infinite passion along the path that leads to Varekai.

Paying tribute to the ancient and rare circus traditions of Icarian games, Water Meteors, and the Georgian dance, the show promises an explosive fusion of drama and acrobatics, displaying skill and power set against innovative music and otherworldly sets, interwoven with choreography that speaks to all in the universal language of movement.

Russian Swings. PHOTO by Patrick Bernath. Costume by Eiko Ishioka.

Varekai will premiere on June 21 for a limited engagement under the blue-and-yellow Grand Chapiteau (Big Top) located at the Luneta, across Quirino Grandstand. Tickets are on sale at www.hoopla.ph or www.cirquedusoleil.com. For inquiries, call 775-0939, 881-0947, 0919-4508125 and 0917-4436463. The show is co-presented by The Mania Hotel.

CHASING TOFF: Give Us a Break

Give us a break CHASING TOFF By Christopher De Venecia (The Philippine Star) Updated January 24, 2011 12:00 AM Comments (0)

The cast of Breakups and Breakdowns — Carla Guevara-Laforteza (Nina), Reuben Uy (Derek), Joel Trinidad (Mark), and Emerita Alcid (Sandy)| Zoom

It was August 1998 or 1999 when actor-comedian, SPIT (Silly People’s Improv Theater) founding member, and Awit-Award nominee Joel Trinidad had a meeting with a guy who was running 30 minutes late. Unfortunately, Joel couldn’t just “up” and leave so he decided to “Up” — start his own theater company called “Up”-start Productions.” Okay, that was a pathetic attempt to match Joel’s wit and humor — a guy I’ve known through the years as someone who always has something fascinating to say.

(Quick anecdote: I remember backstage in a play we did together for Rep. He mentioned to me the term “le mot juste” which means “finding the appropriate word or expression” for what you mean because things don’t always have to boil down to being “good” or “cool.” It’s one of those random things that Joel tended to blurt out but something that stuck with me over the years. Anyway…)
That’s not exactly how you connect the dots between Joel Trinidad and Manila’s newest theater company, Upstart Productions. But barreling through the wait, Joel decided to write a song, tap the musical director of Hong Kong Disneyland, and the rest, they say, is history. (Okay, more on Rony Fortich later, yes, the guy who composed the songs to the show).

“The first song I wrote was about a relationship. And once you start writing about relationships, you realize there’s just so much material to work with,” shares Joel Trinidad who is a 20-year (sometimes 20-year-old) veteran of the stage, having appeared in numerous productions such as The 25th Annual Putnam County Spelling Bee, Avenue Q, The Rocky Horror Show, and the Asian premiere of Rent. He adds, “You’ve got your funny anecdotes, your dates from hell, your broken heart — it’s universal. There’s no end to it.”

But beyond the countless productions and the esteem that an actor of his caliber can pride under his belt, nothing, to this writer, trumps the fact that Joel is probably the only actor in town who can manage to write his own piece of material, produce it, direct it, and take the liberties of starring in it — all in one blow. And it’s a musical for crying out loud — a segment of the performing arts which employs of its practitioners some serious, not-to-be-underestimated triple threat skills. The material? Breakups and Breakdowns.

Mark (Joel Trinidad), a young playwright, is putting the finishing touches to a play about finding that one perfect girl. Derek (Reuben Uy), Mark’s roommate and best friend, thinks that Mark would be better off actually meeting women instead of just writing about them. Derek, a notorious playboy, meets gorgeous and flirtatious Sandy (Emerita Alcid Trinidad) who seems to be the female version of Derek and puts the former in distress. What he doesn’t know is that Sandy is only feigning aloofness to keep Derek interested, as she was too needy, earnest and available in a past relationship. One stormy night, Nina (Carla Guevara-Laforteza) knocks on her ex-boyfriend Mark’s door and the two soon realize that there may be something still going on between them. And then Derek and Sandy arrive unexpectedly which to everyone’s amazement, reacquaints Mark with someone he used to call by another name, back when the latter was a little too needy, a little too earnest, and a little too available.
Reuben Uy, who plays Derek, reveals, “The script is basically Joel’s life. It’s been through a lot of changes but it’s still very current because it’s about everyone’s favorite topic — love.” As you know, there’s no better way to stir the love bug and put the finishing touches to a witty piece of material than to employ some fabulous, well-crafted counterpoints. Enter: Rony Fortich, the brilliant musical director of Hong Kong Disneyland.

Emerita Alcid Trinidad, Joel’s real-life sweetheart who plays Sandy, shares, “Rony did such a wonderful job putting everything together and composing. Joel and Rony really talked about how they wanted their songs to be. It’s a great team.” Rony wrote Breakups and Breakdowns with Joel in 2005 before moving to Hong Kong. The former also wrote the music to Stages’ recent hit, N.O.A.H (No Ordinary Aquatic Habitat).

Carla Guevara-Laforteza, who pays Nina, ends, “It’s a comedy and romantic musical. We all love a little laugh and my God, Joel Trinidad breaking into song, wouldn’t want to look forward to that, right?” (No Carla, it’s not “Right!” It’s “Up!” You know, like “Upstart!” No? I give up. There can only be one Joel Trinidad).

* * *

Breakups and Breakdowns will be showing at Teatrino, The Promenade, Greenhills on the following dates and times: Feb. 18, 19, 25 and 26, March 4, 5, 11 & 12 at 8 p.m.; Feb. 19 and 26, March 5 and 12 at 3 p.m. For ticket inquiries, contact upstarttickets@gmail.com or visit www.upstartproductionsinc.com.

CHASING TOFF: Something is Stirring

Something is stirring CHASING TOFF By Christopher De Venecia (The Philippine Star) Updated December 20, 2010 12:00 AM Comments (0)

The cast of The 39 Steps — Michael Williams, Rem Zamora, Jeff Arcilla and Liza Infante| Zoom

A couple of months ago, I was privileged enough to have been invited to the grand launch of Repertory Philippines’ 2011 season at the prestigious Enderun College. Aptly titled, “Something is Stirring,” a cut from Stephen Sondheim’s masterpiece and one of my personal favorites, Merrily We Roll Along, I was delighted to see a bevy of Philippine Theater’s finest and upcoming actors coming together to celebrate a renewed promise and excitement over some fantastical new shows from the company that started it all.

More than 40 years in the industry, Repertory Philippines is home to many of our country’s finest talents who have graced both the local and international stage. Lea Salonga, Monique Wilson, Menchu Lauchengco-Yulo, Michael Williams, Audie Gemora, Leo Martinez, Bernardo Bernardo, Ana Abad- Santos, Rem Zamora, Robbie Guevara, Chari Arespacochaga, Liesl Batucan, Miguel Faustmann, Baby Barredo, Joy Virata, and Bibot Amador, the household names that are part and parcel to Rep’s constellation of stars run the gamut.

Rep has been a training ground for many artists who have gone on to work in London, Germany, Macau, Singapore, New York, and Hong Kong, and done our country proud. It is thus befitting that a new home in Ortigas, a new associate artistic director, and five brand new shows for 2011 deserve a seasonal launch in true theatrical fashion.

It’s a known fact that not all great actors make great directors. But there are a few who manage to do both and excel as testament to their inherent talent, instinct, charisma, years of theater training and experience, and some truly great artistry. Enter Menchu Lauchengco-Yulo, the “First Lady of Philippine Theater,” now a bona fide theater director, an actor’s director, and Rep’s newly minted associate artistic director. Menchu was at the directorial helm of the 2008 restaging of Stages’ West Side Story (her first!) and the recently concluded Little Women (her second, and for me, one of the best theater pieces of 2010). Both musicals have earned her accolades from amongst the local theatergoing set. Her addition to Rep’s in-house artistic team is one that truly excites.

She relates, “We’ve picked an exciting selection of shows that are sure to stimulate theatergoers.” Enter: The Joy Luck Club (Feb. 4 to Feb. 20). Based on the beloved book by Amy Tan, The Joy Luck Club is a chorus of eight voices telling scores of tightly woven stories. It tells of the lives of four Chinese immigrant women and their four American-born daughters, brought together through a single vision of rich complexity — maternal bonds, filial frustrations, native superstitions and cultural divide. The Joy Luck Club will be helmed by famed director, Anton Juan.

Enter: The 39 Steps (March 4 to 20), a comedy thriller based on Alfred Hitchcock’s masterpiece. I recently saw this on Broadway, and quite frankly didn’t enjoy it. Then again, the material hadn’t yet encountered the genius of Aliw award-winning actress and director Ana Abad Santos. 39 Steps is a fast-paced whodunit “with over 150 zany characters played by a cast of four,” says Yulo. She adds, “There will be non-stop laughs as audiences witness missing fingers, a plane crash and some good ol’ fashioned romance!”

Enter: Shakespeare in Hollywood (April 1 to 7). This is the play that excites me the least. There’s something about Shakespeare that is off-putting to a contemporary theatergoer, more so, the horrific title and ridiculous premise. Shakespeare’s most famous fairies, Oberon and Puck, end up on the Hollywood set of Max Reinhardt’s A Midsummer Night’s Dream. Smitten by the glitz and glamour of showbiz, they end up playing (who else?) themselves on the silver screen. It sounds to me like a DVD movie you can buy off thetiangge. Unless Rep manages to put a spin to it á la what Abad Santos did in her fabulousMad Max re-imagination of Hamlet, I’m not so sure that this would be the best way to conclude a Rep season. Then again...

Off to better things: Seussical the Musical (Aug. 13 to Dec. 11). Repertory has always had a special place for young audiences through its Children’s Theater. Conceptualized by Joy Virata, Rep’s former associate artistic director, its aim is to train the new generation to make theatergoing a regular habit. Now, if only schools would make an effort to train their students to observe proper theater etiquette as Lea Salonga has previously written about in her column. For Seussical, Tony Award-winners Lynn Ahrens and Stephen Flaherty (Ragtimeand Once on this Island) bring to life the colorful characters from the Jungle of Nool to the Circus McGurkus to the invisible world of the Whos.

And finally: Peter Pan (Sept. 29 to Oct. 30), an exciting collaboration between Repertory Philippines and Stages which will be staged at the Meralco Theater. With the exception of Peter Pan, all Rep shows are usually staged at the Onstage Theater in Greenbelt 1. With actor Sam Concepcion in the title role, joined by Tippy dos Santos as Wendy, the show will be co-directed by Jaime del Mundo and Menchu Lauchengco-Yulo. George Stiles and Anthony Drew (Honk! and Disney’s Mary Poppins) are composer and lyricist of the show. Peter Pan is a spectacular musical where the actors will fly right before the audience’s eyes.

Something is indeed stirring for Repertory Philippines. With the addition of Yulo and five new shows for its 2011 season, audiences will surely realize why nobody does a show like Rep does. For ticket inquiries and other information, call Repertory Philippines at 571-6926, 571-4941, or email info@repertory-philippines.com. Tickets are also available at Ticketworld at 891-9999 or www.ticketworld.com.ph.

CHASING TOFF: 'COZ EVERYTHING IS RENT

'Coz everything is 'Rent' CHASING TOFF By Christopher De Venecia (The Philippine Star) Updated December 06, 2010 12:00 AM Comments (0)

Fredison Lo as Mark Cohen, Mian Dimacali as Maureen Johnson, and Jenny Villegas as Joanne Jefferson in Rent, which will have a limited run of eight performances at the Power Plant Cinema 2 starting Dec. 8| Zoom

If there’s one musical that perfectly captures the angst and essence of our generation, it’s probably Jonathan Larson’s rock opera, Rent — a Tony and Pulitzer award-winning neo-contemporary masterpiece based on Giacomo Puccini’s La Boheme. The show, which opened in Broadway back in 1996 and holds the record of being the ninth-longest-running show on Broadway before closing in 2008, tells the story of young bohemians struggling to survive in the Lower East Side boroughs of Alphabet City during the rise of a mysterious virus known as AIDS. The show is also responsible for popularizing the hit song Seasons of Love, which is sung by the entire cast during the opening of Act 2.

There is probably no man on earth who hasn’t heard of the popular jukebox tune. A permanent fixture on commercial sound systems and radio stations during the Holiday season,Seasons of Love is also a fail-safe go-to for most Valentine’s concerts and even during weddings (I recently attended one that played it during the processional). I mean, how can you not fall in love or get all fuzzy with a song that counts the many ways in which a person can measure a year in his or her life? “In daylights, in sunsets, in midnights, in cups of coffee,” the means are endless. But for Roger, Mimi, Maureen, Angel, Collins, and the bohemians of Alphabet City, audiences come to realize just this — in a year lambasted with poverty, adversity, disease, and existentialist struggle entangled with an artist’s plight for self-actualization, every minute counts.

525,600 minutes — Jonathan Larson conceptualized the powerful numeric that follows after the momentous opening beats of Seasons of Love, subsequently giving rise to the many pillars through which musical theater stands today. As we’ve mentioned, there’s Seasons of Love that strikes a chord in the hearts of young and old alike, not to mention the many other songs that comprise the powerful score that Larson created right before his untimely death on the day that Rent officially opened in the Great White Way.

Sheree Bautista plays Mimi Marquez

Also, the show, through its powerful message of love and “No Day But Today,” was able to shed light on such issues as AIDS, HIV, and homosexuality – matters that were once seen as taboo to the general populace. Rent also popularized “The Lottery” system, an avenue through which financially challenged theatergoers are able to afford premium tickets to go see a play on Broadway as Larson himself had dealt with financial struggle while serving as a waiter at the Moondance Diner.

Furthermore, the show was able to jumpstart the careers of Adam Pascal, Taye Diggs, and Idina Menzel who played Roger, Benny, and Maureen respectively in the original cast. Menzel would eventually play Elphaba in the hit Broadway show, Wicked and Rachel Berry’s mom in Glee.

Overall, the show’s greatest contribution to Broadway was that it was able to rehash and redefine the rules of musical theater through its rock-operatic score — eventually enabling such musicals as Spring Awakening, Next to Normal and American Idiot to conquer the Great White Way.

For the holiday season, 9 Works Theatrical and Power Plant Cinema proudly bring back “the musical that changed the face of Broadway forever,” Rent which had sold-out performances last February at the Carlos P. Romulo Auditorium in RCBC. Due to insistent public demand, Rent is back for a limited run at the Power Plant Cinema 2.

Robbie Guevara directs 9 Works Theatrical and Power Plant Cinema’s Rent.

Returning to the show is Gian Magdangal as Roger Davis who will be sharing the stage this time around with real-life girlfriend Sheree Bautista as Mimi Marquez. Sheree, a former member of the Viva Hot Babes, will be alternating with stage veteran Amparo Sietereales who played the role of Mimi many years back in a previous staging of Rent. Also returning to the show are Fredison Lo as Mark Cohen, OJ Mariano as Tom Collins, AJ Bautista as Angel, Jenny Villegas as Joanne Jefferson, and Mark Tayag, Gary Junsay, Johann dela Fuente, Harold Cruz, and Peachy Atilano as part of the ensemble.
For the December run, they will be joined by Mian Dimacali who bravely tackles the role of Maureen Johnson, Lorenz Martinez as Benny, Sab Jose as Alexi Darling, and Pam Imperial as the Homeless Lady who sings the powerful high note in Seasons of Love.

The show is directed by Robbie Guevara, with musical direction by Onyl Torres and Ricky Villante, set design by Mio Infante, lights design by Martin Esteva, sound design by Chuck Ledesma, costume styling by Bek Soriano, and additional choreography by Francis Matheu.

Rent will have a limited run of eight performances at the Power Plant Cinema 2, Dec. 8, 9, 10, 11, and 12 (8 p.m.), and Dec. 10, 11, and 12 (4 p.m.). Get your tickets now at the Power Plant Cinema ticket booth. For tickets, call 898-1440 or 898-1441, or 0908-8692988.

Rent is brought to you by Rockwell Land, Rockwell Club, Power Plant Mall, Metro Society, Velvet Channel, and Basement Salon, and is presented through a special arrangement with Music Theatre International (MTI), 421 West 54th Street, New York, New York 10019 – tel: (212) 541 4684www.mtishows.com.

CHASING TOFF: FROM TV TO STAGE

From TV to stage CHASING TOFF By Christopher De Venecia (The Philippine Star) Updated November 29, 2010 12:00 AM Comments (0)

| Zoom

Writing for stage is very different from writing for TV,” quips Gilbeys Z. Sardea who has been writing for ABS-CBN drama shows such as Maalaala Mo Kaya, Your Song, Tanging Yaman, and Habang May Buhay for more than eight years now.

“The process in writing for TV is very tedious. A material needs to go through a long process before it’s produced and aired.” As opposed to writing for the stage, in which the process is not that long. In writing for TV, a script writer has to make each scene worth watching because people might easily switch channels at the touch of their remote controls; whereas when writing for the stage, the author has to give the material time and space to linger.

“I must say, the transition in writing from TV to stage wasn’t that easy,” relates Gilbeys who considers his “Postcard” episode starring Cherie Gil, Perla Bautista and Armando Goyena for Maalaala Mo Kaya as his most personal work yet. In the process, he had to change his writing style and how he envisioned the outcome to be. He adds, “I had to go back to the basics of writing and push my guts more to let all the emotions go into the script that I write.”

On stage, each emotion has to be more intense and bigger because it’s live. In stage sensibility, the story has to be larger than life — so clear and so precise such that when it’s delivered, it will reach all the way to the back of the theater, so that even the deafest and oldest of grandmas will still understand it.

Such was the feat that Gilbeys had taken upon himself to conquer when agreeing to write the full-length musical Fuse, a Filipino musical put together by the Economia Church of Christ (Eco). “My inspiration for writing it was the concerns of the Christian youth today,” he continues. “I am very much alarmed with the problems and challenges that the youth face today. And I want to let other kids and parents know that the youth today have different concerns.”

In writing for the stage, just like for TV, a judicious amount of research is required of the writer in weaving the material together. He recalls a Maalaala Mo Kaya episode he wrote which starred Carlo Aquino, Emman Abeleda, Jaclyn Jose and Ricky Davao where he got to meet the mother whose sons both died one after another because of different illnesses. In Fuse, while Gilbeys was given some initial material to work with, he had to take it upon himself to indulge in a more personal kind of research that gave rise to each character being a composite of the different people he knew.

The musical relates the story of five Christian teenagers with different problems, who like any other teens, rely on their own strengths to face their personal challenges. They soon realize that it is only with God’s grace that they can truly overcome adversity.

Fuse features talents from Eco’s youth ministry The show is directed by Amiel Mendoza, with Nelson Caruncho as vocal coach, Jenny Jamora, Cris Villonco, and Jean Judith Javier as acting coaches, Rycher Christian Alfonso of the Philippine All Stars teaching dance, and choreography by Nhaz Maniego

The show is set for Dec. 4, at the Adamson University, San Marcelino, St. Ermita, Manila at 8 p. m. For tickets, SMS 0917-8271218, or 0922-8175418, or e-mail fusetickets@yahoo.com.

CHASING TOFF: UN-DAWN-TED

'Un-Dawn-ted' CHASING TOFF By Christopher De Venecia (The Philippine Star) Updated October 25, 2010 12:00 AM Comments (0)

Thanks to the nurturing of director Bobby Garcia who was the artistic glue that gelled everything together. This is one of Bobby’s best works to date. Bravo, Bobby!

Currently on Broadway with the talented Bernadette Peters in the role of Desiree Armfeldt, A Little Night Music, Sondheim’s celebrated masterpiece that features the seminal hit, Send in the Clowns, recently reopened in the Great White Way with a tour-de-force performance from Catherine Zeta-Jones. Her regality and candor suited the role of Desiree so much and the “quietness” that the piece demanded, acting inwards and drawing audiences towards the actor rather than doing an outward and bombastic performance ala Gyspy Rose, that she won accolades in the recent Tony Awards as Best Actress in a Musical.

Now I didn’t really get to catch A Little Night Music on my recent trip to New York — reason being that it was the in-between rehearsal period of the show from Catherine Zeta-Jones to Bernadette Peters. And I have not seen any other version of the show for that matter. But after catching Atlantis Production’s local staging, featuring showbiz scion and the very beautiful Dawn Zulueta as Desiree Armfeldt, I may as well have come face to face with Zeta-Jones and some Broadway-level caliber interpreted on our local soil. Atlantis Production’s A Little Night Music was nothing short of breathtaking, fascinating, and life-changing as I walked away from the theater, stunned, haunted, and a reinforced aficionado and disciple of Stephen Sondheim (who is the show’s brilliant composer).

Based on Ingmar Bergman’s film, Smiles of Summer Night, A Little Night Music is a witty and urbanemusical set in waltz time. The action takes place in a weekend country house in turn-of-the-century Sweden, where surprising liaisons, long-simmering passions, and a taste of love’s endless possibilities are brought to light.

There is of course Desiree Armfeldt at the center of a humorous tug-of-war between Frederik Egerman, played by the excellent Nonie Buencamino, and Count Carl-Magnus Malcolm played by the comical Jake Macapagal. Both men, contrasting in personalities, are initially betrothed, and thus become adulterous to their respective wives — conjuring a messy Melrose web that entangles the show’s primary players. Frederik Egerman is married to the young Anne Egerman, played by the wonderful and amazingly comical Cris Villonco while the Count is married to Charlotte Malcolm, played by the beautiful Jenny Jamora. Adding to the mix is Felix Rivera who plays Henrik, Frederik’s son who we discover later on, to be in love with his stepmother Anne. The Melrose web climaxes when all the primary players travel to spend a Weekend in the Country, upon the invatation of Desiree and her mother, Madame Armfeldt, played by Jay Glorioso — the role played in the Broadway revival by Angela Lansbury.

Apart from the joyous and breathtaking performances and Mio Infante’s gorgeous chrysalis-looking set that encrusts the Carlos P. Romulo stage and paints the mood for each scene as it is transformed each time with Dong Calingacion’s lighting design, not to mention the powerful support from the likes of Teenee Chan and Raul Montesa, among other narrators in the show, accolades should be given to both Dawn Zulueta and Nonie Buencamino who, for this writer, are the luminous stars of A Little Night Music.

Dawn delivers the performance of a lifetime, not overplaying the character to depict a caricature but rather, tempering those tender moments that pull audiences in, hook, line, and sinker. Her Send in the Clowns was in a whole other universe. And myself, being a sucker for middle-age people who find love again in each other’s arms, I was this close to bawling like a kid from where I sat in the second row. Think The Notebook. Where Dawn shines brightly, there is Nonie Buencamino fueling Dawn’s light, lyric to lyric, word for word, emotion to emotion. There was so much depth in his performance, proof of his many wonderful years onstage, that the two of them together — Dawn and Nonie — really do paint a sterling example of how acting and theater should be done. Bravo! This is of course, thanks to the nurturing of director Bobby Garcia who was the artistic glue that gelled everything together. This is one of Bobby’s best works to date. Bravo, Bobby!

The show also stars Alys Serdenia as the hysterical maid Petra who sings a whopping The Miller’s Son, Crystal Baranda-Paras as Frederika, Gabriel Santos as Frid, and Agnes Barredo-Fenoli, Glen Llanes, Anthony Ong, and Jennie Nuyda as the other narrators. Chari Arespacochaga choreographs the show, with Ceejay Javier as musical director, Rajo Laurel as costumes designer for Desiree Armfeldt, Twinkle Zamora as costume designer, and Manman Angsico as vocal coach.

CHASING TOFF: THANK HEAVEN FOR LITTLE GIRLS

Thank heaven for little girls CHASING TOFF By Christopher De Venecia (The Philippine Star) Updated October 18, 2010 12:00 AM Comments (0)

The cast of Little Women: Kelly Lati, Cara Barredo, Lora Nicolas, Caisa Borromeo with Pinky Marquez

Laurie is Mr. Lawrence’s grandson and has a sense of displacement from the world because both his parents died when he was young. Jo is outspoken, daring, full of ambition, and one of four sisters of the March clan. Once Jo and Laurie meet, they easily become the best of friends. Their relationship becomes very “sibling-like” as they grow fond of each other’s company, exploring and embracing new adventures together. Sound familiar? This is of course part and parcel of the timeless classic and Repertory Philippines’ wonderful offering for the holiday season, Little Women.

But seeing as that “sibling-like,” family oriented-ness, and passion for life are common between the characters and the actors that play them in real life, I may as well have just described the stories of real-life pals and two of my personal favorites, Caisa Borromeo and Jaime Barcelon. Okay, maybe not the “sense of displacement” part for Jaime.

“I’ve been fortunate to have a great relationship with my mom who’s also like a friend and mentor to me,” quips Jaime who is fresh off his stint with local pop singing group, The Ryan Cayabyab Singers. “I am very grateful for having had the opportunity to work with Mr. C, recording and touring with them for the past few years.” But as Jaime makes preparations for his first solo music project, he conquers the theater stage alongside real-life pal Caisa Borromeo who, herself, is no stranger to the theater world. While Jaime has essayed several roles, including Rolf in Rep’s Sound of Music and Ryan in Ateneo Blue Repertory’s High School Musical, Caisa has played dozens of roles on stage, including notable appearances for Stages’ Footloose and West Side Story, Rep’s Aladdin Jr. and Mulan Jr., and I Love You Because.

“It’s a lot of pressure,” shares Caisa who considers the role of Jo to be her ultimate dream role. “It’s such a challenging role to play but it’s very exciting. I feel so lucky to have been given this opportunity.” Luckily, for the challenge that the material and the roles demand of the two, they have the amazing Menchu Lauchengco-Yulo as their precious director and artistic guide.

“She is very clear about her vision for the show but at the same time allows us the room for discovery and to see what feels right for us,” says Jaime. Caisa adds, “She’s an actor’s director. She trusts her actors completely.”
This wouldn’t be the first time though that the classic was adapted into something other than its novel form. In 1933, Katherine Hepburn headlined a movie version, followed by a 1949 “theatrical” version with June Allyson and Elizabeth Taylor as Amy, and finally an “intimate” 1994 version starring Winona Ryder. Caisa relates, “The book of course is a lot more detailed but the musical tells the story differently because it starts off in the present time, and then goes back in time when Jo remembers the time she spent with her sisters.”

Little Women is a coming of age musical about a young woman who actualizes her dream of becoming a writer and how those close to her play an integral role in helping her achieve that dream. “The show reminds us about the importance of family,” says Jaime. “It’s also an inspirational show because it reminds all of us never to give up on our dreams.”

Among the showstoppers for the show are More Than I Am, Small Umbrella Under the Rain, Some Things Are Meant To Be, and a gravity-defying piece for any female theater aficionado, Astonishing which Caisa has taken upon herself to conquer.

The show also stars Lora Nicolas as Meg, Cara Barredo as Beth, Kelly Lati as Amy, Jeff Arcilla as Professor Bhaer, Jack Salud as John Brooke, Mayen Bustamante-Cadd as Mrs. Kirk, and Rep veterans Joy Virata as Aunt March, Miguel Faustmann as Mr. Laurence, and Ms. Pinky Marquez as Marmee (who according to Caisa and Jaime, sings a very moving Days of Plenty).

Little Women marks Menchu Lauchengco-Yulo’s sophomoric undertaking as director. Her last piece was Stages’ West Side Story starring Christian Bautista and Karylle. For Little Women, she is joined by assistant director Rem Zamora, conductor Gerard Salonga for the FILharmoniKA orchestra, set designer Joey Mendoza, costume designer Tuxqs Rutaquio, and John Batalla for the lighting design.

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The show will run from Nov. 20 to Dec. 12, Fridays and Saturdays at 8 p.m. with matinees at 3:30 p.m. on Saturdays and Sundays at Onstage, second floor, Greenbelt 1, Ayala Center, Makati.
For ticket inquiries and further information, call Repertory Philippines at 571-6926, 571-4941, or e-mail info@repertory-philippines.com.Tickets are also available at Ticketworld at 891-9999 or www.ticketworld.com.ph.

CHASING TOFF: It's Your Wedding Day

This is your wedding day CHASING TOFF By Christopher De Venecia (The Philippine Star) Updated September 06, 2010 12:00 AM Comments (0)

All I wanna do is grow old with you: Iya Villania as Julia and Gian Magdangal as Robbie in 9 Works Theatrical’s The Wedding Singer| Zoom

New Jersey. 1985. When Robbie, a charismatic wedding singer, is dumped in the altar by his longtime girlfriend Linda, the protagonist becomes a casualty of love and plunges into the depths of “dumpster-level” despair. But with the help of his friend Julia, a sweet and caring waitress who is oddly engaged to a smug of a guy and Wall Street type named Glen, Robbie rediscovers why he was all about the “love” and not so much the “green” in the first place.
The premise is simple. Guy gets dumped. Guy meets Girl. Girl gets engaged. Guy and Girl, though star-crossed, fall in love. Girl dumps annoying Fiancé. While in Vegas, Guy and Girl get married and live happily ever after. Nothing fancy. Just your typical love story, except for the Vegas part — unless you’re Demi Moore or Britney Spears, and just about everybody else in Hollywood. But when I saw the Broadwayadaptation of the New Line Cinema film starring Adam Sandler and Drew Barrymore a while back, incidentally on the night of its final performance before the show was slated to close and go on tour, my mind and my heart were literally blown away.

Amidst the scores of The Wedding Singer aficionados, bedazzled in actual wedding gowns and tuxedos, sore from camping out within the vicinity of the theater the night before the show (flashback on the diehards camping outside Manhattan’s AMC Theater for days in anticipation of Star Wars Episode One), there I sat and excitedly stood as early as the denouement of the first musical number, “It’s Your Wedding Day!” The energy, quirkiness, and passion of the cast, and specifically the show, were so infectious that it summoned an unprecedented standing ovation from everyone in the audience — a feat I had never quite experienced on Broadway before.

That was my most vivid memory of The Wedding Singer, sans the guy who played Robbie Hart who snuck out some other exit to avoid giving autographs and getting his picture taken with the fans. I mean, come on, it was the last performance! But that’s a story to tell for another day. One story though that is worth telling is that this celebrated musical, having won the hearts of everyone in America for its mind-blowing tribute to the ’80s, is finally coming to Manila, under the creative reigns of director Robbie Guevara and his company, 9 Works Theatrical.
Hot on the heels of Rent the Musical in RCBC, Guevara with executive producer Santi Santamaria, have taken on the challenge of bringing the neon, fun, and riotous spirit of the ’80s into the mishmash, forward-thinking melting pot of 2010. Hello Lady Gaga and an ’80s revival in just about anywhere. “When we encountered the material, we knew that we had to do it,” relates artistic director Guevara. Santamaria adds, “Wedding Singer is a crazy and energetic musical, and audiences will surely enjoy,” to which Guevara interjects, “One word to describe Wedding Singer? Fun!”

Melting the hearts of many, especially with the show’s jukebox song, Grow Old With You, is Party Pilipinas’ Gian Magdangal who will play the role of Robbie Hart. Here, he is reunited with pals Iya Villania and Nikki Valdez who he previously shared the stage with in Stages’ Footloose the Musical back in 2005. TV personality and MYX VJ Iya Villania will play the role of waitress Julia Sullivan, alternating with Hong Kong Disneyland alumna and stage veteran Shiela Valderrama Martinez. Meanwhile TV and movie personality Nikki Valdez will play the role of Holly, Julia’s polar opposite and lovable cousin. Valdez will be alternating with Analin Bantug who once played the role of Kim in Miss Saigon.

Also joining the cast are Jeremy Aguado as Julia’s fiancé Glen Guglia (Yes, if Julia married him, she would degenerate to Julia Guglia), Lorenz Martinez as Sammy, Johann dela Fuente as the flamboyantly eccentric George, Myrene Santos as Robbie’s ex-girlfriend from hell Linda, and Enchang Kaimo as the kooky grandmamma, Rosie.
The show will be directed by Robbie Guevara, accompanied by musical director Rodel Colmenar conducting the Manila PhilharmonicOrchestra, choreographer Francis Matheu, vocal coach Onyl Torres, scenographer Mio Infante, lighting designer Martin Esteva, sound designer Chuck Ledesma, and costume stylist Rosanna Aranaz.

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The Wedding Singer will open at the Meralco Theater on October 23, 2010 and will run until November 14, 2010. There will be Friday, Saturday and Sunday shows at 8pm, with Saturday matinees at 330pm and Sunday matinees at 4pm. For details, you may call 586.71.05, 557.58.60, 0917.554.5560, or visit www.9workstheatrical.com or Ticketworld at 891.9999.