Reimagined Miracles

Life is so hard these days that I have a tendency to treat theater as my happy pill. Safely embraced by comfortable seats in a glamorous theatre, I let my mind go and escape into a different realm. I come out somewhat rejuvenated by the mere sight of talent on spotlight.  Himala did the exact opposite of that yet I have not an ounce of regret watching it. There is a brooding melancholy in me. As I type this, I still feel remnants of the musical in my blood stream. I left the theater trembling. I walked out of the theater with silent tears replacing the river of tears I left in the theatre. I had so much to say but I couldn't coherently converse with anyone because I was stuttering, still reeling from the impact of what I had just seen. I had to take a moment to recognize what shook me to the core.

Himala the Musical ( See Link : Himala the Musical Teaser) is an adaptation of the epic movie that Nora Aunor starred in. It was about a story of a peculiar town (Barangay Cupang) who was drowning in tragedy. A heroine is borne when their Elsa reveals that she  had an encounter with the Virgin Mary. She starts healing the people and the town is changed for good. I knew the story, I knew the characters but what I didn't know was that despite this, it was still capable of puncturing me with constant punches of difficult truths being revealed scene after scene. The story I had expected to see was a retelling of Nora Aunor's role, Elsa, but what I witnessed was a retelling of the town's story.  In an intimate setting, I entered Barangay Cupang and became a spectator of their life.

The performance started with sounds of the howling wind quieting down the audience The small black box theatre was transformed into a sunken garden with the audience surrounding what would be the provincial town of Cupang. Bamboo fences and minimal nipa structures separated the audience from the performers. Glistening in sweat, parched with poverty, the actors disturbed the silence. Soon, Elsa personified by Aicelle Santos, was introduced. Santos early on differentiated her performance from the iconic Nora Aunor as she deviated from the very mysterious glass-eyed Elsa. She came out early on as the most "unremarkable" almost "invisible" member of Cupang. To be honest, I was looking for her just like Nanay Saling (Bituin Escalante). There was an awkwardness to her steps and a tentativeness in her initial approach. It was much later that I completely grasped that Santos' Elsa was a clean canvass of nothingness. Her initial scenes were so intelligently laid out that at the end of the musical her transformation was poignant yet powerful. Santos succeeded in portraying a simple woman tested by burden, conflicted with a taste of unexpected fame, bruised by immorality and loss. At the end of the musical, she stood there in her sacred ground and addressed her people, totally changed by the experience. Santos was victorious in unfolding Elsa's humanity and redemption. Truth be told, I was impressed with her voice during the press conference but her stripped down interpretation of the songs gave so much meaning to the music and lyrics created by Vincent De Jesus. I didn't just hear the songs, I felt them.

Aicelle Santos as Elsa
Photo by : Kyle Venturillo

                            
Nanay Saling is played by Bituin Escalante who broke my heart each time she came out. She was a picture of a mother who understood the concept of unconditional love. Her portrayal was so sensitive that it reminded me of how self-sacrificing a mother can be. Despite doubt, despite fear, despite conflicting beliefs a mother can hold her child's hand to weather the storm to protect her. Escalante's usual belting booming voice was replaced with evocative softness. Every lyric pronounced with crystalline emotion. I dare say this is one of her best stage performances.

The town who depicted the different voices of weakness in desperation was spectacular. Kakki Teodoro as Nimya was gold. As the antagonist, she was abrasive yet endearing and her voice was ringing above everyone else's. Neomi Gonzales as Chayong was the perfect contrast to Teodoro's boldness and Santos' meekness. She was delicate and immaculate in song and in characterization. David Ezra's tenor voice has a moving quality. His guilt-ridden portrayal as Orly was so pivotal to the story. Sandino Martin's intensity as Pilo was brilliant. He never let go of any scene. His silent moments were priceless and were just as marvelous as his notes. Floyd Tena as the voice of reason in this musical was solid. His anguish was affecting.

Sandino Martin as Pilo
Photo by Kyle Venturillo

Floyd Tena as the Priest
Photo by Kyle Venturillo

This musical is proof that there are no small roles, only small actors. The whole cast of this production was visibly invested in their individual characters with very specific motivations for each scene. I credit Director Ed Lacson for allowing the actors to give liberating performances that I'm certain will stay with them for a very long time as it will to the audience who witnessed their moments. Particularly memorable to me was Onyl Torres as one of Elsa's patients. He took us in a one minute journey of pain, healing and hope. Joshua Cabiladas' light and dark moments were pronounced. Many others in the ensemble made me weep. It was a full cast who left themselves at home and brought only their inner lights and darks on stage. I dare say this production is one of the best ensemble casts I have ever seen. The collective sound was haunting, their portrayals as real as it could get. 

Onyl Torres as a Patient
Photo by Kyle Venturillo

The cast was brilliant, the immersive staging was effective. Undoubtedly these made the musical powerful. But this show is relevant because of its shift in perspective. This production took the simple concepts of herd mentality, hypocrisy, crab mentality, greed, tolerance and even stupidity and molded it into one single concept that is communicated with so much power. These are not ills you see in other people. Finding blame for something bad, treating everything as destiny, justifying actions, pretending to be good, remembering to pray only when things go your way- it happens in moments in our lives. It is intrinsic to the Filipino (and perhaps the rest of the world). These define us as a people. The delivery of Ricky Lee's relatable colloquial dialogue was so organic and familiar that I realized that even a generally positive person like me have echoed them several times over. We have all been compromised one way or another. What Director Ed Lacson Jr. was able to do was to prompt for understanding by highlighting the blistering image of humanity's imperfection. When the rain finally came, so did my tears. In a smothering black box, the normality of it was puncturing, disappointing, bothersome yet it was truthful. Surprisingly there was no feel of judgement in the staging. This staging made sure that the message was brought down to most personal level possible. The impact was for the audience to determine.

Lacson mentioned earlier in his interviews that the show was a stripped down version of the glorious material crafted by Ricky Lee and Vincent De Jesus. Contrary to how everyone else is describing it, I believe that it wasn't quite a stripped down version. It was a built up version because it empowered all the characters to come alive to efficiently allow art to imitate life. Yes it was accompanied by a single piano, yes the set was minimal, yes only natural voices were allowed on stage. However, replacing the frills was a stronger more diverse collective voice and a multifaceted delivery of stories. For me it was more of a story flipped over and presented in a new perspective with new aspects to think about and new nuances to salivate over.

Himala is  truly a gift. It is a collaboration that sets the bar for everyone else. 

Finding a Miracle in Himala

All eyes on Elsa (played by Aicelle Santos)

Himala the musical will be returning to the stage thirty years after its conception. The musical is an adaptation of the Ishmael Bernal film that tells the story of Elsa who is said to be blessed with divinity and ability to heal. The movie revolves around the  effect of her miracles to Cupang, her poor unfortunate town. I attended their press conference and it was fascinating to witness how much interest still thrives after all these years. The energy in the room was palpable considering there were only a handful who have seen the movie and the previous stagings. It could be the novelty of it all or the respect for previous success. Nonetheless, the dynamic was captivating and I was completely satisfied being the observer. It seemed ironic to me that a roomful of people were finding out for themselves (in context and without the help of the actual play yet) if miracles were real. The actors even obliged and told their own touching stories about their lives. I remember thinking we seem like the perfect parallel to Elsa's Cupang (her community), awaiting for something convincing to hold on to. Thankfully, I did see something unravel that day. I can't quite call it a miracle yet because I have yet to see the show  but there is something enticing that has me rooting for cast. 

Miracle of Truth 

The esteemed scriptwriter and novelist Ricky Lee was present and he shared with us the  beginnings of the film. With his story clutched in his hand he pitched this project thirty years ago to so many directors only to be rejected over and over again. He finally won himself a chance when his script was given a second glance by the Experimental Cinema of the Philippines  who gave him a grant to start the project. It's easy to understand why it was so difficult to pitch this story. It was depicting the Filipino in such a negative yet truthful way. With characters who embody altruism, materialism, deception and yes even stupidity, it is difficult to present the film as inspiring. The fact that it was produced and loved by its viewers was a miracle. The fact that it was translated into a musical and a concert is a blessing. But the real gift is that the newest staging comes so timely  when it is necessary to remind people what  the nature of the herd really is. The musical after all these years is still about truth and  the downfall of humanity. Its relevance should be a good reason to watch the show. If people go beyond interest and actually come then that would be miracle #1. 

Glitterless is more. 

Designer-Director Ed Lacson Jr. will be directing this musical. After three years in the making he is ready to share with the public his vision of what "Himala" should be. What is nice about Ed Lacson's point of view is that he doesn't seem to think that he is part of the equation. He humbly expressed that he has very high respect for the story and the music. He does not find the need to interject anything distinctly  "Ed Lacson" because the material is already gold. It seems he does not feel the pressure to make it his story or version. In fact he makes it  a point to discuss his process of distilling the theatrics to allow the words and the melodies to be heard with no distractions. It's safe to say there will be no frills, fireworks and glitter. There won't be any distinct choreography. While most people's mantra is build build build on the material, he goes break break break. Break the mold and allow people to see what is in the core of  Himala. He desires nothing but to  simply introduce the concept of humanity through the characters of the story. He moves to engage the mind. 

I have seen a couple of his sets and I am familiar with his very well rounded aesthetic sense. So far I have seen nothing but  intricate gorgeous fusions of contemporary and surrealist sets. That being said, I'm super curious to know what he means when he says his overall visual approach will be minimalist. I am likewise excited to get to know how he will bring the characters to life. With a fluff-free approach all that's left is a showcase of raw talent. Consequently, the actors will  put on the spotlight. His pivotal role is to ensure that there is a deep understanding of the complexities of each role. 

This millennial looking lad really impressed me during the press conference because he very clearly sees this production as art and nothing commercial. His propensity towards authenticity is quite promising. Perhaps he might be the miracle worker and if he delivers in his staging that would be miracle #2

Vince de Jesus is a genius

Vince De Jesus is a musical genius. When words fail, he seamlessly creates melodies that echo what otherwise cannot be explained. His melodies are always sensitive and textured with life. Having said that, the excerpts that were performed are telling of how great this show CAN be. If all his songs are sung as beautifully then perhaps that can be a glorious miracle #3 

                     

Collaboration 

I've mentioned  what-if miracles  of the formidable triad  but I do know of one certified miracle that has already happened. Himala is a product of a collaboration between two very different entities. Sandbox Collective and Nineworks Theatrical  have joined hands for the first time to produce the show. Avid theater goers will tell you that while the two teams are practically sister companies, they represent different brands of thought. Sandbox Collective is an edgy company who concentrates on fresh ideas presented with a contemporary feel. Nineworks Theatrical on the other hand presents the big Broadway hits dressed in theatrical glamour.  Now that is what you call a miracle. With producers like that you know Himala will be something to look forward to. It's a wedding with something new, something old, something borrowed and something blue.  

So far, Himala is a promising project with plenty reasons to draw people in. How about buying that ticket so we can both find out if there's hidden miracle to be found? See you at the theatre everyone. 

Ako ay tinawag ng Birhen

Minsan, nagpaangap kung minsan
Floyd Tena as the Priest 

Pano nalang kung hindi totoo?
Bituin Escalante as Elsa's Mother 

Ang himala ay nasa puso ng tao.

Walang Himala

Get your tickets via Ticketworld. Click me!

Check The Sandbox Collective for more details 

Cast : 

1. Aicelle Santos as Elsa
2. Kakki Teodoro as Nimya
3. Neomi Gonzales as Chayong
4. Sandino Martin as Pilo
5. David Ezra as Orly
6. Bituin Escalante as Elsa's Mother
7. Floyd Tena as the Priest

A Tribute to the Arts: Sabel

                      

Joni Galeste as Sabel 

Sabel is a musical theater production meant to pay tribute to 50 years of Ben Cab genius. Sabel is Ben Cab's signature mark, a constant in all collections. This iconic character has through the years been a point of interest of many.Many have been inspired to create even more art. Taking in the visual aesthetics of Ben Cab, stories, dances, songs have been artfully made. Who can forget Agnes Locsins suite of wonderful dancing a while back? It is not surprising that as he celebrates his golden anniversary that it is she who is  again pushed into the spotlight. After all, she is Ben Cab. But, this production does more than just feature Sabel and Ben Cab on center stage. It takes things a step further. 

Sabel, Love and Passion is a collaboration of sorts. Supported by Ben Cab art enthusiasts and Ben Cab himself, a group of artists were given the artistic liberty to create  a production  that will immortalize Ben Cab's journey with Sabel.  A blend of beautiful minds, resulted to a production well worth the wait (about 10 years  or so :) )  

The libretto and lyrics of this musical was done by  Director Freddie Santos. When I first heard of this musical, I immediately thought of the references and connotations that come with the name. Think Noli Me Tangere. Think Crispin and Basilio. I was a bit apprehensive that the musical might be a history lesson . I had no doubts about the level of taste of this director but I did for a moment question the theme of what would be a representation of a maestro's lifetime of work. Thank God, it was not what I expected. I was able to catch  a few of their rehearsals  in   Meralco. Even then, devoid of any set or any glamorous costumes, I was already drawn to the story of a woman who experienced it all.  Yes it will take you through time but more than that it will humanize Sabel in ways that will move you

Sabel takes you to a journey of a little girl who was separated by war from her father. She fights for herself using dance as her saving grace. She falls in love,gets her heart broken. She finds her self, loses herself in a circular battle of pain and survival.  Sounds like a familiar story doesn't it? It sounds  like a teleserye. But how it was written sets it apart. Words were  powerful.  The dialogue so eloquently delivered by storyteller Iza Calzado was potent. At one point, I tried to close my eyes and listened to her voice intently. I was  listening to poetry.  In that one act play, there must be at least twenty  quotable quotes to remember. "Dancing made her remember, all she needed to do was to dance". Words that will stay with you, lingering till you find an  even deeper meaning to it. 

The music that accompanied the liquid words were equally beautiful. A match made in heaven indeed.  Freddie Santos and composer Louie Ocampo  must be kindred spirits who lovingly created moving harmonies together.

Aicelle Santos, Timmy Pavino Bo Cerrudo and Audie Gemora were the voices behind the characters. They were a beautiful match to Philippine Ballet Theatre's stars. Not only were they pitch perfect, they all displayed the same energy and emotion that the dancers gave. 

Yza Calzado performed seamlessly as she delivered  her lines dripping with emotion. She commanded the stage both physically and emotionally. Her eyes darted through the audience speaking to them as if it was a private conversation. Most importantly she spoke with clarity.For her first try, she was impeccable. 

                                 

                           

I don't usually  review Philippine Ballet Theatre because my views might be tainted with love for the dancers. This time however, I know I'm unbiased when I say Joni Galeste as Sabel was at her absolute best. During rehearsals I felt her struggle  through pacing  the emotions to ensure every moment was understood perfectly. She took everyone by surprise by making every second count. Taking photos of her  was a breeze. She was completely committed to Sabel.  Every photo painted a story. She patiently, ever so delicately unraveled her emotions with every scene. She could have easily done a bad caricature of a loony but she chose the path less traveled. She chose to find Sabel in her. She exhibited maturity  both in technique and in artistry. High fives are in order.  The ensemble did  a good job as well contributing passionate renditions while they jump from one genre to another. It is characteristic of Philippine Ballet Theatre to deliver  rich acting when it is required. That they did  as they performed at par with expectations. 

At the end of this musical everyone was on their feet crying. I couldn't anymore determine whether I was crying because the story's pivotal twist was wonderful, or because Yza Calzado's breathy and tearful closing was moving, or because everything was framed beautifully with Ben Cab's masterpieces. There are so many things to love about this musical. But on top of the my list is the fact that the collaboration worked. It is easy to understand that Ben Cab was enough to nurture and inspire others to create. However, it is always a challenge   to marry egos, ideas and  perspectives  of artists. Honestly, I hate collaborations where the dancers look like they are on ASAP or SHOWTIME. I  really appreciated that each art form was glorified in this musical. Only a proficient and well respected director can  command a league of independents to go to a coveted destination. Not only will I  remember the visual treat of Ben Cab's paintings gracefully reflected on the set, I will also remember the music, the dancing, the words. This show was more than a tribute to Ben Cab. It was a tribute to Filipino Art. Bravo. 

                                     

 

     A moment that looks just like a Bencab painting