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

REPERTORY PHILIPPINES, The Show Goes on.

Alice in Wonderland Photo By:  Mommywrites.blogspot.com

Twelve years ago, I received a call from our dear friend, Maritoni  Tordesillas. Repertory Philippines was in need of a dance couple to perform the Nutcracker Grand Pas de Deux as part of their Cinderella production. I had just quit Philippine Ballet Theatre and at that time was still healing from the heartbreak of leaving a place I called home. Ate Maritoni  reviewed the sequences with us to make sure we had something to show. After which she brought us to Repertory's old office in Pasong Tamo. We were presented to the artistic team.  It was my first time to meet  Ms.  Joy Virata who was ever so energetically mounting Cinderella's transformation.  Her energy was infectious making everyone giddy. Midway, Ms. Baby Barredo came in and almost everyone stood up straighter and taller. Actors spoke louder and moved bigger. That was when I was hit with absolute terror. Here is a duo who's passion is unquestionable. Five minutes in and I knew they would never tolerate mediocrity. The waiting game was horrible. My legs were getting cold, palms sweaty. Finally it was our turn to dance. Right before the auditions Tita Baby said "Maniya Barredo is my cousin. I know ballet" (or something to that effect). I swear the butterflies in my stomach multiplied tenfold.  The couples performed turn by turn. I remember giving the biggest smile and the biggest port de bras (movement of the arms) I could produce. I was too afraid to fail because in my mind, if I didn't get it it was a sign that ballet was no longer on the table. Also I was afraid of being eaten alive. After the performance which was of course far from perfect, Tita Baby goes, "That was lovely!" It was a moment. "The" Baby Baredo said I was lovely (ok fine "WE, my husband and I " were lovely). I had to keep myself from jumping up in glee. That was my first day in Repertory soil. It was for me very memorable beginning. 

It didn't take long for friendships to blossom. After a gazillion shows, everyone suddenly felt like family to me. That production was followed by several other productions. Before I knew it,  I was the resident ballerina.  Each production affected me in so many ways. In celebration of Rep Phil's fiftieth anniversary Id like to share some of the lessons they have taught me. There are lessons that you hear about and then there are lessons that you gain from experience. Here is what experience has taught me. 

Sleeping Beauty 

1.  The show must go on. 

This is a common phrase in theater. You must perform despite personal struggles,illness etc. This is a rule I have learned to accept even as a child training to become a ballerina. But there is a difference between surviving a show, winging it, nailing it and killing it  During my years with Repertory I witnessed some of the best examples of sacrifice and professionalism.  I will never forget seeing both Bito Aguilos and Oliver Usison shivering backstage during our Alice in Wonderland production. It was flu season and almost everyone had caught the bug.  They were both very very sick for a long time but no one could cover them at that time. I could see them containing their energy. Vocal rest strictly implemented. Cold sweats visible in their forehead, muffled coughing within hearing range. When their scene came, they transformed  into perfect beasts.  Our  queen of hearts   belted "Off with your head!!" with so much energy and commitment that it seemed like she brought fireworks with her. Our King of Hearts  performed with his usual impeccable physical comedy to the delight of the audience.  While I have performed sick many times and seen others perform sick many times, it is not simply the will  of these brilliant people that I see as exemplary. It is the   the bravery to push  for more than 100% when they could easily take it a notch down without anyone knowing. It is after all a theatre  that is often times  filled with  pre-school children.  No child would have criticized a lower octave or a missed joke. But you see respect for the craft and the audience  is far more important to these people. In fact some of their best shows were performed during that bleak flu week. Lesson learned, the show must go on and everyone must deliver at par with Jojo,.... I mean everyone's expectations. No missed lines. Energy through the roof. No complaints. Deliver because every audience member out there deserves the Rep experience. 

Awful photo by yours truly

                            

Awful photo by yours truly 

2. Art is a sanctuary 

I have found that art heals on stage and off stage.   I have shared  dressing rooms with veterans, newbies, kids and I cherish the beautiful memories  that have served as happy pills. What I love  most about my family is that people  take the time to be kind even if each performance is a blur. A couple of years ago, I had returned on stage coming from the hospital because my child was confined. I had just been given awful news. My head was spinning from   worry and so I chose to be silent and focus on each task I needed to do to survive the 3-show day. There is after all no space for personal issues on stage. I forgot how the others found out but one by one, my dressing room friends took the time to just hug me. Reducing me to mush, I remained silent putting on my make up. Then one of them said out of the blue "Iiyak mo na yan. It's ok to cry but know that It's gonna be ok. It will always be a happy ending because mothers will always be strong for their children no matter what". And so i cried and laughed as they shared  some of their good and bad motherhood experiences while piling on make up. I had tears that day but it was accompanied by healing laughter. I survived that show day because kindness made me stronger. I did not ask for comfort that day. I did not expect it. But this family was there for me embracing me with love.  This experience has always reminded me that it takes so little to help other people perform  better. While art itself is a sanctuary, you can also be a source of sanctuary off stage. Kindness goes a long way. 

Pinocchio

3. Learn from the best

Repertory Philippines has  a lot of big stars. Seeing how the big stars work has always provided me with so much inspiration. In ballet (at least in the Philippines), you perform one big show at a time. Some of our actors perform different  productions  at the same time.  I was always constantly impressed with how most of them found it so easy to do. What is even more impressive is how they give importance to each show that they do. I was lucky enough to have performed on multiple occasions with theater veteran Ms. Pinky Marquez. At one point she was doing three big shows and as much as two different shows in a day (at least one of them in an accent and the other in Tagalog). Tita Pinky  as we fondly call her would show up way  early, put on make up very quickly and do a whole run of the show before the show. While this is not something unusual, it was the extra things that she would do while doing her pre-show runs.  While she remained fully commitment to  how the scenes were rehearsed she constantly innovated and improved her show bit by bit. She would test her improvements during her pre-show runs and would ask, "Was that funny?" More importantly she respected the show so much that even after having performed at least fifty shows, she would approach our stage manager and consult her  about her scenes. She valued corrections and feedback.  I mean this is a star who constantly wows the audience with whatever role is given to her (even her adlibs are greatly appreciated)  yet she has the humility to constantly work and work herself to the bone just to create magical moments on stage.  This reminds me that there is always space for improvement. The greats are great because they work on being great. 

Cinderella 

4. R-E-S-P-E-C-T

Respect is demanded by all companies. In the case of Repertory Philippines, it is not simply demanded on set. They have developed a culture that makes sure everyone understands why respect is essential. This goes beyond the usual strict implementation of rules. Every production eventually leads to an explanation of how valuable each member of the team is. Instinctively or intentionally one of the artistic team members always explains how  each role is essential. Onstage or offstage, each member should be loved and respected. People actually get reprimanded when there are instances of disrespect. Rep is a place where backstage staff are empowered and respected.  Jojo Amboy our stage manager for children's theater  is always referred to as our Boss and ate Tess  Andalazza, the ultimate costume encyclopedia.  Tita Ely  is masterfully in charge of the  magical transformations. I call them the constant of the theater equation. Of course actors are not always angels on set. But at the very least there is an effort demand respect in the workplace.  It is not difficult to see that  productions have unsung heroes too. This reminds me to work always with gratitude and respect for people who support us in our goals. 

                                      

                                                                                                          

                                             

5. Laziness is indifference 

Repertory Philippines has been regarded as a triumph in the industry. It is where it is now because it valued  art over everything else. They courageously staged their first ever production in 1967 with only seven people in the audience. These seven people were the reason they continued to persevere despite losses incurred and dwindling ticket sales. They were headstrong  determined in making theater a viable option for audiences. Here we are celebrating Repertory's history. They did not get here  without making sure that their vision of theater is clear to all who join the family. I have only been with Rep for a little over a decade. But in this time I saw how our directors were adamant in making it clear that laziness is not part of theater life. I remember vividly how Tita Baby would tell actors how lazy they were.But she would not stop there. She would take the time and talk about the craft. Laziness is indifference because it  means you do not care about the material or the audience.  She would tell them not to be satisfied with interpreting material on the first read. "Read it, reflect on it, make every emphasis on a word, every pause, every movement  purposeful. Don't just deliver a line that sounds good" Tita Joy would also say, "This is Children's theater, we do not find magic for the show, we create it. Use your imagination" The founders created Rep because they wanted to make theater great. To this day, they maintain the same resolve, they would never tolerate good enough efforts. Each show has to be a product of great efforts. Art should be a product of great effort. The audience deserves it. 

These are just five among many lessons I've learned. While I cannot say I have practiced all these lessons 100% of the  time, they have stayed with me and guided me through the years. They have given me something to share with others.  As the popular song goes "Because I knew you, I have been changed for good." I am truly grateful. Thank you Repertory Philippines for not only gifting audiences with experiences but gifting artists life long lessons to keep. You will forever be one of the greatest gems of the industry and of the Philippines. 

Snow White 

Photo by Bito Aguilos

Conversations: Vincent De Jesus Triple Threat Concert

Conversations. Sometimes it's all I need after a bad day. Sometimes, it's all I need to complete a beautiful moment. Sometimes, it's all I need to feel alive after a monotonous dull week.  Other times, it makes me cry, mad, frustrated. After two hours of Vincent De Jesus, I left the theater feeling as if I had just had the most intense conversation with a friend.  It replenished my soul like a good old cup of coffee. His music befriended me, comforted me, loved me. And when the time came for him to rant and grieve through his songs, I wanted to return the favor and give him a hug. I wanted to tell him "It's ok Vincent. May Forever. I promise". I wanted to sit beside him and cry with him but reality disrupted my thoughts and the curtains closed.  Hindi pala kami close. Laughing inside, I reminded myself that  he doesn't know I exist and that this was the first time I saw him in person. Just like that the conversation ended. But just like a good one, I was left with emotions  that I think will stay with me for awhile. 

Bed of Tears 

I loved the whole show but there were some spots that stood out.  Ricci Chan swayed me with his performance  of  "Twenty Four Years Old" .  Tearful, I listened to him and heard the pretty melody and lyrics that made me crumble.  Bituin Escalante started singing the first few lines from the song "Kasalan Ko" and immediately she silenced the crowd and drew them in. In contrast to the anguish that the song has she performed every lyric with sensitivity. Having heard this a second time, I felt that she really took the time to share with the audience the depth of this musical creation. I appreciated the sensory bliss. But what overwhelmed me was the layers she brought to the performance. (Uh Oh..... I think the memory is making me tear up just a bit.)

                    

A Barrel of Laughs 

Both the Care Divas and the Zsa Zsa Zaturninah Suites provided comical breathers that were embraced by the audience. The combination of colorful actors, playful music and simple yet intelligent humor was simply a beautiful triumph. The usual slapstick was replaced by the comedy of life. 

                     

Story telling

Pas De Deux from Songs Without Words was performed by dancers PJ Rebullida and Erick Dizon. The music alone was stirring. For a moment or two I closed my eyes and just listened to the melancholy dripping from each note. I opened my eyes and I got goosebumps from these two gentlemen who told the story of the song. Rebullida threw his arms to embrace Dizon and Dizon melted away. Left in space was a memory of what used to be there. Dizon slid away but kept his hand on Rebullida as if the thought of breaking completely free was threatening. Their performance was so powerful that I was reduced to mush. I wanted a happy ending but there was none, there were only regrets. 

                

All of his presented pieces spoke volumes about De Jesus' unique mind.   In the end, I say thank you for the music. Thank you for clothing us with your healing and loving music. He says he is demented, delightful and deranged. The combined madness is the source of his  "hugot" masterpieces. I say he is ALSO  deep, delicate and devoted. The new set of ds push him to create with care and with love.  Hats off to a genius.  I say thank you Vincent De Jesus  for allowing your music to be there for people.  Thank you for the much needed chat. Bravo.

“How shall I say it? Music makes me forget my real situation. It transports me into a state which is not my own. Under the influence of music I really seem to feel what I do not feel, to understand what I do not understand, to have powers which I cannot have … And music transports me immediately into the condition of soul in which he who wrote the music found himself at that time. I become confounded with his soul, and with him I pass from one condition to another.” —"The Kreutzer Sonata"

Yaya Chronicles: Kung Paano Ako Naging Leading Lady

I was bullied as a child. I was born  fragile. I was a shy, fidgety little girl who was almost always unsure of what she wanted to do. I knew deep inside I was different.That alone was already difficult to deal with. Unfortunately, I was destined to be a bullied individual. I remember as a child constantly trying to figure out  why people chose to bully me. Was it because I looked so fragile? Was it because I was plain Jane? Was it because I was stupid, incompetent or even useless? Was it because I tolerated it? Was it because I was ugly? God knows I had my share of uglier child syndrome. It puzzled me that of all the people in the world, I had to be one of the losers. I was unable to stand up for myself. Even with a loving family and a handful of friends, I still couldn't find the courage to protect myself from hurting.  It was the ticking of time and the evolution of  my soul that eventually gave me the permission to be brave. Life happened, and I chose to accept my imperfect self. It took forever but  I forgave myself for all the imperfections I saw in mirror. I told myself that God created me to live, not wallow, not suffer. I found the good in me and I held on to it. I said thank you for it. I tried my best to nourish it. I learned as well along the way that bullies are people too and while I was suffering with all the bullying, they probably had their fair share of hurting too. Through out my life, I would meet new bullies from different directions, but I knew better. I felt better. 

Those who know or know of me now   would probably not associate me with the words weakling or fragile. But somewhere in my past and in my heart is the underdog that didn't know how to redeem herself. I will not dwell on the storyline of this musical but I will say that the bullied child in me empathized with the central characters of this musical. The story is about bullying  per se but about not feeling good enough for others .After all the laughter, I went home and I couldn't help but feel triumphant remembering the musical's take on a happy ending.  I was happy I shared the sentiments of the storytellers. Strength and power are free for all. Greatness is for the taking. We only need to say yes to life. 

Dalanghita Productions. Catchy name indeed. First impression tells me its flirtatious name is also very much appropriate in describing its  point of view.    Kung Paano Ako Naging Leading Lady being its debut production  as a new theatre company  was just as they promised.It was fresh, flavorful and Filipino. 

Let's talk about freshness. 2015 has had a barrage of super heroes. Who can forget the film Avengers? One cannot mention Filipino and Superhero in one sentence without associating it with the recently concluded Manhid  the Musical. It seemed almost serendipitous that all these had to come in  one after the other.Thankfully, despite the  similarities in theme, the storyline of this musical was unique. It did not dwell so much on super powers of heroes but rather the innate greatness of the ordinary. This is a story about the underdog's redemption. This is musical is about a yaya. 

This production is not only hand crafted by an all Filipino team, it is also quite  literally a Philippines 101 subject. As expected, mirroring life  were socio-political  satires and farcical comedy. The writer however  took it a step further by  balancing it out with references to all time Filipino strengths through its main characters. While the villains " Kayumangilas" represented ills of political society, Mely the lead character of the musical also represented  contrasting  qualities of hard work, sincerity, loyalty and servitude. While it's fun to poke fun at negatives, it's uplifting to be reminded that we can still use the hashtag #morefuninthephilippines.  

 Let's talk about the claim to fame for the category of flavor. Sweet it was because of the beautiful melodies created by Vincent De Jesus . Music being the expression of the soul  was utilized ever so cleverly  in telling the story. Every lyric had  an emotional resonance. It affected. It moved. It made the heart remember personal experiences.  The tangy flavor came from the acidity of  the actors as they bared their hearts on stage. It was a breathtaking sight to see both the ensemble  and the leads perform with so much honesty. The taste was always melting  in your mouth. Memorable was the Nancy Crowe's choreography in all the major production numbers. It showed genuine enthusiasm from  the actors and choreographer as well. It was the perfect seasoning to the plated dish. I must say something about the how this production was plated. The seemingly  minimalistic set was genius  and intelligently used. Kudos to Tuxq Rutaquio for framing the scenes  with love. Veteran John Batalla lighted up and  colored the stage and made it look every bit a graphic novel. I loved capturing the moments of color and light. All these little details enhanced the theatre experience. Nothing like a good 4d presentation of a a such a hearty dish.  

Lastly and quite obviously, I must say something about harvest of talent on stage. Bituin Escalante as Mely the lead character of the story  was subtle yet powerful. It felt as if  she made sure her every move was organic. She was relatable beyond belief. Could it be that my nanny Rose was her peg? Or maybe it was Yaya Maricar or our kapitbahay's Manang? Her comedic timing was impeccable. The audience would roar in laughter. I  guess I need not mention her stellar notes. She really was bright star in this production.  Hans Eckstein as the leading man fit the role to a tee. He has a natural swagger and charm that was effective. Leading Man was swoon worthy. No wonder the characters were all smitten.   Gianina Ocampo delivered with her sensitive performance as Nena Baboushka She humanized the world of the super heroes and made everyone tear up with  her character's devotion to love.Astarte Abraham had just the right amount of Brittish color in her as Madre De Dios. Her dramatics  were en pointe.  Domi Espejo as Senyor Blanko   was phenomonal. His punchlines were my favorite as he massacred the english language in the best way possible. It was high brow comedy.  The revelation for me however was Kim Molina as Viva. It's my first time to watch her perform. She  was astounding. She held her own performing  songs with Bituin Escalante. She for me is a diva in the making.She is dynamite.  

The verdict is in the  producer  wasn't lying when he promised a Fresh Flavorful and Filipino show.  He  should have also added another F word to their introduction. This production is simply FABULOUS.  It was skillfully written by Carlo Vergara and brought to life by  the renowned director Chris Martinez . It is an appealing collaboration of artists. It is a show that will be remembered by its audience not only for the knee-smacking laughter and the uncontrollable tears it created but also for the 3 hour ( ok it was a little too long but I forgive them) escape  to wonderland. Bravo Dalanghita Productions and more power.

All photos by : Erica Marquez Jacinto

Kung Paano Ako Naging Leading Lady 

May 18, 2015

Peta Theater

Dalanghita Productions