NineWorks' Christmas Carol Delivers Hope and Happiness

Nineworks Theatrical with the help of Globe Live  brought back Christmas Carol for a second run of  spreading holiday cheer. The re-imagined Carol had no semblance of a replay of the 2016 spectacular. With the intention of keeping everything fresh, everything except for the script was rehashed and the output is a more delicate presentation of "home". The staging was pretty much a well loved Christmas tree.  It was a luminous collection of ornaments that reflect our loved ones. It's that beautiful tradition  that ignites the Christmas spirit like no other. 

Nowadays, hate and hopelessness has become a norm. Hope is no longer accessible to all.  We've produced thousands of Scrooges through the years making this production's story relevant and even necessary.  The famous Christmas tale about a person bruised by life finding  hope with the help of three ghosts truly is art imitating life. What a wonderful thing it was to see   art used to create a paradigm shift.  Certainly there was more than one Scrooge who found hope and happiness the night I watched. This was production was a quick fix of fun and  it is a story (and a staging) that reminds you that the miracle is indeed within us all. 

Cast 

Miguel Faustman who took on the titular role of Ebeneezer Scrooge has done this show over a hundred times. Despite this, there is a freshness in his performance. This time around there was more delicacy. The story requires a lot of dramatics but Faustman delivers a quieter bitterness that resonates. At a certain point he quite frankly shocked me with a lively tap routine. Kudos to Director Robbie Guevara and choreographer Yek Barlongay for pushing an already awesome artist beyond his comfort zone. 

Chameleon Noel Rayos delivered an unbelievable performance in multiple character sketches. He skipped in and out of different roles with so much vigor and enthusiasm. As Marley (Scrooge's best friend who returns from the dead), Rayos was dark and earthy delivering his lines with harrowing emotion. In contrast he was comical as Mr. Fezziwig. His vibrant personality certainly came out in his spirited dancing. As if that wasn't enough to convince the audience of his versatility,he came out and performed cycling tricks on stage in the final scenes of the show. Truly he was valuable member of this cast.

Laurence Mossman and Mitzi Lao  individually  were pitch perfect with the quality and tone of their voices perfectly matching the emotional content of Menken's classic songs. But together the partnership seemed  friendly at best. 

Throwback Thursday

The production can boast of colorful production sequences featuring high powered  technical dancing.  I was truly  delighted to see the actors  pull off triple threat exhibitions. Numbers like Mr. Fezziwig's Christmas ball  and Abundance and Charity were athletic  highlights that added to the show's  entertainment value. There's actually more dancing in this show. It was a commendable effort from choreographers PJ Rebullida and Yek  Borlongay. It must be said however  that the bigger than life staging of the previous run was far superior than this one. For instance the staging of The Ghost of Future was like a scene from "Thriller" rather than a sophisticated interpretation of  painful regret. It was a bit caricature-ish  rather than organically spooky. I also could no longer recognize any  real fluid movement.  Some of the  sequences  looked quite cramped with an injury waiting to happen.   It is difficult not to compare because the previous staging  spelled out grandiosity and purposeful movement. Nonetheless someone with fresh eyes will  surely not complain at all. It was still a dynamic display of actors' skills. 

The rectangular stage was  adorned with a multi layered   surrealist old London set by Ed Lacson. It acted as the magic box that kept on revealing spurts of magic from unexpected places. The windows that depicted homes also  opened dramatically revealing ghoulish creature.   The angularity of the design allowed the stage to adapt to each of drastic scene changes.  While I thought it was a wonderful set, I did miss the intimacy of the old multilevel set experience. The immersive quality that the  2016 run generously provided was somewhat diminished. 

Intelligence and Empathy

Robbie Guevara directed this show with a relentless pursuit of finding new layers to the material. His approach shows a huge amount of intelligence and empathy.  I appreciated the highlighted presence of the three ghosts as a triad in the  first act and the finale because it made Scrooge's experience realistic. Don't we all feature real faces of people we've encountered in our dreams?  

It  must have taken a lot of heart to see that the children roles of story are the key to unlocking the story's hope. This time the children were presented ever so tenderly. What people saw was not simply their cuteness level but the clear picture of  untainted hearts. While their voices were velvety soft their message was   potent. Scrooge was changed by them.  To see a child change an adult with their kindness warms the heart. At the very end,  everyone sings the words " Let the stars in the sky, remind us of man's compassion. Let us love till we die  and God bless us everyone".  The  power of that message is amplified  with the children singing  it to the audience like a mantra. It was a reminder to see life lovingly through a child's eyes. Kindness and compassion are far more important than any other concern.  

                   

At the end of the day, he produced a show that delivers a snowfall of love. Like the uniqueness that every snowflake owns, Christmas Carol 2.0 was special in its own beautiful way. It is a gift of a heartwarming experience. Take a chance. Find hope and happiness in a different place.  Create new traditions and enjoy this gift from Globe Live and Nineworks Theatrical.

 Its last remaining shows from Dec 21-22, 26-27 at 8pm and Dec 17 and 25 at 7pm.

 For tickets to A CHRISTMAS CAROL, contact Ticketworld at 891-9999! Happy Holidays!🎄

#GlobeLive9WTACC #TheMiracleWithin

Join the Newsies Strike

The involvement of Globe Telecom in the creative process of Nineworks Theatrical has definitely made a tremendous impact in the theatre industry. It is a shining example of partnerships gone right. In recent years the partnership has expanded Nineworks' capabilities and provided artistic liberties that many theatrical groups could only dream of. Nineworks has always had a cult following but Globe with its wide reach has introduced them to new thirsty audiences. Achievement unlocked. With consolidated resources, financial compromises are minimized leaving a better chance of artistic triumph on stage. This was the case when they showcased "The Christmas Carol" last year which captured the hearts of many. Globe has not been getting the short end of the stick either because Globe's name soared with every happy social media savvy audience member. This formula seemingly has been win win for both parties, indeed a fantastic deal.

This time however, Globe and Nineworks have outdone themselves. They have suavely transitioned from doing business handshakes to venturing into an artistic collaboration. Both parties seem to have made a strong point about focusing on the Filipino artist. The Filipinos have always been full of talent but go to any European country and you will find more than a handful triple threats. Just this year I made my theater rounds in London and out came the triple pirouetting, straddle jumping pitch perfect gorgeous performers. Truthfully, there are not enough singer actors who can dance at a professional caliber here in Manila. A lot have the moves but not many can do the tricks. Despite this fact, they chose to bring to Manila Disney's "Newsies", a musical that is famous precisely because of the triple threat mighty hard technical requirements. Instead of shying away from risk, they chose to strike. Initiating an artistic revolution they gave both veterans and newbies in the cast a taste of intense skill upgrading. They believed the Pinoys could do it with the right training. The truth of the matter is whether the critics crush them or not, the cast will go home with all the gifts they have gained from "Training Ground". They already have a win on their side. The question is, did they deliver a win for Nineworks and Globe?

Newsies is largely based on the Newsboy strike of 1899 in New York city. Led by alpha-male New Yorker Jack Kelly, the Newsies raise their voices and launch a strike to counter the Pulitzer broadsheets empire. Truthfully, it wasn't much of a battle for Gian Magdangal who played Jack Kelly. After a hiatus from local theater, Magdangal  came back strong, refreshed and revitalized. With just the right New Yorker swagger he won the audience within minutes. His silvery voice intact and his charms on full capacity, we quickly believed he was the hero that would save the Newsies.



It seemed however that the Newsies didn't need much saving. The ensemble was a force to be reckoned with. No doubt with a lot of mentoring from veteran director Robbie Guevarra, the cast composed of mostly newbies were transformed into fearless Newsies. I was happy to see that most of them really took the training to heart. It showed in their confidence level. My heart jumped a bit as the ensemble took on a grand tap number that was too cute for words. I appreciate the vitality of the dancing. Bravo to PJ Rebullida for whipping them into shape. As for the acting, each guy held on consistently to their individual characters with vigor. In particular, musical theater newbies Ian Ocampo (ballet dancer) and Alex McDermott (TV Host and actor) quite literally swept me off my feet. These newbies were at ease and displayed that they were indeed worthy of being called triple threats. They savored their lines as if it were a privilege (It is!) and demanded to be seen and heard. Their dancing was expansive and their execution (from accent to singing) meticulously on point. For both men, it was a perfectly calibrated performance.  Newsies today, leading men tomorrow. 

Luis Marcelo who played Crutchie a disabled Newsie is perhaps my favorite of the bunch . I like his straightforward animated approach to being the ultimate underdog side kick. But what was memorable to me was his ability to make moments out of silence. When he was being dragged out by the cops he made sure he made his dignity felt with his steely yet almost glassy eyes. He slayed his solo (Letter from a Refuge) belting out emotional notes that seemed to stay with me long after the scene finished.

Jef Flores played Davy the brains behind the strike. While I did like his performance I would have to commend him for something else. His Newsie transformation is perhaps the biggest success of  "Training Ground".  I would never have imagined that Flores would be able to do tricks like a dive roll, a saut de basque (ballet jump), pirouettes and a tap routine. I did not see that coming at all especially because I knew before hand that he was going to be taking on the role of a timid passive Newsie. Kudos to Flores for allowing the challenge to change him. Confidence and commitment is key and he had both in his pockets the whole time. 

On the technical side of things, there were a few forgivable imperfections. There were mic issues when I watched. The rain didn't help. I loved the structural set made by Ed Lacson. The movable sets punctuated the gritty New York Streets and framed some of the scenes strategically. I appreciated the projections because the innovation complimented the story telling. However, it is also because of this that some scenes were a tad too dark often casting a shadow on the faces of the actors when they are up on the sets. Thankfully the actors have enough light in them to make themselves noticed.

Overall the simple narrative of the story was beautifully packaged with impressive production value with the heart of fired up Filipino artists at the center of it all. This time it's not only a win for Nineworks and Globe. Newsies is a win for the Filipino triple threats. Director Robbie Guevara brings forward what he initially promised, a paradigm shift that I hope will continue to bring inspiration and transformation to the people who encounter it. Let's all join the strike and believe in change. We all could use an upgrade right?! Strike!

For tickets, go to go.globe.com.ph/newsies, glbe.co/01ticketsnewsies, 

or contact Ticketworld at 891-99-99

#CreateHeadlines #GlobeLive9WTNewsies #SeizeTheDay

Love is Sweeter the Second Time Around: La Cage Aux Folles

When days and days are dedicated to either the stench of Philippine politics or the idiosyncrasies of the freakin pabebe girls, a good distraction is necessary to keep people sane.  Fortunately for all us, theatre in Manila is always ready and able to provide a momentary break from the  chaos. There are actually a  number of good shows to choose from.   Personally however I am craving for something familiar and sweet.  I just can't wait for La Cage Aux Folles to return to the stage. The countdown begins. The RCBC theater curtains will open Aug 15 and close on Sept 6.

There's never too much of a good thing. I thought the  original staging Nine works offered earlier this year  was just a lovely escape. The story is based on the 1973 french play Jean Poiret. It  tells the story  of a young lad who has to introduce his wonderfully gay parents to his conservative future in laws.  (Check out my  review  of the show http://artaturningpointe.blogspot.com/2015/03/be-you-bravely-la-cage-manila-aux-folles.html)  It was a colorful tapestry of  love. But I believe that love is always sweeter the second time around. I'm excited to see if Robbie Guevarra can push it even further towards the lala land of greatness.

Here is what I'm excited about. Triple threat PJ Rebullida joins the cast as Mercedes, one of the Cagelles. He took part in the first run as one of the choreographers but will now bask in the light as he shows his own moves on stage. I am certain he will bedazzle the audience with his charm and spunk. More importantly, I think with  a choreographer joining the cast, the showtoppers will be cleaner, sharper and ultimately better.  Tappity tap tap, slide and kick release,  chasse grand jete. I fully expect the marry of dance genres to be a 3d theatre spectacle. 

The cast will again be  lead by Audie Gemora who will play Albin  and Michael de Mesa who will play Gorges.  These two gentlemen  did a phenomenal job in the first run. Their spirited performances celebrated love in so many ways. With another  chance to explore the characters, I'm quite sure the veterans  have added a few more nuances to add depth to their characters. 

Lastly, I'm excited to see Noel Rayos and the cast have a blast on stage. What was memorable about the initial staging was that every person in the cast delivered their 100% con gusto. I do hope they share the same  amount of energy again in this run. 

The first run was embraced with standing ovations and wild applause.  Care to find out if Nine Works will have a sweeter ending?  See you all at the theater! 

Be You Bravely: La Cage Manila Aux Folles

Along with the rest of the world, I searched for that one resolution that I would attempt to fulfill in 2015. Even before Christmas came, I came across a bible quote that left me frozen. It said "Be you bravely". It was lifted from Romans 12:2  of the bible. I knew then that this was what I needed to do. While not everyone I know is religious , I know that most wish to be brave. I too want to be brave enough to be truly myself in all possible situations. I want to be brave enough to stand up for my beliefs. I want to be brave enough to say no. At the same time I want to be brave enough to love with no limits. I also want to be brave enough to find new things to be passionate about. But this post is not about my very long be brave list.It's about a living breathing musical that positively reminded me about this resolution.

Without saying too much (no spoiler alerts here), La Cage is a story about a non traditional family faced with a challenge. Two gay men are made to face their son's fiance and her ultra conservative family. That alone should be enough to intrigue. The show has a happy ending. How it came to be? I suggest you go get a ticket and find out for yourself.Immerse yourself in the comedy of errors

The story, the script, the music itself is genius in a platter. However, what makes this shows standing ovation worthy is the combustible materials that it is made of.  The cast is led by Audie Gemora who plays Zaza, the ultimate starlet in drag and Michael De Mesa who plays George the show producer. The two are in a lovingly gay relationship. They both hit the ball over the ball park with on point characterization. I have seen Audie Gemora splendidly play gay several times. Chameleon that he is, he always brought something new to the table. With De Mesa's magnetic charm and Gemora's truthfully gay portrayal, it was too good to be true. It was chemistry that made the difference. As good theatre does sometimes, their talent made me feel for them in every scene. I believed them individually and as a couple. I was painfully hurt when it was time to break the bad news to Zaza. I was equally stressed and conflicted when George did not know how to console Zaza. They were indeed brilliant story tellers. 

Michael De Mesa as George  Photography by Erica Jacinto 

Out to steal the limelight was the ensemble (who doubled as minor characters) who set  the stage on fire with their infectious energy. With the very complicated and calorie burning choreography, they managed to blow my mind ( a dancer's mind might I mention). The pieces were not only clean they were as colorful as the rainbow. I saw at least  ten fabulous versions of a sultry face. I think I even saw 5 versions of can can, skank meets giggles. BRAVO to the dancers who sang and the singers who danced. All I saw was a sea of unified madness.

The ensemble Photography by Erica Jacinto 

Rafa Siguion Reyna Photography by Erica Jacinto 

Photography by Erica Jacinto 

Noel Rayos as of the crazies deserves noteworthy mention for being memorable beyond belief. A famous star is only as good as his or her performance. I hurt my hands clapping for him  when I saw him play the the director's side kick  in Producers a while back. Part of me tbought I was gonna see a bit of that in La Cage. I was completely mistaken because he brought a whole different shade or shall I say shades to the words beautiful and gay.  He is simply one of the most brilliant actors of this time. He can  do no wrong in my eyes. Bravo.

Raul Montesa's role  of the conservative Father-in-law to be was short and sweet but we was a perfect touch of contrast to the crazies.   The nuances  that he had injected were hilarious.

Robbie Guevarra outdid himself with this show.  The overall production value of this show was beautifully balanced by well directed actors and actresses. The costumes had just the right touch. The set was cleverly designed. The lights framed every scene lovingly. It's not hard to see that a lot of love was put into this show. All the hard work is now being reciprocated by thunderous applause and standing ovations.

I end by saying, La Cage has a beautiful message. BE YOU BRAVELY. They message is packaged beautifully waiting for another person to unravel it. Go get a ticket and watch the show.
                      

Joni  Galeste as Anne  Photography by Erica Jacinto 

A bit of a throwback: Waiting Until Dark and Noises off

I would say it's a pity that I don't get to spend as much time reflecting on my thoughts and spitting words out on paper.  But then again, I make a habit of living life fully so I must have had worthwhile activities that led to my brief hiatus in blogging. While I missed my "me" time for writing, I surely made use of my time at the theatre. Despite the showers that come, theatre in Manila is sizzling hot. Here's what I have to say ....

Waiting until Dark

The only thing I knew about this play was that my ultimate idol had done a movie version of it during her prime. Repertory's first offering for 2014 was a suspense thriller starring Liesl Batucan as Suzie Henderson. The story revolves around Suzie a blind woman who gets caught up in in a complicated criminal rendezvous without her knowing.

Liesl Batucan was simply astounding. Her performance was incredibly precise. Only a veteran can pull of the nuisances like that. For a blind character, her physicality was what she used to establish her disability. More than the blank stare, it was how she had mastered the room that made the  difference. Her every tap  of her cane in every spot was calculated or so it seemed that way. Halfway through the play I forgot she was playing a role. Her sensitive portrayal made me silently root for her ala telenovela even if i knew audience opinion wouldn't affect the ending.  She was supported by a beautiful ensemble cast. Joel Trinidad for me was the very able storyteller of this show. He played Mike Talman one of the crooks. It was a delight to see Robbie Guevara play crook #2 Sgt Carlino. He provided the comedy needed to neutralize this thriller. Arnel Carreon played Henry Roat, the mastermind. Hats off to this actor for his dark theatrical version of a sinister mind. Lorenz Martinez plays a cameo as Suzie's husband delivering ever so ably. Last but not the least is Dani Gana who played annoying 9 year old Gloria.  The young thespian left a lasting imprint of plates crashing on the floor in my head. Definitely one to watch out for. She was either heavily coached or naturally brilliant, or maybe even both.

Overall, this play was mentally and emotionally engaging. I loved it.

Noises Off

A play within a play. You'd think the plot would be complicated. Well, it's not. This show was simple comedy executed by a stellar cast. Worthy of mention would be  Carla Guevara Laforteza who portrayed the role of a starlet. She had me howling in laughter as she repeated her lines out of context repeatedly (as required by the play). I've seen her do a lot of stuff and apparently there is nothing she can't do. Comedy, check! Shiela Valderrama-Martinez played a gossiping actress straight out of pleasantville. She too was hilarious as she furiously attempted to keep everything in its proper place in her obsessive compulsive ways. Paul Holme who played a washed up alcoholic actor was the funniest of them all even if he had limited exposure.

The show was enjoyable. If anything, the pace of the play was a bit slow at times. This being how it was written, I can't really fault the production. There really are days when one just needs to have a good laugh.  Thank you for the laughter Repertory Philippines.

PHOTO CREDITS: REPERTORY PHILIPPINES