Eto na! Musikal nAPO, Nostalgia with a Purpose

Eto Na! Musikal nAPO opened last weekend with rave reviews. It was packaged efficiently as a fun loving musical featuring the timeless music of the APO Hiking Society but it happens to be more than that.  Minutes after seeing the press preview, I was  reminded  of a quote I randomly saw in Facebook. I googled  the words  "softness and strength"   because it was just the perfect set of words to describe this musical's overall message. It goes, " Be soft for the sake of every hard heart; show them with every movement  of your body  that gentle does not mean weak". This musical's walls were built  on laughter and it's spaces were filled with   catchy music  and delightful dancing. Every nook and corner was filled with cheeky mementos of the mid-seventies. It honestly had all the potential to simply be an enjoyable  but irrelevant fluff piece. Thankfully,  their house of theater  made good use of the lightness of being and sent out SEVERAL important uplifting messages. In the process of doing so they also succeeded in re-inscribing history, culture and politics. There are musicals that are sung in Filipino and then there are musicals  that carve out an identity for the Filipino.  Who would have thought that jokes  and good old APO music could be so important?! This musical just proves that art in its vulnerability is still certainly powerful  and so is every Juan De La Cruz. Needless to say, the collaboration between Nineworks Theatrical and Globe Live was a big win for theater and a big win for the Filipino. 

The story revolves around seven friends who share the love for music. Set in the seventies during the on-set of Martial Law, a group of friends discovered who they all wanted to be when they set out on a journey. All seven committed to joining a song writing and singing competition. The group was bonded but they were in  way divided in two groups, the naturals and the follower.  Sonny (Alfritze Blanche) was  the talented composer  of the group. Rick ( Mark Bautista) their go to guy for lyrics.  Ray (Jon Philippe Go) was the young but skilled musical arranger of the group. Butch (Jobim Javier) was the sweet singing  playboy. Then there were the witty and supportive followers  tongue tied mover  Fil-Am Javier( Jeff Flores),  small but terrible Bobby (Vyen Villanueva) and secret lyricist Donnie (Jon Abella).  Their journey to the competition was disturbed by the love predicaments of the naturals.They were also left scarred by an unfortunate incident caused by  by Martial Law.  At the end of this musical, the competing group was left with the followers pursuing their  goal driven by a new purpose.  They found themselves writing their own song challenging  what they thought was uneccaptable norms. They won. All if a sudden they had a platform to share with others their music through TV. In the end, the trio was left with the realization that fear was unnecessary. Their  song won because people believed in their message and in their music. They were not alone. They were no longer followers but leaders in their own right.  

Message Received 

What is nice about the story that  Robbie Guevara and Jon Jon Martin crafted is that it highlights the underdogs as the last men standing. There was a point in the story where Javier, Bobby and Donnie question  if they could still win  with their strongest members out. Javier states, we have a purpose and that's all we need to succeed. In the play, political unrest was troubling but the three with purity of heart braved it out and sang about  their distaste for current social and political landscape. Their youth or skills were no longer something that could hold them back because the opportunity was there to rise up and they grabbed it.   It's a beautiful message to share. There are no little guys only little dreams.

Batang Bata ako nalalaman ko to
Inamin ko rin na kulang ang aking nalalaman
Ngunit kahit ganayan and kinalalagyan alam ko
na may karapatan ang bwat nilalang
kahit bata pa man kahit bata bpa man. 

Throughout the play, the cast would always blurt out "Bawal Magmura". Each time there would be small reminder that things could be said a better way, things could be done a kinder way. I love that very slight hint of how vulgarity was unacceptable then and certainly it should be unacceptable now. It was a purposeful reminder done in such a witty way. I appreciate the unapologetic opinion against Martial Law as well. 

Another point that was well taken was that there is a need to look back at the past. The past should be relished, enjoyed understood and protected. In the beginning the gang cleverly starts with the first song being "Lumang Tugtugin" (Old Songs) bringing back tunes like "Leron Leron Sinta". It appropriately grounded and prepared the audience for the throwback to APO's own music. It's a reminder that we should never forget traces of who we are. 

Throwback Thursday

Perfectly timed on a Thursday, the musical was filled with nostalgia.  Eliciting laughter was the constant references to how Manila used to be back in the seventies.  It was  a  adorable poke at the primitive past with telephone booths, love buses and partylines.  Surely familiarity made it a hit  for audiences of that generation. At the same time the throwback in contrast to present  ridiculously complicated times was quite funny too. The witty references were almost like a meticulous education  of social climate of that time.  It was very intelligently  written and the relatability factor was  on point. Everything was easy to digest. 

Arteculation 

The homage to the APO Original Pinoy Music was exemplary .Thanks to Daniel Bartolome ( Musical Director) the  songs' melodies were not overpowered by the changes made to adapt to a theatrical staging. Songs were seemlesly incorporated into the story. Some of the songs were sung in a different perspective and context. It refreshing to witness something new. More importantly it highlighted  the universality of APO's music. Collectively,  cast was committed to singing the songs harmoniously. There were however undeniable standouts. Newbie Jobim Javier nailed all of his songs with gusto. For a newbie in theatre, there was absolutely no trace of hesitation or self-doubt in his performance.  His comical timing, suave physicality and strong voice really gave life to his character "Butch". Watching him approach theater with so much joy and energy was exhilarating. The Sonny and Jane tandem played by Afritze Blanch and Marika Sasaki was too cute for words. The chemistry was believable and their contrast hilarious. Blanch was the ultimate leading man. Sasaki fit the doe-eyed loyal girlfriend to a tee. Their duet "Show me a Smile" made me smile.   Jeff Flores was adorable as Javier. I would think it was a breeze for him as the  role was  almost tailor made to his reality. Energetic funny singer who came from the states who speaks tongue twisting Tagalog, easily Jeff Flores. The most memorable scene for me was not from the cast leads but from Raul Montesa who plays  the father of Ray. He sang the song "Pag-ibig" with so much authenticity that it broke me. Truly I was inconsolable  for a couple of minutes.  This is the first time I have seen Montesa perform in a tagalog musical and I was beyond impressed by his capacity to silence an audience with his powerful facility. What a gift to see this man perform in his native tongue.

Alfritz Blanche as Sonny and Marika Sasaki as Jane 

Jobim Javier as Butch 

I wouldn't say the musical was  perfection personified but it was nostalgia done well and with purpose. A little refinement in scene transitions, a little polishing in the group scenes and maybe a bit more light in some group scenes  would be advantageous. As it is, the musical was light and entertaining yet relevant and absolutely timely. It seems Nineworks Theatrical and Globe live wanted to emulate the spirit of APO Hiking society. Their updated KKK outlook was replaced by the producers' CCC. They were creative, collaborative and courageous. Bravissimo. Thank you for choosing to use gentle,soft heartwarming  art for a greater purpose. 

Catch Eto na! Musikal nAPO! at the Maybank Performing Arts Theater from August 3 to 26, 2018. Tickets sell at Php 1,500 (Zone D), Php 2,200 (Zone C), Php 3,000 (Zone B), and Php 3,500 (Zone A) and may be purchased from Ticketword at 891-9999.

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

These are a Few of My Favorite Things

"Raindrops on roses, whiskers on kittens, bright copper kettles and warm woolen mittens,brown paper packages tied up with strings, these are a few of my favorite things. .......When the dog bites, when the bee stings when I'm  feeling sad, I simply remember my  favorite things and then I don't feel so bad." It was that song that made us think happy cotton candy thoughts. It was that soothing melody that was  transferred from generation to generation to cure all pains from cuts and bruises to feverish tantrums.  These feel-good lyrics  along with the a handful of songs from  the musical Sound of Music have been flawlessly integrated into everyone's childhood. Definitely it would belong to many families' favorite things. It definitely is part of mine. It has been 52 years since the movie that popularized the musical was released but a global cult following still exists. After having seen the recent staging in Solaire I now know why. 

The story is about a novice  Maria  Rainer who is sent to the Von Trapp family to be their governess so she can find her spiritual calling. The military run household is tamed gently by Maria through music. United by chance Maria and the Von Trapp family find love and peace at the most unlikely of times. The story is set on the onset of World War II and its political undercurrents were already conceivable. With the glorious music of Rodgers and Hammerstein the 30-strong international cast and Filipino add ons took on the challenge of ensuring the enduring appeal of Sound of Music lives on. 

During the media call of Concertus Manila's  "Sound of Music" most of the press asked the cast members what made SOM a household favorite. Some of them echoed my experience, it was the joyfulness  of the music and the story that drew them in as children. Zoe Bevon  who plays Liesl Von Trapp shared her insightful point of view. She quipped "You relate to different characters as you grow up"  I realized how true that was because it is a play with an age range so great that it can reflect people in different stages of their lives. The story has rebellious kids craving for attention, teenagers figuring out what love is, and adults who are figuring out their  convictions.  You find new things fall in love with each time you revisit the musical. Also interesting was the point of view of the adults who got to know and love the musical as adults.   Jonathan Taylor who plays  Max Detweiler in the music  didn't think there anything more than the fluff it was famous for. As he studied the material as an actor, he found darker and deeper layers into the Nazi  history. In essence he believed that its message was strong and relevant, lessons that every generation could and should appreciate.  The loving words from the cast intensified the responsibility to give justice to the epic story that everyone has come to love in their own special way. Thankfully, they delivered a delightful package of talent on that very same day. 

The Cast 

Carmen Pretorius as Maria Rainer was a refreshing sight. Having done Liesl prior to stepping into the role of Maria, her perspective of the characterization seemed full. She opted for a more contemporary feel far from the usual mimicry of Julie Andrews.  She animated the role with her own brand of subtleties.  Physically she was without the caricature excesses making her performance very natural and believable. Surprisingly her straightforward approach did not come across as stiff. Pretorius was witty, absolutely charming and most importantly warm. With notes like hers, I would be convinced too that music can fix every concern in the world. Her sustained energy kept the whole story intact. 

Opposite her was  Nicholas Maude as Capt Von Trapp. Similarly Maude stirred far away from Christopher Plummer's famous movie version. Consistent with the character his military style was strongly portrayed. What sets him apart  is his ability to soften up at perfect moments. I would call his ability to blush a cute shade of pink on command as an awesome addition  to his acting skill write up. Whether it's tears or love that commands it, it creates an atmosphere of sincerity. His pacing was almost too good, never a step ahead instead he reacts, skilled receiver. 

Zoe Bevon  as Liesl and Michael McMeeking as Rolf were good individually. Their sixteen going on seventeen was  a fun number. However the dancing highlights were painful to watch. It lacked grace and finesse and I was almost afraid that they would ruin the sets. 

Who can forget the children?! The Filipino cast was composed of Oren Soleta, Gwn Dorado, Dean Angelia, Krystal Brimner, Sam Lagman and Faline Dorado. Such vibrant and crystal clear performances from these children. Standing out was Krystal Brimner  who was fully intent on making the most of her  solo moments on stage. Her actuations were consistently purposeful whether she was in the background or foreground. Clearly it was their eagerness  that captured the hearts of many. 

The Visuals

The muted colors  were a good contrast to the colorful performance because it didn't overwhelm the audiences with comical colors. It instead allowed the audiences to focus on what was going on. It was like a coincidental vignette framing everything delicately. 

The Bottomline 

The strength of this production goes beyond the amount of talent they have  put on stage. What I believe is the core of this production is the clarity of the message. I have watched the movie hundreds of times and I have likewise seen and loved the musical versions but I saw something different with the treatment of the words and the scenes. The same words were uttered but I had a better understanding of its undertones because it was delivered with intention not to just  entertain but to educate. In the song "No Way to Stop it, the Baroness and Max Detweiler convince the Captain to compromise his ideals  because he can't do anything about it. They sing the words "Be Wise, Compromise" and "Just as long as I'm living there'll be nothing as wonderful as I". They weren't just conflict characters, I realized they were intended to reflect the ills of society. The reality of  people  choosing comfort over ideals. (I reckon this also stands out to me because it is a timely reflection of the Philippines but let's not talk about that). In the end when the Von Trapps flee, i realize that Jonathan Taylor was right when he said that his role and this play had layers.  At the very end Max  chose to be the sacrificial lamb, he learned to love and sacrifice  so that others could be free. He stood firm with his chosen conviction. The family , Maria, love changed him. It wasn't just music that cured everything. it was  the undeniable love that was so infectious and strong it could not possibly be denied existence. In the end, I believe the very intelligent direction of this musical paved way to give more purpose to all the transformations of the characters. There was a  way to stop the madness after all. 

The Verdict

This staging of Sound of Music is fresh and ready for the taking. It will be worth every penny. It will not only bring on the irresistible nostalgia, it will bring people so many new things to love. Test the concept. See you at the theatre?

Note :Photos of the cast show a different set of children as they were taken during the MEDIA CALL

5 Reasons to Watch Caredivas..... Again

1. Proudly Filipino Made 
Art and Filipinos mix like green mangoes and bagoong. They look like odd pairings but are simply irresistible. We’ve got the heart of New York and clashing colors of all the culture capitals of the world. To add to your visual appreciation, THINK HALO HALO. The time tested story of Liza Magtoto, woven together by the  music of Vincent de Jesus and  direction of Maribel Legarda will surely be a good equally delectable. 

So much money is spent on international artists, it really is time to encourage more people to taste test our very own spread of greatness. 

2. OFW Story glorified but humanized. 
Not enough is said about OFW heroes. The statement is loud but not many can personally empathize . 

Care divas is a musical who has time and again drawn crowds to the theatre because of its relatable humor and touching dramatics. The story revolves around five transgender Overseas Filipino Workers who transition from being caregivers during the day and queen performers at night.  The story humanizes the concept of an OFW highlighting their journey more than their success or downfall. Now more than ever, plays that encourage understanding, love and support is a good idea.



3. It’s #entertaining
Giving life to the major roles are well-respected theater actors Melvin Lee (Chelsea), Vince De Jesus and Ron Alfonso (Shai), Dudz Teraña and Jason Barcial (Thalia), Gio Gahol, Jerald Napoles and Ricci Chan (Kayla), Thou Reyes and Phil Noble (Jonee).

The actors in their supporting roles are Myke Salomon (Faraj, David, Daniel), Paul Holme and Leo Rialp (Isaac, Moshe, Yaakov, Club owner), Joan Bugcat and Gold Villar (Nonah), Eric Dela Cruz and Dom Miclat-Janssen (Avi, Aryeh, Pulis), Sherry Lara (Sarah, Adara), Eko Baquial and Joseph Madriaga (ensemble). 

With a cast like that, I don’t think I need to explain why it promises to be entertaining. You’ve got a good mix of comic geniuses who can really sing. 

4. OWWA Support


Philippine Educational Theater Association (PETA) in partnership with Overseas Workers Welfare Administration (OWWA) shall present the special run of CAREDIVAS – AN ORIGINAL PINOY MUSICAL to pay tribute to all overseas Filipino workers as the present-day heroes of our country with performances beginning June 24 until July 30, 2017 at The PETA Theater Center.OWWA employees, OFWs and their families will be given a chance to watch the show for free when it opens on June 24, 2017. Now why would we not want to support that. 

5. Nth Run

This is PETA's Nth run of Caredivas. The clamor for more is non stop. But what the new production has promised is refreshed and revitalized take on the Filipino favorite. 

I think that's enough reason for all of us to join them  for an unforgettable evening of bittersweet laughter, high energy songs and the bright colors of CAREDIVAS.

The performance schedules of CAREDIVAS are from 

Fridays ( 8 pm), Saturdays and Sundays (3 pm and 8 pm). 

For inquiries and ticket reservations, contact PETA Marketing and Public Relations Office at Tel. No. 725-6244, petatheater@gmail.com or TicketWorld at 891-9999, www.ticketworld.com.ph.