Charot.

How Fangirling Time Flies…

Lea Salonga *a big photo of her in a public place* and myself

(February 2011)

Lea Salonga and myself (February 2012)

This is one of the most awesome forms of evolution.

“Mulat” Sa Mundo ng Teatro

Wait. Ang ganda pala sana nung title neto pero oh well.  ANYWAY…

Parang Seconds From Disaster lang ng NatGeo (with alterations) : Things don’t just happen, they’re a chain of critical events leading up it…

• January 2012, Emily and I watched a show sa Teatrong Mulat ng Pilipinas,a children’s theater company founded by Amelia Lapena Bonifacio. Lola Amel, as those familiar with Mulat might call her, is an award-winning literary maven and a seasoned theater artisan.  She also happens to be the mother of my Theater 11 professor Ma’am Ami. Well, the awesomely awesome Ma’am Ami invited my class to go watch a show at Mulat because we were discussing Lola Amel’s contributions in the world of Philippine Theater. 

• February 2012, a simply awesome month, this was. After a going to CCP with the class, Ma’am Ami invited Claire and me to participate in a workshop for Papet Pasyon 2012. It was Teatro Mulat’s offering for the lenten season. As theater geeks, Claire and I would jump at any chance to be somewhat part of the theater. And Ma’am Ami is really awesome and adorable so yeah.  

• By, March we were knee-deep in school requirements and rehearsals for Papet Pasyon and May Katwiran Ang Katwiran. I don’t want to elaborate on the hardships a student must undergo to pass. Although, I’m a trained procrastinator, you can never cram rehearsals. Go figure. Anyway, we did 2 shows on April 1, Palm Sunday. This was my theater debut. I commemorate this milestone with this post. And I know  that I’m melodramatic so yeah. 

After the Papet Pasyon run, I didn’t expect to be invited back. But, guess what… WE had a meeting today and WE’RE starting the WORKSHOP for Dalawang Bayani and Ang Pagong at Ang Matsing in roughly 2 weeks. HELLO LIFE IN THE THEATER. Frankly, I don’t know if I care much about anything anymore. I already have plans to cut my subjects in August to attend the show dates. We give up things to make way for more important ones. Like my Theater career. Charot. =))

Yet, another one of Life’s silly ploys to push me into moving on. Choz. 

There’s no business like show business! 

Review : Noli Me Tangere : The Opera

With accordance to the continuous celebration of Jose Rizal’s 150th birth anniversary, Dulaang UP staged a production of Rizal’s most famous novel entitled, Noli Me Tangere: The Opera. The whole production, specifically the December 2, 2011 show date, featured seasoned actors and performers from and outside Dulaang UP.  The lead character, Crisostomo Ibarra, was played by Kuya Manzano. He is a Spanish-Filipino actor who has been performing for over thirteen years. He is also a descendant of, no one else but, the original writer of the story, Jose Rizal. Ibarra’s counterpart and the love of his life was played by upcoming soprano, Myramae Meneses. The bewildered mother, Sisa, was fleshed out by Jean Judith Javier. By the direction of Alexander Cortez and the penning of the libretto of Guillermo Tolentino, the slice of Ibarra’s life and the situation within the Philippine Society was brought to life. With the help of Felipe Padilla de Leon and Camille Lopez Molina, the story laced with tragedy was painted with awe-inspiring music.

Noli Me Tangere is a story that has been recreated many times. It is that story that everyone Filipino knows and will come to know and love. It represents and features Philippine culture and society during the dark days of colonization. For many years, “Noli” represents the light that shone upon the revolutionary hearts of our ancestors. The story revolves around Crisostomo Ibarra, a young illustrado who has returned to the Philippines upon learning his Father’s demise. He soon finds out that the serene town he left behind is no longer the same and he uncovers secrets hidden beneath the foundations of their society. His peaceful life is turned upside down by a series of conflicts with the Spanish friars. The story also gives glimpses of the other side of the social spectrum through Sisa and her children, Basilio and Crispin. (In my opinion the scenes between Mother and children were most memorable.) Noli Me Tangere: The Opera mostly stuck to the original storyline. However, the plot and story was not the true highlight of the play. Only a few scenes stuck to my mind and were emphasized in the story. Those who have not yet read the novel may have had a difficult time completely understanding and savoring the beauty and the genius of this Filipino classic.  

The plot and story line might have been in doldrums but, the musical talents that the actors exhibited brought the theater down. No one could deny that all of them could sing very well. I could not perceive a bad thing to say about Jean Judith Javier’s portrayal of Sisa. She embodied Sisa in every move of a muscle and each high note she hit. The aria she sung was eerily and painfully beautiful. She carried her notes and acting very well. As an audience member, I felt Sisa’s pain through Javier.  She was a natural on stage. Her scene with Crispin and Basilio was astounding. She remained in character even if a piece of the set fell.  Javier did what Sisa would have done. In the span of two hours, Jean Judith Javier became Sisa. Maria Clara or Myramae Meneses’ performance would not go unnoticed. She was a contrast to Javier’s intense performance. Meneses played the role of Maria Clara with subtle actions that were suitable for the character she played. The look in her eyes made me believe every moment of her on stage. Her singing was also impeccable. Meneses made singing opera look (or rather sound) like it was an easy task. Although supported by extensive experience, Kuya Manzano or Crisostomo Ibarra, ironically, failed to be the star of the show. Yes, there is no doubt that Manzano could sing beautifully; but, his acting was lackluster. The emotions that he portrayed failed to come through. Another factor that may have hindered him was his diction and speech.

The stage was really thought about. Not only did it fulfill and accommodate the need of the scene, but it also had its own significance. The set itself made one think. The use of the bamboo was a great touch. For it was a reference to a line said by Pilosopo Tasyo to Crisostomo Ibarra about being pliant but sturdy in times of distress. This characteristic was prevalent among the characters.  The set design took on a more minimalistic yet dynamic approach. The lighting was just right and conveyed the unsaid themes of the play.  On the other hand, the costumes and make-up were very authentic.The distinguishing make-up of the Spaniards was clever. The Spaniards looked evil and ghost-like, almost menacing which was suitable for their roles in the play. The play was aesthetically pleasing. The actors looked like ladies and gentlemen of the Spanish era lost in the present day. The visual aspect of the play was good. But, the music and sound was the true star of the production. I have mentioned and stressed this out earlier but, the musical talent that each and every actor on that stage was so amazing. Their awe-inspiring talent coupled with Felipe Padilla de Leon’s compositions and Camille Lopez Molina’s guidance created a show filled with music that fulfilled the hunger of the ears and soul.

The music and the visual aspects of the opera were to die for. But, the general experience of watching the play could be improved. Some audience members rubbed their eyes from the tears brought by tragedy of Crisostomo Ibarra and Maria Clara; others rubbed their eyes as they awoke from the light slumber the opera has lulled them into. I have little to say about how the other audience felt because of the disinterest I had for what was going on atop the stage. Yes, the play had great music, the stage and the costumes were lovely. Those aspects fulfilled only the sensory aspects of the theatrical experience. Inside, I was disappointed. I could not feel the beauty of the story by Rizal. The enjoyment of this opera is but a matter of taste and personal preferences. I maybe alone in saying that Noli Me Tangere : The Opera was not a success. Because it failed to move me as an audience and it did not make me think about the possibilities of life. 

Review : Bakit Wala Nang Nagtatagpo Sa Ibabaw Ng Philcoa Oberpas

Bakit Wala Nang Nagtatagpo sa Ibabaw ng Philcoa Oberpas By Carlo Pacolor Garcia

                To simplify things I will directly say that ‘Bakit Wala Nang Nagtatagpo sa Ibabaw ng Philcoa Oberpas’ by Carlo Garcia was hilarious. From the lighter puns to the green comedy, this play tickled my bones. The billboard behind the overpass, for me, was the reason that everything jived together. Without it, some or even most of the puns would not have been as funny. The play was effective because it replicated real life. The actual Philcoa overpass was replicated by the set designer that was an additional factor to what made the play good. It brought the play closer to home.

                The play was a window to the lives of those living of the bustling overpass. When you are a regular at that overpass, it makes you think of all the people and the overpass. ‘Bakit Wala Nang Nagtatagpo sa Ibabaw ng Philcoa Oberpas’ question one about destiny and fate. Whether changing your decision for the day changes the course of everyone else’s life. Also, it gives us a peephole to the mutualism and dependency of the people on the overpass. Matters from family, to bribery, to online dating, to organized crime were shown. It was actually tackling serious issues through the help of comedy, which made it easy to digest.

                The director was subtle in getting his message across. If truth be told, I do not know whether my interpretation of the play is correct. He used comedy and sarcasm to produce this play. The play was funny. It had a lot of help from the technical and lighting. But, the dance and song numbers were quite out-of-place. The sound system was not good as well. The actors and the performers did well. But, the execution of the play as a whole was a tad sloppy.

**Just like how I found the play, this review is sloppy. I apologize.

Onse : Pagtatapos At Pagpapatuloy

Isang taon na Onse mula nung tayo ay nagtapos. Marami sa atin ay nasa ibang lupalop na ng daigdig, ng bansa, ng rehiyon, ng lungsod, ng campus, ng building. Marahil ay tapos na ang panahon natin sa Kisay. Ngunit patunay ng panahon na ang ating mga pinagsamahan ay nanananitili sa ating mga puso.

Hindi ko tatapusin ang maiksing sanaysay na ito sa pagnanais na bumalik sa panahon. Sapagkat sa loob ng isangt taon lahat tayo ay dumanas ng iba’t ibang karanasan ng wala sa kaligtasan ng apat na pader ng “Kisay”. Ang bawat isa ay natuto at namulat na sa kani-kaniyang mundo. Sa pagtatapos ng isang taon na ating pagwawalay, lahat tayo ay may mga bagong kwentong ibabahagi sa isa’t isa, mga panibagong aral na ituturo. Sa pagkakataong ito hindi na bilang simpleng mga magkakamagaral lamang, ngunit bilang mga bahagi ng isang pamilya na habang panahon ay aalalahin natin.

Onward Onse! <3

(Yehes Guia! Tumatagalog! :))) ) 

Photos by (c) Kristoffer Mendoza