Migration and identity issues abound in Retire-Men

The cast of Retire-Men
Photo by Mariko Okeda

More than just the plight of Japanese retirees settling in Thailand and the Philippines, issues regarding migration and identity were also raised in Retire-Men, a production by the theater company RINKOGUN staged recently at the Cultural Center of the Philippines with the support of the Japan Foundation, Manila.

Written by Yayoi Shimizu and directed by Yoji Sakate and Nikorn Sae Tang, Retire-Men is a collaborative work between Japan, the Philippines and Thailand.

From the start, the play led me to believe from the introduction by the masked and black clad quartet of Narumol Thammapruksa and Nikorn Sae Tang from Thailand, and Mailes Kanapi and Marj Lorico from the Philippines, along with the androgynous Jun (Shoko Munakata) of the ominous threat posed by these “ritaiamen”. So when the trio of these retirees, Kurobe (Tenshi Kamogawa), Yamamoto (Kenjiro Kawanaka), and Tasuku (Tsunekazu Inokuma), made their comic entrance, complete with song and dance accompanied by a two woman band, the silliness of the scene caught me by surprise.

The humorous play touched upon many themes starting from the stereotypical image of these Japanese men forming fleeting relationships with locals, especially younger females like Kurobe with Nock (Thammapruksa). But in the case of Yamamoto, Thailand gave him the freedom to deal with his sexuality and has cavorted with tomboys and who knows whichever gender was out there.

But it showed that it was not all fun and games with these men as some of them get conned by locals and an increasing number commit suicide by jumping off platforms into incoming trains. The sense of them being alone in a world far away from home was highlighted by the discovery of dead bodies in their rooms only days after and with no one coming forth to claim their bodies at the morgue.

As these Japanese are migrants, migration issues relevant to South East Asian countries were also touched upon. Filipinos like Teresa (Kanapi) migrate overseas to find better paying jobs so they can send money to their families back home. Migrant workers also affect the labor force in Thailand.

Disability issues were also tackled in the play Jay (Sae Tang), a wheelchair bound Thai, formed a bond with retiree Tasuku, in rendering services to other retirees but it felt to me that this stemmed out from a desire to be useful in society regardless of their handicap rather than a genuine concern for the retirees.

But one of the most resonating themes in Retire-Men was the concept of identity. Not only once did the Retire-Men express their desire to be free, not just of the rigid Japanese society, but also of their Japanese identity. And they find their true selves in the laidback environment of Thailand and the Philippines.

Gender issues were also tackled as one of the central characters, the androgynous Jun, presents himself as a male and, just like Yamamoto, looked very delighted in the company of the tomboys in Thailand.

But the most striking dilemma about identity is felt by the Japanese-Filipino children. Those who are in Japan like Jun and Masaru (Naofumi Takeyama) are looked down upon and never felt fully Japanese while those who grew up in the Philippines, like Mona (Lorico), feel a void and hope that by becoming fully Japanese and going to Japan will help them find what’s missing in their lives.

With the dialogue spoken in four languages (English, Japanese, Filipino, and Thai) shifting from one to another other, I had to be quick in reading the translation projected on the wall while still making sure  to see the action in front.

I was surprised to see how many layers this play had. The seemingly harmless elderly Japanese men hoping to spend their final years in South East Asia has them shaking and stirring their environment and surroundings instead. And it’s this exploration of the issues in Retire-Men stemming out from the themes of gender, care, and barriers, according to playwright Shimizu is what made this material relevant in this day and age.

Retire-Men continues its tour with performances in Chiang Mai (February 2-4) and in Bangkok (February 8-10), Thailand.

Tenor Arthur Espiritu leads A Night of Love concert at the Ayala Museum

International tenor Arthur Espiritu leads A Night of Love, a pre-Valentine concert featuring some of opera’s most romantic music happening this February 10, 2018, 7:00 PM at the Ayala Museum in Makati.

Joining Arthur at this concert are Stefanie Quintin and Mheco Manlangit, two of the country’s young promising sopranos, and collaborating artist extraordinaire, pianist Najib Ismail.

The three will take the audience to an evening filled with love songs and duets from Giacomo Puccini’s La Bohème, Vincenzo Bellini’s La Sonnambula and Norma, Igor Stravinsky’s The Rake’s Progress, and Georges Bizet’s Carmen.

Arthur Espiritu had a productive 2017 making his Australian Opera debut as Rodolfo in La Bohème. He also played the role of the Shepherd in Karol Szymanowski’s King Roger. He then performed in Munich before ending the year with a stint reprising Rodolfo in Israel.

Stefanie Quintin has sung the main roles in Domenico Cimarosa’s Il Matrimonio segreto, Wolfgang Amadeus Mozart’s Die Zauberflöte, Coronation Mass, and Requiem, Donizetti’s L'Elisir d'Amore, Bellini’s La Sonnambula, George Frideric Handel’s Messiah, Ryan Cayabyab’s Misa, Geonyong Lee’s Asian Mass, among others. She was invited to perform in various international festivals and is a recipient of the Delphic Lyra Award for Traditional Music.

Mheco Manlangit has her major breakthrough as the sole winner of the Singapore International Festival of Music Competition held July last year.  She then made her professional debut at CAEO’s Youth on Stage concert series at the Ayala Museum. She graduated from the University of Sto. Tomas Conservatory of Music under the tutelage of Eugene de los Santos.

Najib ismail is one of the most sought after chamber music and collaborating pianist having performed with global opera superstars like soprano Sumi Jo and Nelly Miricioiu.

A Night of Love is presented by Cultural Arts Events Organizer, the Ayala Museum, Lyric, and 98.7 DZFE The Master’s Touch.

Italian pianist Massimo Folliero performs in Liceo de Cagayan University

Italian pianist Massimo Folliero performs in a recital entitled Romantic Impressions on February 10, 2018, 4:00 PM at the Rodelsa Hall at the Liceo de Cagayan University in Cagayan de Oro, Misamis Oriental.

Born in Novara, Italy, Folliero will perform Romantic and Impressionistic music that includes Claude Debussy Images Book 1 L110, George Gershwin’s Rhapsody in Blue, Sergei Rachmaninoff’s Preludes Op. 23, No. 4 in D minor, No. 5 in G minor, and No. 7 in C minor, and Frédéric Chopin’s Scherzo No. 1 in B minor, Op. 20, Scherzo No. 2 in B-flat minor, Op. 31, and Scherzo No. 3 in C-sharp minor, Op. 39.

On February 10, 2018, 10:00 AM also at the Rodelsa Hall, he will conduct a piano masterclass.

Tickets for the concert and registration for the masterclass are priced at P500 each. Contact (088) 858-0493 or (0955) 167-4996 for more details.

Chinese puppetry at the CCP

The approaching Chinese Lunar New Year always heighten up interest in Chinese astrology, cuisine, art, and culture. Catch up with a Chinese art form rarely seen on local stage, namely puppetry, in a performance of UNIMA Chinese Puppetry Groups on February 8 & 9, 2018, 7:00 PM at the Cultural Center of the Philippines' Tanghalang Huseng Batute (CCP Studio Theater).

Three puppetry groups, namely Yangzhou Puppetry Troupe, Pingyang Puppetry Protection and Inheritance Center, and Sichuan Huge Puppet Theatre, will show a great variety of puppets ranging from marionettes to huge ones requiring more than one person to manipulate.

The Yangzhou Puppetry Troupe is composed of senior, middle-aged and youth professional artists along with a few professional puppet crafting and designing artists. The group is the recipient of the Wenhua Award from the Ministry of Culture, and Best Play during the Golden Lion National Puppetry and Shadow Presentation, and the Exquisite Work Award of Juangsu Stage Art. The Yangzhou puppetry has already been listed under the National Intangible Heritage Safeguarding Projects.

The Pingyang Puppetry Protection and Inheritance Center, founded in 1919, is one of the most influential contemporary string puppetry troupes focusing on string puppetry along with hand, rod puppetry and actor-puppet show. They have received over 30 National and 300 Provincial prizes and has performed in various countries in Europe, America, Africa, and Southeast Asia.

The only inheritance unit for the North Sichuan Huge puppet, the national intangible cultural heritage, the Sichuan Huge Puppet Theatre is a professional institute on research, safeguarding, inheritance and development of intangible heritage in Nanchong City. Five ministries in China have recognized the group as an “Important Export Project of National Culture.

The performances of the three puppetry groups in Manila are in line with the CCP’s membership in the Silk Road International League of Theatres (SRILT), an international organization of performing arts ventures in Asia. This cultural exchange tour is being organized by the Union Internationale de la Marionnette (UNIMA), Asia Pacific Commission (UUAPC), the China Performing Arts Agency (CPAA) Theatres Ltd. and the China Arts and Entertainment Group (CAEG).

Aside from the two performances there will also be a workshop scheduled on February 10, 2018, 1:00-5:00 PM at the Tanghalang Huseng Batute. Slots are limited so local puppeteers and performing artists who are interested to participate are encouraged to call as soon as possible the CCP Cultural Exchange Dept. at 832-1125 local 1708/1709.

Cultural Center of the Philippines 2018 season in a glance

CCP Vice President and Artistic Director Chris Millado (left) with members of
Ballet Philippines, Tanghalang Pilipino, and Philippine Ballet Theatre

The Cultural Center of the Philippines recently announced some of the productions, exhibits, and various events lined up for 2018 at a press conference held at the Tanghalang Aurelio Tolentino (CCP Little Theater).

Leading this year’s calendar are the milestone anniversary celebrations of some of the resident companies and other institutions that lead towards the 50^th Golden Anniversary of the CCP in 2019.

Personally, I am already psyched by the various music performances that are in store for this year.

First up is the 45^th Sapphire Anniversary of the Philippine Philharmonic Orchestra. Aside from an Anniversary Concert, the PPO, along with Principal Conductor Yoshikazu Fukumura and Associate Conductor Herminigildo Ranera, will also embark on a national tour.

The National Music Competitions for Young Artists (NAMCYA) is also celebrating 45 years and Secretary General Renato Lucas is eyeing one of the biggest alumni success stories to perform at the NAMCYA Anniversary Concert.

The 50^th Anniversary celebrations of the Saturday Group, Philippine Art Educators, and the Association of Pinoyprintmakers will be highlighted by their respective exhibits.

Ronelson Yadao and Candice Adea perform Amada from Ballet Philippines

A CCP Gala tribute will be given to National Artist for Music Lucrecia R. Kasilag in celebration of her birth centenary. Tita King, as she was fondly called, also served as the CCP President from 1976 up to 1986. The Philippine Women’s University will also mount another concert tribute to Tita King who was an alumna and former Dean at the College of Music and Fine Arts of the university.

Also happening this year is the return of the Asian Youth Orchestra performing once again in Manila after 14 years. Joining them on their tour are 2015 Tchaikovsky Violin Competition 2^nd Prize Winner Benny Tseng Yu-Chien and 2015 Leeds International Piano Competition 1^st Prize Winner Anna Tsybuleva. The Manila auditions were held recently at the CCP and let’s see who among our local hopefuls will make it to the AYO this time.

On the horizon is the Lyric Opera’s production of Ruggero Leoncavallo’s Il Pagliacci that also serves as a fundraiser for Marawi. This opera staging will also feature a Carnivale themed fashion show showcasing the works from 30 of the country’s top designers.

The CCP will also host the finals of the Akapela Open International 2018, a contemporary a cappella group competition, in cooperation with The Music School of Ryan Cayabyab. Past winners Acapellago and Pinopela have gone on to win other a cappella competitions overseas.

Other music treats to look forward to this year is a new edition of the Special Concert Series featuring pianist Clement Acevedo, harpist Madeline Banta, and tenor Arthur Espiritu. Making its debut will be the Young Artist Series co-produced with the Philippine Opera Company, a series of concerts featuring opera singers to be held at the Tanghalang Nicanor Abelardo Lobby (Main Theater Lobby).

Isay Alvarez and Robert Seña

Real life couples Julienne Mendoza and Stella Cañete, Robert Seña and Isay Alvarez, and Franco Laurel and Ayen Munji-Laurel makes up the duos featured in this year’s Triple Threats concert series.

Happening this year also is the Order of National Artists Conferment Ceremony and Tribute. As of this moment, the latest batch of National Artists have yet to be announced. The newest performance space of the CCP, the Tanghalang Ignacio Jimenez (CCP Black Box Theater) is also scheduled to open with the inaugural performances to be revealed soon. This sets the ball rolling for the expansion of the CCP. And barring any further delay, the CCP Encyclopedia will finally see the light of day.

The Tanghalang Pilipino Actors Company in Ang Pag-Uusig

As for the CCP’s resident companies, some like the Philippine Philharmonic Orchestra, Ballet Philippines, and Tanghalang Pilipino have yet to wrap up their current 2017-2018 seasons. A couple of popular productions from last year will have repeats like Tanghalang Pilipino’s Ang Pag-Uusig and Philippine Ballet Theatre’s The Merry Widow.

Philippine Ballet Theatre's Jimmy Lumba
and Kim Abrogena in The Merry Widow

What I listed above is just the tip of the iceberg. There are still other music performances that have yet to be finalized so I am not yet at liberty to spill them now. And also still happening are the usual shows, festivals, competitions, workshops, film screenings, and other events that occur regularly like the Pasinaya, Virgin Labfest, Wi-Fi Body, Cinemalaya, etc. As the dates for these events draw near, I’ll write more about them in detail.

Pasinaya 2018 "Pusuan ang Sining" invites goers to shower the arts some love

Press and click those hearts and shower with love this year’s Pasinaya Open House Festival as the see-all-you-can-and-pay-what-you-can festival returns with the theme Pusuan ang Sining this February 3 & 4, 2018 at the Cultural Center of the Philippines along with partner museums in Manila and Pasay.

The two-day festival, now on its 14^th edition, offers mini-workshops, exhibits, free screenings, and performances by the CCP resident companies namely Ballet Philippines, the Philippine Ballet Theater, the Philippine Madrigal Singers, the Philippine Philharmonic Orchestra, the Ramon Obusan Folkloric Group, Tanghalang Pilipino, the UST Symphony Orchestra, and the National Music Competitions for Young Artists along with around 300 guest performers and artists.

After the successful launch of the Palihan and Palabas last year, the two day calendar continues with the first day of the Pasinaya, the Palihan, focusing on the 30 minute mini-workshops in the fields of dance, music, and theater happening on February 3, 2018 from 8:00 AM up to 4:45 PM.

For dance, there will be workshops on hiphop, ballroom, folk dance, ballet for kids and adults, modern ballet, and creative movement for teachers. Theater workshops include musical theatre, children’s, teens, and adult theater, playwriting, improv, storytelling, collaborative theater, and directing space.

Workshops for music comprise of classical guitar, rondalla, Philippine musical instruments, percussion, chamber music, solo singing, children and youth choir singing, hand-bell ringing and ukulele. Participants are free to bring their own nylon-stringed classical guitars and ukuleles for their respective workshops.

The schedule of the workshops can be found here.

On February, 4, 2018 from 8:00 AM onwards, the second day of the festival, the Palabas, festival goers can have their fill of performances, film screenings, and exhibits at various venues of the CCP. Feel free to explore the various zones each dedicated to a specific field of art and photographers can rejoice as this is one of the rare occasions where photography is allowed inside the theater during performances. Just make sure that flash is off especially in the dance portions.

The schedule of the performances can be found here.

On this day, partner museums namely Casa Manila, Museo Pambata, National Museum, Met Museum, Museum of Contemporary Art and Design, Bahay Tsinoy, UP Manila Museum of A History of Ideas, 98B Collaboratory and Hub Make Lab, Cinematheque, Museo Marino, Galleria Duemilla, Avellana Art Gallery and NCCA Gallery will open their doors to the public. Just like in previous years, there will be 30 vans provided by the Museum Foundation of the Philippines, Inc. (MFPI) that will transport audiences from the CCP Complex to the various museum partners.

Although I have limited Pasinaya experience, what I can advise those who are going on February 4, 2018 is to wear comfortable clothing. This is a Sunday spent at the Pasinaya so there’s no need to dress up like it’s some Gala Night at the CCP. Wear something cool since the number of people can make the lobbies and hallways feel hot or warmer than usual but have something to warm you up like a light sweater or a shawl at hand since it can get cold inside the theaters. Wear comfortable footwear too since walking and exploring the various CCP venues and zones is highly encouraged.

I’ve said this before and I’ll say it again, once the resident companies’ scheduled performances at the Tanghalang Nicanor Abelardo (CCP Main Theater) wraps up and while the stage is getting set for the People’s Gala, the other venues like the Tanghalang Aurelio Tolentino (CCP Little Theater) and Tanghalang Huseng Batute (CCP Studio Theater) become the places to go. So if you are looking forward to seeing performance at these venues in the mid-afternoon, better queue in early. Grab a calendar of events and other brochures distributed throughout the festival and map your return trip to the CCP while waiting in line. Watch out for discounted tickets, merchandise, and other offers by various resident companies that are only available on this day.

Admission to a day at the Pasinaya is a suggested minimum donation of P50 for a regular wristband. A Pasinaya Baller that gives its wearer access to the fast pass lanes can be availed for P300 each. A group of five can avail of the Mag-Anak Pass for P1,200. Watch all the CCP Main Theater performances at the comfort of your own box for P3,500 for a Parterre Box and P3,000 for a Lower Box with each box seating up to six people. Call the CCP Marketing Department at 832-3704 or 832-3706 for more information and to avail of any of the Pasinaya packages on offer.

Lastly, have a great time and don’t forget to press or click on that heart icon.

More subdued Eugene Domingo brings the chills in PETA's ‘Night Mother

Sherry Lara and Eugene Domingo

A more subdued Eugene Domingo delivers a chilling and disturbing portrayal as a daughter bent on committing suicide in ‘Night Mother, the 50^th Anniversary season ending production of the Philippine Educational Theater Association (PETA).

In her return to theater since starring in Bona five years ago, Eugene sheds her larger than life comedy persona opposite veteran actress Sherry Lara in this one act, 90 minute Filipino adaptation by Ian Lomongo of Marsha Norman’s Pulitzer Prize winning play.

The play starts on a typical Saturday evening for Thelma (Lara) who is scheduled to have her nails done by her daughter Jessie (Domingo) who lives with her. But Jessie, a divorced mother who has epilepsy, seems to be preoccupied in finding the gun owned by her deceased father. Once she finds it, she tells in a nonchalant fashion to her mother that she intends to shoot herself with it before the night is over.

Drama ensues as the mother tries to persuade her daughter numerous times to ditch her plan. And along the way, pent up feelings and long held secrets are brought to the surface. But will it be enough to make Jessie change her mind? One has to watch to find out.

The cast and creative team of 'Night Mother

Watching this play during the press preview, I felt like a nosy neighbor peeking at the intimate moments between mother and daughter that I wasn’t supposed to see. There had been several times when I wanted to intervene but was unable to do so since I was just a member of the audience. I believe that the two could’ve lessened each other’s misery had there been another human being present in their household. It did really feel like each felt alone despite the two of them living together in one household.

Notable was Eugene’s performance that was more restrained and subdued compared to her mainstream television and film appearances. She made her Jessie complex as one who is on the surface exhibits cool, calm, collected, rational, and a very thorough personality but harbors inner suicidal thoughts. 

A perfect foil for Jessie was Sherry Lara’s Thelma, who had a wider range of emotions as she continuously tried to make Jessie think otherwise. Had I thought of it then, I would’ve taken note if Thelma went through the five stages of grief in that span of 90 minutes. One could really feel her frustration and helplessness as Thelma was reduced to having tantrums and acting like a child with Jessie cleaning up (literally) after her and assuming the role of the parental figure.

Post show talk

After the show, there was a talk with the cast and creative team, along with a couple of mental health experts with the questions from the press mostly about depression and suicide. The talk with the mental health experts will be a feature after each performance of ‘Night Mother as PETA hopes that this production will be a platform for people to talk and be open about depression, suicide and other mental health issues and remove the stigma for these topics that have been considered taboo for the longest time.

The Philippine Educational Theater Association’s ‘Night Mother opens on February 2, 2018 and will have performances during weekends until March 18, 2018 at the PETA Theater Center in Quezon City

Ricson Poonin's aria, Tchaikovsky's swan song highlight PPO's January concert

Trombone player Ricson Poonin with the Philippine Philharmonic Orchestra

After almost three weeks since the year started, I was finally back in my regular seat at the Cultural Center of the Philippines having my fill of new music in the form of a symphonic sea battle and a rare trombone spotlight courtesy of Ricson Poonin and the Philippine Philharmonic Orchestra.

Led by Associate conductor Herminigildo Ranera, the concert got off to a good start when the opening horn solo in Manuel Maramba OSB’s Symphony Ode “La Naval” went without a hitch. Usually spotty, the horn section were faultless this time and it set the tone for the rest of the evening. The piece started out solemnly depicting people of Manila in fervent prayer as the Spanish-Filipino naval fleet prepare for battle against the invading Dutch fleet. The tension escalated as the battle commenced highlighted with two groups of the brass section positioned at both sides of the lower boxes. Their antiphonal dialogue provided a unique stereo surround sound although they somehow drowned out the strings in the process. And as expected, the battle eventually ends in a victory for the defending fleet and the piece ends with the whole orchestra in a resounding triumphant note.

Next up was trombone player Ricson Poonin who played Ferdinand David’s Concertino for Trombone and Orchestra, Op. 4. I have not heard about the composer nor heard any of his works prior to this one so I was really all ears during the performance. Just like the Maramba piece, this was also very accessible and quite short with the typical fast-slow-fast three movements albeit without a pause. I made sure that I savored the rare moment of hearing the trombone as the featured solo instrument in this piece.

Trombone player Ricson Poonin
and conductor Herminigildo Ranera

Since the concertino just clocked at around 15 minutes, Ricson had to do an encore which was Nessun Dorma from Giacomo Puccini’s Turandot. I bet that I wasn’t the only one who was surprised when he sang the first part before letting the trombone take over bringing this famous aria to its victorious end.

Four years may be too soon for me to see the PPO perform Pyotr Ilyich Tchaikovsky’s Symphony No. 6 in B minor, Op. 74, "Pathétique" again since I last saw it but I wasn’t complaining at all during this concert. One of the symphonies that I get to appreciate more as I grow older, the lush strings and the sweeping melodies got through to me as expected. This time, I was able to focus more on the second movement’s unusual “waltz” as the orchestra meticulously navigated through the 5/4 meter. Not surprisingly, most of the audience applauded at the end of the third movement but the best part for me was yet to come. One couldn’t help but feel dragged down by despair as the symphony cried and wailed before it ended with such a somber note.

Thankfully, Ranera brought the audience out of their despair by leading the orchestra with Johann Strauss I’s Radetzky March, Op. 228 for an encore. With the audience clapping along even though they were not yet instructed to do so, it finally felt like a proper welcome to the New Year after battling it out at sea and plunging into the depths of despair.

Retire-Men takes a humorous look on Japanese retirees in South East Asia

The Cultural Center of the Philippines and Theater Company RINKOGUN present Retire-Men, a collaboration work between Japan, the Philippines and Thailand happening on January 27 & 28, 2018 at the Cultural Center of the Philippines’ Tanghalang Huseng Batute (CCP Studio Theater).

Written by Yayoi Shimizu and directed by Yoji Sakate and Nikorn Sae Tang, Retire-Men is a humorous play that takes a peek on the lives of Japanese retirees settling in Southeast Asia. Presented with English subtitles, this production features actors from the Philippines and Thailand namely Mailes Kanapi, Narumol Thammapruksa, Marj Lorico, and Nikorn Sae Tang. Also starring are Tenshi Kamogawa, Kenjiro Kawanaka, Tsunekazu Inokuma, Maiko Hio, Naofumi Takeyama, Shoko Munakata, and Yuka Tanaka from RINKOGUN, Tokyo, Japan.

Theater Company RINKOGUN, founded by Japanese playwright and director Yoji Sakate in 1982, has created an estimable body of original work that grapples with a wide variety of social and political issues in both modern Japan and the world at large.

The company's dramaturgy encompasses a range of controversial and, at times, taboo topics. Through its relentless focus on current events, RINKOGUN brings its audience a keen awareness of important social issues facing Japan and the international community.

In addition, RINKOGUN has developed over the last 32 years a unique performance style though it's regular use of the intimate black-box stage. In this laboratory-like setting, the company has experimented with combining Noh, Butoh, recorded music, film, video, fine arts, contemporary poetry, and classical drama.

Retire-Men performance dates are on January 27, 2018, 3:00 & 8:00 PM and on January 28, 2018, 3:00 PM. The Manila leg is the first stop of a tour that includes performances in Chiang Mai and Bangkok, Thailand. This production is supported by the Japan Foundation, Manila.

American danseur Joseph Gatti leaps into Ballet Philippines' Don Quixote

Ballet Philippines’ brings its 48^th Season: Quintessence to a close with Don Quixote, one of the most popular and flamboyant ballets of all time, this February 9-18, 2018 at the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo (CCP Main Theater).

Restaged by Adam Sage, BP’s Associate Artistic Director and Ballet Master, Don Quixote the ballet is based on episodes from the quintessential novel Don Quixote de la Mancha by Miguel de Cervantes with the focus mainly on the two lovers Basilio and Kitri with the title character relegated to an acting and a non-dancing role.

Joseph Gatti

Multi-awarded American danseur Joseph Gatti will be the guest artist in this production, dancing the role of Basilio for only two performances. These special gala nights happening on February 9, 8:00 PM and February 10, 7:00 PM will also feature the music of Ludwig Minkus performed live by the Manila Symphony Orchestra under the baton of Jeffrey Solares.

Joseph Gatti is a former principal dancer with Cincinnati Ballet and Corella Ballet. He is a prize winner at the New York International Ballet Competition and World Ballet Competition. Gatti’s Basilio will be partnered by resident guest artist Candice Adea, marking her return to the role of Kitri which she danced in Ballet Philippines’ last staging of Don Quixote back in 2011.

Ian Ocampo as Basilio and Monica Gana as Kitri

In other performances, the principal roles of Basilio and Kitri will be performed by Ian Ocampo, in his first production with Ballet Philippines, partnered with Monica Gana, making her debut in a classical ballet lead role, and by Victor Maguad and Jemima Reyes, adding Don Q to their previous pairing in Swan Lake and The Nutcracker.

Ronelson Yadao as Espada and Denise Parungao as Mercedes

Performing featured roles in this production are guest dancers Jojo Mamangun as the errant knight Don Quixote and Ronelson Yadao as the dashing toreador Espada. BP’s Denise Parungao and Katrene San Miguel alternate the role of the sultry Mercedes.

An added treat during the evening performances await the audience who want to get in the Spanish fiesta mood before the show. For an additional P500 to their tickets, guests can enjoy Spanish wine, tapas, and cocktails before the performance at the Ballet, Pintxos y Vino bar opening an hour and a half before the evening performances on Feb. 9-10 & 17-18. This offer is only available through advance reservation and slots are limited so better make that call to Ballet Philippines at 551-1003 at the earliest possible moment.

The cast of Ballet Philippines' Don Quixote

Since Don Quixote is a popular ballet, this has been staged numerous times by all the ballet companies in here. And every time I've seen a production of it (or even just the Grand Pas de Deux) I've always tried to jump start on the novel but I aways ended up not finishing it. I hope that upon seeing Ballet Philippines' upcoming production and getting mesmerized by Kitri’s leaps and fouettés and Basilio’s jumps and turns, getting to read the entire novel will be an impossible dream no more.

A new cast for a new generation of theater goers in Himala the musical's 15th Anniversary staging

Aicelle Santos leads the new cast that will make a new generation of theater goers believe in (or question) miracles at the 15^th Anniversary production of Himala: Isang Musikal this February 10-March 4, 2018 at the Power MAC Center Spotlight, Circuit Makati.

Aicelle Santos

Presented by The Sandbox Collective and 9 Works Theatrical, Himala: Isang Musikal, features a vocal powerhouse cast led by Aicelle Santos playing her most challenging role to date, that of Elsa. Originally played by Nora Aunor in the 1982 film and May Bayot in the numerous runs of the musical, Elsa is the naïve, mysterious young lass who becomes the talk (and eventually the main attraction) of the fictitious town of Cupang after seemingly possessing healing powers through divine intervention. After bursting into the theater scene in Katy! The Musical, Aicelle has since made her mark on the stage with memorable performances in the multiple runs of Rak of Aegis and more recently, in Maynila … Sa Kuko ng Liwanag that has earned her an Aliw Award.

The cast of Himala: Isang Musikal

Joining Aicelle in this production are Kakki Teodoro as Nimia, Neomi Gonzales as Chayong, Sandino Martin as Pilo, and Bituin Escalante as Nanay Saling. The main cast also include David Ezra as Orly, Floyd Tena, and Omar Uddin. Also starring in this musical are Jenny Villegas, Glenda Liao, Cristy Peredo, Matel Patayon, Sigrid Balbas, Hazel Maranan, Raflesia Bravo, Roxy Aldiosa, EJ Pepito, Joshua Cabiladas, Kits Falcis, Roby Malubay, Gary Junsay, Mano Domingo, Neil Tolentino, Eizel Marcelo, and Jasper Jimenes. Rounding up the cast are Onyl Torres, Chuck Hipol, Ivan Panganiban, Alfritz Blanche, Ronna Gubba, Nel Gumalog, Katreen Dela Cruz, CK Manlili, Anjanette Vargas, Hannah Grefaroa, Joshua Isidera, Nhoel Obsequio, and Andrew Estacio.

Ed Lacson Jr.

Directing the musical is Ed Lacson Jr., one of the brightest minds working behind the scenes in theater today. Ed has come a long way since being a musically illiterate page turner (aside from his assistant stage manager duties) for pianist Jed Balsamo during the musical’s Shanghai tour back in 2007. Fast forward more than a decade later, Ed aims for a “simpler, more distilled version” but with the “hope that it is as powerful as the other iterations”. Meaning that this version will be distilled, stripped down, with no choreography, with only the most necessary of set design, and just the raw human voice (no lapel mics) accompanied by a lone piano. This is quite a stark contrast to the huge spectacles that has dominated the theater scene during the most part of this decade.

Seeing the 10^th anniversary concert staging at PETA back in 2013, I was very struck with how complex the music is for a musical considering that there was just a lone piano accompanying the whole time. The music by Vincent de Jesus as well as the music arrangement of Jed Balsamo is eerie and haunting (those descending minor chord motifs!) and like what I’ve said at the time, the vocals were rich, complex, discordant, contrapuntal and dissonant sounding more like a symphony orchestra. It would be interesting to see how this new cast step up to the plate. They did not deny at all during the press launch held at the Privato Hotel that they’ve been brought (or reduced?) to tears during their early rehearsals because of how the material and the music have moved them. Too bad that the digital music store that once carried the 22 track original soundtrack recording of the musical has folded up and I’m not aware if any other online stores carries it at the moment.

Ricky Lee

Adapted from the 1982 film Himala starring Nora Aunor, written by Ricky Lee, and directed by the late Ishmael Bernal, a National Artist for Film, the musical has book and lyrics by Ricky Lee and music and lyrics by Vincent de Jesus with musical arrangement by Jed Balsamo. Direction and stage design will be by Ed Lacson, Jr., lighting design by Barbie Tan-Tiongco, and costume design by Carlo Pangunaling.

Himala: Isang Musikal is a production of The Sandbox Collective and 9 Works Theatrical together with MAC Cosmetics, Lyric, Privato Hotel with special thanks to Ayala Land and Fringe Manila.

Manila Symphony Orchestra rings in 2018 with epic season finale

The Manila Symphony Orchestra brings their Leadership & Creativity season to an epic close with a performance of Carl Orff’s masterpiece Carmina Burana this January 20, 2018, 8:00 PM at The Theatre at Solaire.

The MSO, to be conducted by Prof. Arturo Molina, will be joined by soprano Rachelle Gerodias-Park, baritone Byeong-In Park, tenor Nomher Nival, Coro Tomasino, and Viva Voce for the performance of Carmina Burana.

Making its world premiere on this night is Alejandro Consolacion II’s Dekada ’70 A Rhapsodic Suite for Orchestra which is in line with the orchestra’s aim to enrich the Philippine orchestral music literature by commissioning works from Filipino composers.

The MSO gave a sampler of Carmina Burana years ago featuring soprano Elainne Marie Vibal, baritone Noel Azcona and Viva Voce through a recording made for the Ortigas Foundation. Note that there was no tenor listed since only some parts, and none with the tenor, was recorded.

While very brief, the tenor part in this piece is extremely demanding and gives no opportunity for him to warm up at all. I do think that Nomher Nival is one tenor who is up to this formidable task.

Carmina Burana, especially the O Fortuna part is one of the most recognizable pieces of music out there as it had been used in movies, television, commercials and just recently as the music for Michael Christian Martinez’s short program for this season in his unsuccessful bid to return to the Winter Olympics.

I do recommend that people head on to The Solaire and hear Carmina Burana in its entirety and make this epic piece of music set the pace for an equally epic 2018.

Manila Symphony Orchestra Concert Season 2017-2018

Leadership & Creativity Season Finale

January 20, 2018, 8:00 PM | The Theatre at Solaire

Featuring:

Rachelle Gerodias-Park, soprano

Byeong-In Park, baritone

Nomher Nival, tenor

Coro Tomasino

Viva Voce

Manila Symphony Orchestra

Arturo Molina, conductor

Program:

Alejandro Consolacion II

     Dekada '70 A Rhapsodic Suite for Orchestra

Carl Orff

     Carmina Burana

Ricson Poonin's trombone leads PPO's 2018 opener

Nothing says that everything is back to normal after the holiday break more than being at my regular seat watching the Philippine Philharmonic Orchestra as their 35^th concert season resumes this January 19, 2018, 8:00 PM at the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo (CCP Main Theater).

Back with the PPO after studying at the Hopkins Peabody Conservatory in Baltimore, Maryland, USA, Ricson Poonin and his trombone will be on the spotlight performing Ferdinand David’s Concertino for Trombone and Orchestra, Op. 4. Other pieces to be performed on that night include Manuel P. Maramba OSB’s Symphony Ode “La Naval” and Pyotr Ilyich Tchaikovsky’s Symphony No. 6 in B minor, Op. 74 "Pathétique".

My unfamiliarity with the Maramba and David pieces will have me browsing through the program notes while waiting for the concert to start. It is uncertain if Associate Conductor Herminigildo Ranera, who will lead the orchestra on this night, will have one of his pre-concert lectures that could be a great source of information and background for these rarely performed pieces.

On the other hand, the deeply personal Tchaikovsky piece is very familiar to me and I am gearing myself for the upcoming performance of this by listening to the composer’s entire 6 symphony cycle. Whether this self-induced Tchaikovsky symphony overload makes me a more pleasant or unpleasant person to interact with remains to be seen. Either way, owing to the somber end to the Tchaik 6, I expect Ranera to prepare a suitable encore to ensure that the audience will leave the CCP in high spirits.

Philippine Philharmonic Orchestra 35^th Concert Season 2017-2018

Romancing the Classics Concert V
January 19, 2018, 8:00 PM | Tanghalang Nicanor Abelardo (CCP Main Theater)

Featuring:

Ricson Poonin, trombone

Philippine Philharmonic Orchestra

Herminigildo Ranera, conductor

Program:

Manuel P. Maramba OSB
     Symphony Ode “La Naval”
Ferdinand David
     Concertino for Trombone and Orchestra, Op. 4
Pyotr Ilyich Tchaikovsky
     Symphony No. 6 in B minor, Op. 74, "Pathétique"