Ballet Manila's Le Corsaire

Lisa Macuja

I've always preferred to watch ballet performances that are accompanied by an orchestra. Having live music gives the production a whole new layer and takes the whole experience several notches higher. And I view it as a natural progression of my usual watching of orchestral performances. So it was really a treat for me to see Ballet Manila’s Le Corsaire, accompanied by the Manila Symphony Orchestra under the baton of Alexander Vikulov. And add to this the fact that this performance was also prima ballerina Lisa Macuja-Elizalde’s final performance as Medora.

I found it very amusing and interesting to learn that Lisa isn’t actually too fond of Medora as a character. She thinks of her as a ditzy and gullible princess who doesn't have the qualities of what a heroine is supposed to be. Lisa may not like Medora from a ballerina’s point of view, but she feels that as the artistic director of Ballet Manila, Le Corsaire is a good ballet for a ballet company to have in their repertoire. Testosterone filled with four male leads, a pirate ship (including the pirates of course), damsels in distress, and exotic locales, Le Corsaire is indeed a very entertaining ballet filled with eye candy. But if you ask me, I find the story very absurd. When the abducted women were sold at the marketplace, it just screamed human trafficking and in today’s world, that is a deplorable crime. I just had to remind myself that people weren’t politically correct back then and that people are a lot wiser right now.

Despite this minor reservation regarding the plot, I did enjoy the ballet very much. Every appearance of Lisa on stage was a moment to be savored and the audience made it known by applauding her every entrance. The performance was far from perfect. At one point, the orchestra and Lisa’s pique turns weren’t in sync during the pas de trois. But that didn't matter at all and I doubt if any in the audience was able to pick that up since they were all relishing every moment that Lisa was performing on stage.

That afternoon’s performance featured dancers were Rudy de Dios as Conrad, Gerardo Francisco as Ali, Mylene Agaabao-Salgado as Gulnara, Alfren Salgado as Lankadem and Francis Cascaño as Birbanto. I particularly enjoyed the very famous pas de trois with Medora, Conrad and Ali which was brought to a higher level with the live music. I admit that I was a bit disappointed that BM’s version didn’t have the bedroom pas de deux between Medora and Conrad that I was really looking forward to. I then realized that famous ballets have undergone numerous revisions and restagings that the same ballet staged by different companies will be bound to have some differences from each other. What I found interesting in BM’s version was that the women up for sale in the marketplace wore ballet shoes instead of the pointe shoes as if to mark their lowly stature in the social order.

Rudy de Dios

After the performance, I found out that Lisa was actually in extreme pain before the performance and that an alternate in costume was on standby throughout the performance ready to take over if ever Lisa felt that she couldn’t continue. But Lisa was able to get through the performance as if there was nothing bothering her at all. It dawned on me that she might’ve been a few fouettés short of the expected 32 during the coda but I couldn’t imagine how courageous and gutsy of her to even execute just one considering that she was in such pain earlier on. It was indeed an honor for me to have had experienced what performers meant whenever they say that the show must go on.

The next production of Ballet Manila will be The Nutcracker this November 29-December 8, 2013 at the Aliw Theater. This production caps Lisa Macuja’s Swan Song series as she bids farewell to performing at full length ballets. All proceeds from The Nutcracker will be donated to the relief operations for the victims of Typhoon Yolanda.

Repertory Philippines caps 76th theater season with The Producers

November 15, 2013-December 8, 2013

Onstage Theater

2nd Level, Greenbelt 1, Greenbelt

Paseo de Roxas cor. Legaspi St., Ayala Center

Makati, Metro Manila, Philippines

In celebration of its 46^th year, Repertory Philippines caps its 76^th theater season by presenting the biggest hit in Broadway history, The Producers, running from November 15 up to December 8, 2013 at Onstage, Greenbelt 1 in Makati.

Audie Gemora, Topper Fabregas, Robbie Zialcita, Jaime del Mundo, Carlo Orosa,
G Töngi, Noel Trinidad, and Joel Trinidad

Based on the 1968 movie by Mel Brooks, the musical was written by Mel Brooks and Thomas Meehan, with songs arranged by Glen Kelly and Doug Besterman. Featuring the signature style humor of Mel Brooks, The Producers tells the story of two theatrical producers Max Bialystock and Leo Bloom who try to stage the worst Broadway musical and scam old ladies when the show flops, thus earning heaps of money. But in one of the most hilarious ironies that I’ve ever encountered, their recipe for a disastrous flop becomes a monstrous hit instead.

Topper Fabregas and Carlo Orosa

The cast is led by Carlo Orosa and Robbie Zialcita who alternately play the role of Max Bialystock. Topper Fabregas plays Max’s partner in crime, Leo Bloom. G Töngi, in her Repertory Philippines debut, portrays the role of Ulla, a blonde Swedish bombshell. Joel Trinidad tackles the role of former Nazi Franz Liebkind. Joel’s father will play one of his most daring roles ever, the homosexual crossdresser Roger De Bris. Alternating with him in the role of Roger is Audie Gemora. Noel Rayos will essay the role of Carmen Ghia, Roger’s common law assistant. Rounding of the cast is the ensemble composed of  Nelsito Gomez, Steven Conde, Tristan Cheng, Jay Pangilinan, Chino Veguillas, Leroy de Guzman, Natalie Everett, Daff Abear, Liesl Batucan, Micaela Pineda, Shalee Vicencio, and Gemini Quintos.

The artistic and creative team of  The Producers is led by Baby Barredo (Artistic Director), Jaime del Mundo (Director), Onyl Torres (Musical Director), Mio Infante (Set Designer), Natalie Everett (Choreographer), and John Batalla (Lighting Designer).

G Töngi

The production staff is composed of Gidget Tolentino (Production Manager), Goldie T. Soon (Stage Manager), Pol Roxas (Sound Technician), Pablito Salvador (Lighting Technician) and Adul Lasin (Set Execution and Scenic Artist).

The marketing, sales and publicity team is led by David Bianco (Marketing Director), Toots Tolentino (PR Director), Oliver Usison (Marketing Assistant),  Marie Talay (Cashier),  Rose Silva (Sales Supervisor), John Alaras (Design Director), Jojo Mamangun (Photographer), and Lightshapers/ Repertory Philippines (Video Production).

The cast and creative team of The Producers

Ticket prices:

P1500 Orchestra Center

P1000 Orchestra Side

P700 Balcony

For inquiries:

Repertory Philippines 571-6926, 571-4941, shows@repertoryphilippines.com

TicketWorld 891-9999

Metro Manila

This year’s Oscar race for the Best Foreign Language Film category has never been this exciting for Filipinos. Aside from the Philippines’ official entry Transit, there is Singapore’s entry Ilo Ilo and also Great Britain’s Metro Manila. These two films produced abroad gained the special attention in here since both films had Filipinos and the Philippines figuring prominently in them. I was quite fortunate to be able to attend the special screening at the Shangri-La Plaza Mall that was hosted by the British Embassy, British Council Philippines and its partners. And it was indeed a very special affair for Sean Ellis, the director of the film himself was present along with his three main actors: Jake Macapagal, John Arcilla and Althea Vega.

John Arcilla and Sean Ellis

Metro Manila tells the story of Oscar Ramirez (Jake Macapagal), a farmer from Banaue who goes to back to Manila to ensure a better future for his family. After a few initial setbacks, he eventually finds a job as an armored truck driver and is partnered with the veteran Douglas Ong (John Arcilla). With his new job, Oscar feels that the breaks are finally coming his way. But Ong, who isn’t what he seems to be, has other plans for him. Soon enough, Oscar finds himself in a worse position especially knowing that his wife Mai (Althea Vega), has to resort to working in a girly bar for them to make ends meet. The audience is left to wonder if Oscar can find his way out of the seemingly hopeless predicament he finds himself in. After a thrilling ride during the heist, the movie delivers a satisfying end although there is no happily ever after for all of the characters in the film.

Jake Macapagal and Althea Vega

The film was able to show Metro Manila as a character in itself complete with its quirky and shady characters like the pimp Charlie (Angelina Kanapi) and also its diverse landscape. I could almost feel and smell the pollution whenever the film showed scenes along Metro Manila roads. I did find it very amusing on how the Ramirez family ended up right in front of the Manila Pen (The Peninsula Manila) during one of their random strolls around the metro. They actually live in one of the tenements brimming with poor folk in Tondo which is quite far from Makati where the posh hotel is located. It is obvious and quite understandable that the inner workings of an armored truck company depicted in the film were fictitious since no company in their right frame of mind would ever divulge how they truly operate. But that didn’t hamper the excitement, the thrill and the anticipation when it came to the heist.

Althea Vega and Sean Ellis

It was only after the film when I realized that this was shot back in late 2010/early 2011. So it was no wonder that Althea’s acting was still raw, less textured and definitely more of a newbie in here compared to her more recent films like Amor y Muerte wherein she has shown vast improvement. John Arcilla was also in his element in this film. I wasn’t able to see through him and failed to see his real motives earlier on. The biggest surprise for me in this film was Jake Macapagal. I found out that he has done a lot of theater work but I couldn’t fathom why I haven’t seen him on stage before. I wondered if I was able to watch him before in any of his film/theater roles. I concluded that the roles that I’ve probably seen him portray before were either just supporting or completely unremarkable that he wasn’t able to make his mark. But Metro Manila is a different monster since I am pretty sure that everyone who has seen the film would definitely remember who Jake Macapagal is.

The special screening of Metro Manila is part of This is GREAT Britain, a five-month celebration of the best of British business and culture presented by the British Embassy Manila in cooperation with the British Chamber of Commerce Philippines, British Council Philippines, British Alumni Association and Bonifacio Global City. The celebration culminates in The Great British Festival happening on March 7-9, 2014 at the Bonifacio High Street.

Closer

I would imagine that most theater companies would’ve preferred to open with a bang to announce itself to the world. But the newly formed Red Turnip Theater company chose a different route and opted for more intimacy with their initial offering, Closer, which had its run at Whitespace. Written by Patrick Marber, Closer had its premiere at the Royal National Theatre’s Cottesloe Theatre in London back in 1997. It was awarded as the Best New Play at the 1997 Laurence Olivier Awards.

Angel Aquino

Most people, including me, are more familiar with Closer through the 2004 film adaptation starring Julia Roberts, Clive Owen, Jude Law and Natalie Portman. Having seen the film before helped me a lot in understanding and appreciating this play. It didn’t pose any difficulty for me establishing who’s who: Cris Villonco as the stripper Alice, Marc Abaya as the obituary writer Dan, Angel Aquino as Anna the photographer, and Bart Guingona as Larry the doctor. This was Angel Aquino and Marc Abaya’s first foray into theater while Cris Villonco portrays probably her most daring role to date.

Bart Guingona

Cris, appearing more svelte and spunky with her pixie haircut, embodied the carefree nature of Alice. Angel’s Anna felt too reserved and tamed at the start but this was just the façade that would later be shattered when she spurted lines that would make grandmothers faint in shock. Marc shed his rock star image (he is the frontman of the band Kjwan) with Dan, a fumbling writer. And Bart was the same old reliable Bart whom I last saw in Next Fall. The characters were complex, conflicted and flawed that it was hard to envision a happy ending for any of them.

Cris Villonco

The play, which was directed by Ana Abad Santos, consisted mostly of vignettes with the four characters either pairing or splitting up or even exchange partners. The scenes dealt with the vital turning points in their lives, with time advances not clearly stated which left a huge chunk of the story out. The audience had to pay close attention and listen carefully in order to fill in the gaps. And with the arena type staging, I felt that I was a voyeur snooping into the lives of these four people, even during their intimate moments. It’s been said that this play is a modern and dark take on the opera Così fan tutte by Wolfgang Amadeus Mozart. And this production gave a nod to this by playing the overture from the opera during one of the funniest scenes in the play when Larry and Dan (posing as Anna) were having a not so wholesome chat over the internet.

Marc Abaya

The material might be too hard for some to understand especially those who expected to have a relaxing time with the cast and crew doing all the work. But Closer is not one of those plays. Even though I’ve seen the film and already knew beforehand what would happen, the play still posed as a challenge for me to listen actively to the lines. I did have a difficult time figuring out some of the words because of too much reverb in the venue.

Rem Zamora, Jenny Jamora, Bart Guingona, Angel Aquino, Cris Villonco,
Marc Abaya, Ana Abad Santos, and Topper Fabregas

I am extremely pleased that Red Turnip Theater, founded by Jenny Jamora, Topper Fabregas, Cris Villonco, Rem Zamora and Ana Abad Santos, really went for a more cerebral production instead of bombarding the audience with yet another eye candy which is already being served by other companies. The company’s next production would be the intriguingly titled Cock by Mike Bartlett to be staged in February 2014.