Virgin Labfest 4- Keep it pretty, keep it witty, keep it gay. (Pagbabago, Paghahanap, Pagkakataon)

It was a great coincidence (or was it fate?) that the three plays dealing with issues of the gay community fell on Pride Day 2008. Even Rody Vera shared his surprise about this when he announced the night before to come watch this set “kung saan lahat ng dula ay may kinalaman sa kabaklaan.” Though filled with comedic moments, each play carried serious situations with them as well.

Pagbabago

If the title of the play doesn’t catch one’s attention, then its uncanny plot will. Ang Kwento ng Menginga ng New York City na Kamukha ng Bee-stung Lips ni Julia Roberts by George Kabristante (direction by George de Jesus III) tells the story of a Denise, a B-movie writer who wants nothing more than to be loved by his object of desire, Victor. Victor promises to sleep with Denise and even marry him on one condition: that Denise gets the snipity-snip to set in a new menginga (ie. In Eve Ensler’s words, a coño, a fica, a cunt, a vagina, a puki). Victor leaves for New York for new opportunities, and Denise picks out the best menginga model: one reminiscent of Julia Roberts’ Bee-stung Lips. (How they represent the presence of her new body part is something to look forward to in this production.) She follows him and is shocked to find out that his earlier condition was just a joke. What follows are darkly comic situations that eventually lead to the stuff of modern tragedies.


Ricci Chan is hilarious as Denise and is effective in his comedy as well as melodrama. I think the last time I saw him perform live was back in 1999 in RENT as a fantastic Angel. This time around, he cross-dresses again, but as a funnier albeit more tragic character. (At least si Angel, nakaranas ng tunay na pagmamahal kahit namatay siya. Wala pang kondisyon at hindi pa siya nagpa-sex change sa lagay na iyon!)

One person in the audience that afternoon commented that the plays were good, but needed a little more editing. True, there were times when I wanted it to be tighter. Still, one can think that how free it is and how it breaks the fourth wall are part of its charm. I mean, there were even some sections where we couldn’t figure out when Ricci was already doing adlibs and that just added to the fun of it all.


The play teems with steamy moments of which our section had more than an eyeful. (If you’re the adventurous type and want the “full experience” watch near stage left like we did. Hehe.) No problems with these, though, since they were well choreographed and were sometimes used as riotous accents to the show.

Even with the mature scenes, it made clear that the point being made is still that on self-worth and acceptance. Though shown in the context of a gay relationship and in the midst of extreme conditions for love, the questions posted are the same: Will you change yourself just to be loved? How far will you go just to be accepted? If Denise’s story is to be taken as the writer’s answer, then we find that unless the decision to change comes from our deepest desires, our own will and not another’s imposition, then it is a decision that will only bring pain and despair.


Pagkakataon

Not to be outdone by the first play’s lengthy title, the next one delivered as well: Rogelio Braga’s Ang Bayot, ang Meranao, at ang Habal-Habal sa isang Nakakabagot na Paghihintay sa Kanto ng Lanao del Norte (direction by Nick Olanka). Contrary to its complex title, this play’s outline is simple: a gay social worker waits for transportation at the foot of a Lanao del Norte Mountain to get to their NGO office at the top. Here, he encounters a habal-habal driver. In their wait, their discussion covers discrimination, hypocrisy, corruption, their love lives, and even the Radioactive Sago Project.


Joey Paras is the bayot and Arnold Reyes is the Meranao habal-habal driver in this utterly amusing play. When it started, images of Didi and Dodong flooded my mind again. When Joey started to talk, I knew we were in for a laugh trip. The comedic timing and rapport between these two are just phenomenal. At one very funny point in the play, you see them about to crack and lose it, but they manage to carry on.

Amidst the laugh-out-loud moments (mostly coming from the characters’ sharp-tongued hits at each other), the play is serious in weeding out the issue of discrimination in modern society. How common an occurrence is it that opportunities for minorities are withheld? What structures in our country prevent the growth of all its members? What social engagements look good on the outside but actually oppress in practice? Through the experiences of our Bayot and our Meranao as part of struggling groups, we are faced with the cruelty even a civilized society can condone.

With its sharp humor and sociopolitical commentary, Ang Bayot… was my favorite play in this set.


Paghahanap

Dahil naubos na ang mga salita sa title ng unang dalawang produksiyon, tipid na ang ikatlo na pinamagatang Gumamela. Roobak Valle directs this funny play penned by J. Dennis Teodosio.

Gumamela opens with Butch, played by the endearing Phil Noble, waiting for his most recent hubby to celebrate his 40th birthday with him. Somewhat reminiscent of his last character in PETA’s Skin Deep, Noble portrays a gay man in his mid-life who keeps on going after the young ‘uns. He, however, never seems to learn and ends up being used or hurt by his boys. That is, until he meets Rubert via an online matching service. While waiting for Rubert, Butch gets neurotic in thinking that his love will never arrive and that he’ll end up alone and suicidal once again.

The play is pretty straightforward, and that I felt was my major concern with it. It leaves nothing more for me to uncover. Its title is explained a few minutes into the play: Butch identifies with the Gumamela since it is most fragrant when crushed. Towards the end, the play uses a chocolate cake to symbolize self-acceptance and love. When Butch decides to eat the cake, that already sends a clear message to the viewer that he has finally made the decision to finally love himself first. Still, he makes a lengthy exposition that the cake is his, and it is his time. Some of my friends even say it should have ended with him eating the cake.


This self-confessed bittersweet-campy story was fun to watch and it did have its moments. Feel-good, ika nga, lalu na sa huli. Like that other audience member’s comment in the talkback, though, I felt that a little more editing and tweaking could have made it more meaningful in the end.


Keep it Gay

Nang tanungin daw si Ginoong Vera kung bakit tuwing Labfest na lang, ang daming dulang may kinalaman sa kabaklaan, wala raw siyang maisagot. Siguro may katotohanan ang mga salita ni Mel Brooks sa The Producers:

The theatre's so obsessed
With dramas so depressed
It's hard to sell a ticket on Broadway
Shows should be more pretty
Shows should be more witty
Shows should be more
Gay!
No matter what you do on the stage
Keep it light, keep it bright, keep it gay!
Whether it's murder, mayhem or rage

Don't complain, it's a pain
Keep it gay!

The Virgin Labfest runs until July 6. The set Pagbabago, Paghahanap, Pagkakataon shows again on July 3 (Thurs, 3pm and 8pm). Tickets are at P200 for the entire set. Check out these entries (Virgin Labfest Na, Virgin Labfest 4 Lineup) or go to virginlabfest.com for more information about the entire festival.

Pictures used in this entry are from theater critic Mr. Joey Ting. (Check out his articles in the Manila Times and his website as well.)

Next: Pagkagahaman, Panlilinlang, Pananampalataya

Virgin Labfest 4- On the Value of Values (Katotohanan, Katarungan, Kapatiran)

After George de Jesus III’s Kung Paano Maghihiwalay, we rushed to Huseng Batute to catch our first Labfest set: Katotohanan, Katarungan, Kapatiran. (SIDEBAR: Is it just me or are set titles this year a little more difficult to remember? What I recall is that they’re all in threes and with word themes except for Mga Premyadong Kwentong Pambata)

Rody Vera, Artistic Director of the Virgin Labfest 4, explains that when playwrights create their plays, often there is a value focused on. Thus, this set of plays rife with statements linked to integrity, values, and power was given a title composed of values.


Kapatiran

Pamantasang Hirang (Sa Dilim Man) was the first play of the set and used the experience of a fraternity in the University of the Philippines as a mirror of power and corruption in the country.

Dan is an established copywriter who decides to return to UP to study creative writing in his old age. Dan learns that his roommate’s fraternity initiation (the same one he backed out of years ago) is to be conducted in his dorm room. Surprised, Dan realizes that the frat alumnus presiding over the activity is his old college buddy, now congressman, Chok. Chok asks Dan to help him further his political career, but he refuses, along with the offer to be a “brod” once and for all. Ritual violence ensues with Dan’s refusal and we discover the extent of how far “brods” will go and how their connections eventually feed the power-hungry and corrupt.

This play by Tim Dacanay is obviously UP-centric, which is not bad at all. References to the highly-esteemed University are made left and right. There are only two schools according to Congressman Chok: UP and the Others. Chok believes, however, that the “UP Graduate” title means nothing in the “outside world” and, like their frat, everything is just a power struggle. His sense of kapatiran is a warped one and it is palakasan, connections, and corrupt machineries that help one get somewhere.

The satirization of the fraternity is obvious and generates most of the laughter for this play. The audience couldn’t keep from guffawing every time the fratmen uttered their borrowed motto, “Veni! Vidi! Vici! Alpha mu tau!”

Jonathan Tadiaoan plays the part of the menacing congressman effectively and just makes one feel repulsed by his presence. Ian Bautista plays the contrasting Dan with a sense of calm marking his character’s maturity. Unlike Nicco Manalo’s convincing performance as the neophyte roommate, though, the other characters (like the fratmen) lacked character and seemed too much like bit parts in the background.

I also felt that the relationship of Chok and Dan could have been explored more. Dan’s decisions could have also been made more clear: Why did he quit before? What distanced him from Chok? What made him go back to Diliman and leave again eventually?

Though some questions are left unanswered, it is clear that this play denounces a kapatiran that is blind and knows only the language of power. There is hope in those that break the corrupt connections and cycles, like Dan who knows change can happen, sa Dilim man.


Katarungan

There is no description for this play more apt for me than to say that I felt violated by it. And if making one uneasy, alienated, troubled, confused, and angry was its objective, then Masaganang Ekonomiya did its job tremendously. Now some good plays make full arcs and end with answers to the problems they present. Others leave you with more questions in the end, which is not necessarily bad. Masaganang Ekonomiya is definitely of the second kind.

Though framed by a game of chess, this is no Tim Rice Musical. Vera, played by Katherine Sabate, is a highly-decorated colonel. We see him ((Yes, Katherine is a woman playing a man. And with very visible strap-on prosthetic man-parts to boot.)) interrogating the young militant Gomez, played by Abner Delina, Jr. Kudos to these two for assaying greatly demanding roles! Sabate owns the role of Vera, and Delina brings life to Gomez’s misery and desperation— far from his role as Batang Rizal.

Now, to say that I was confused by this play is an understatement. Setting the plot and structure aside, the themes of justice and political conflict are clear in this insane play. The intense examinations are broken by projections of names of missing or murdered civilians who are known to be leftist. In the end is an emasculation of power, already made clear with a woman playing the colonel. A picture of GMA is juxtaposed with Hitler and is made to look just like him. As this is projected in the background, Vera castrates himself with a sickle, previously hanging in the background reminiscent of the communist symbol.

Scenes were disturbing, intense, and sometimes laughable at the same time. Take the part when Gomez is thirsty and Vera makes him drink his urine. ((Yes, Katherine’s strap-on can dispense liquids as well.)) It was a scene horrifying and ludicrous all at once such that one doesn’t know what to feel. Like what I said, this play violates you.

Still, with the violation and confusion I felt from this play, it was the most memorable in the evening’s set. Leave it to cruelty and shock value for people to remember a play. If what were seen were (hopefully) extremes in the age-old conflict between the machine and insurgents, the injustice shown only fuels one’s anger and makes one scream for change.


Katotohanan

The set ended with Rody Vera’s translation of F. Sionil Jose’s Dong-Ao.

Our first observation was that this play had a power cast: Tommy Abuel, Gigi Escalante, Fernando Josef, Bembol Roco, Didi dela Paz, Carme Sanchez, and Monica Llamas. With all the big names in it, including its prize-winning author, how could it go wrong? Alas, the play left me wanting something more.

Dong-Ao is a funeral ceremony where individuals converse with the deceased and in doing so, pay tribute to him. Before Pepe Samson is laid to rest, a varied mix of people testifies to his life and the values he lived by. As they do so, their views of this nation are weeded out. We wonder as the monologues go on: which testimonial is true? Or should we believe that each is acceptable and the truth about this country is more complicated than ever? In the end, their varied beliefs and values depict a fragmented nation: both corrupt and in collapse yet beaming with hope.

The play is most powerful in its beginning and end. In the exposition in the middle, we get lost in the words. I share the sentiments of a friend, who says that one of the reasons the middle testimonials were not effective was that they left nothing more to the imagination. They were just that: words piled on words, sometimes too heavy and uninspiring. The first two speeches were gripping, but I began to get restless soon afterwards. Don’t get me wrong and believe it was not good writing. It was, especially given the masters who penned it. Still, with the allusions to the nation and the messages to Pepe, the play lost me in the middle.

Though sometimes limited to interacting with the coffin and the small crowd, the acting was still tremendous. These people are, after all, luminaries in the field. Tommy Abuel, Bembol Roco, and Gigi Escalante’s performances were my favorites. These formed the strong bookends of the play for me.


Value of values

Rody Vera began with the statement that plays revolved around specific values. Interestingly, these three plays did not show the true values of Katotohanan, Katarungan, and Kapatiran. They showed the lack of it. In the stark darkness of the plays, their warped or missing values only emphasized the importance of these in society. It is these that keep us functioning as a nation or, at the very least, a hopeful one.

The Virgin Labfest runs until July 6. The set Katotohanan, Katarungan, Kapatiran shows again on July 2 (Wed, 3pm) and July 6 (Sun, 8pm). Tickets are at P200 for the entire set. Check out these entries (Virgin Labfest Na, Virgin Labfest 4 Lineup) or go to virginlabfest.com for more information about the entire festival.

Next review: The Labfest’s set that coincided with Pride Day- Pagbabago, Paghahanap, Pagkakataon.

Virgin Labfest 4- Kung Paano Maghiwalay

Finally, it was Friday. After a long week of academic work, it meant that I could start watching the Fourth Virgin Labfest entries. That afternoon, I braved the weekend traffic to go to CCP and arrived just in time to catch my first shows. It was a photo finish arrival and I was too excited that I tripped on the last step climbing up the side entrance of the CCP. (Note to self: never hurry up stairs when wearing pointy formal shoes.) I kept thinking, at least sa gild lang ito nangyari. Ikamamatay ko (sa kahihiyan at literally rin siguro) kung sa grand staircase ng main theater pa. Of course, I had to recover my poise and stood up immediately to face the friendly usher that was half-worried and half-laughing.

I made it in time for the staged reading of George de Jesus III’s Kung Paano Maghiwalay. The reading was so good that I thought if this marked the quality of productions this year, then the trips to the theater (pun intended) in the next few days would be worth it.

Kung Paano Maghihiwalay tackles exactly its title: how does one end a relationship? In ten short scenes, the play goes through the process of the break-up through snapshots of couples experiencing it, talking about it, or even just practicing it. We go through different levels of intensity, different concerns, different reasons: all sharing the pathos and anger involved in ending a relationship. It seems to have it all in there. Among the break-ups: an old couple deciding to split after years of marriage with the lola wondering who will remind lolo to stay away from the high-cholesterol food, the couple that laughs about it and feels the impact just after it’s happened, the girl who had to go through a break-up via text, the gay couple with the Starbucks break-up that couldn’t be more casual, the lesbian couple that can’t define their relationship, the neurotic guy and gal that enter the cab as a couple and exit as singles.

Though non-chronological, the scenes converge in many points in their theme and characters. As it progresses we learn how all these characters and their break-ups are connected (ala Magnolia). With the alternating tones of the break-ups, the play is truly well-paced and well-written. There’s simply a perfect mix of the tragic and the comic.

The cast was wonderful and most were familiar faces like Mads Nicolas (whom I just saw in VDAY delivering that Pagbawi ng Puki monologue with gusto), Bituin Escalante (in a role that reminds me of her Joanne in RENT), Kalila Aguilos (divine, even if not in her Queen Femina costume), and blogger extraordinare Lorna Lopez (more famous as The Bachelor Girl). Though just a staged reading, the emotions were really there thanks to the great ensemble.

So where does the love go when a relationship ends? Through lolo and lola in the end, the play suggests that it’s still there. But sometimes, though the love remains, some break-ups must happen. Sabi nga ni lolo, malalaman mo lang ang halaga ng tunay na pagmamahal sa pagtatapos nito.

I hope to see this restaged in the future. It doesn’t even need to be a big budget production, lest it lose its charm. Like some break-ups it should be kept as what it is: short, simple, and surviving.

The 4th Virgin Labfest runs until July 6, 2008 at the CCP. Don't miss this wonderful event in Philippine theater! Visit their official site for more information.

Kinema Album- "I Will Get There" excerpts (not really a teaser, pero sige na nga)

We recorded the solo part for the “I Will Get There” track of the Kinema album last Thursday at Jescom. I brought my Mac and recorded the recording session from the soundbooth. (Does that even make sense? Hehe.) You can hear the clicks on the soundboard every now and then, haha.

Anyway, this is a very crude copy and I just cut and pasted some parts manually using Garage Band. (Go Macbook!)

I won’t disclose the name of the guest soloist yet since unbalanced and untreated track pa ito. Baka ayaw pa niya magpakilala. Hehe. Anyway, maraming salamat talaga sa aming soloista! Obviously, hindi siya Kinema member since babae. :-) See if you can figure out who she is kung hindi siya magpakilala sa thread na ito.

Enjoy! If you like what you’ve heard, please let us know! If there are any of you who want to support the choir in any way ((financial is best)), please contact me. We really need help in finishing the album.

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My Virgin Labfest Schedule

Bumped into Sir Jerry Respeto during an LS event this morning and I told him a bunch of my friends and I were going to the Labfest this year. Ang una niyang akala, may sinulat akong ipapalabas, haha. Tapos bigla akong sinabihang, "Magsulat ka naman ng play o kahit anong may kinalaman sa science. Tapos ipabasa mo sa akin at isali mo sa Labfest o Palanca Awards." Na-flatter naman ako. Ang naisagot ko lang, "Tignan natin." Hahaha.

Pero oo nga, no? With Karen's help, why not? (Karen is Karen Manalastas, a friend who graduated from UP. Summa cum laude na Molecular Biology and Biotechnology major na manunulat din. She shares the same equal passion for the sciences and the arts as I do. Nanalo na siya ng Palanca Award: 1st prize sa future fiction category. I believe she sent in new entries just a few months ago.) Maybe she can think of something we can work on.

Para rin magka-sense of finality, ilalagay ko na rito ang Labfest schedule ko. Really excited! Ang saya, parang Academic conference pero puro play sa halip na seminars. Dapat next time, may cheaper "All-Access Pass" sa buong festival. Ma-suggest nga kina Paolo.

June 27 (F): 6:30pm-Staged Reading (SR) of Kung Paano Maghiwalay
8:00pm- Katotohanan, Katarungan, Kapatiran
June 28 (SA): 3:00pm- Pagbabago, Paghahanap, Pagkakataon
6:30pm- SR of Newtopia
June 29 (SA): 6:30pm- SR of Asunto, Araw ng mga Papan, and Ang mga Mananahi
8:00pm- Pagkagahaman, Panlilinlang, Pananampalataya
July 3 (TH): 6:30pm- Book Launch of Savage Stage
July 4 (F): 8:00pm- Virgin Labfest 3 Revisited (Pwede ring Saturday 3pm, kung walang
Kinema practice)
July 6 (SU) 10:00am- Mga Premyadong Kwentong Pambata
3:00pm- Kapamilya, Kapuso, Kabisyo

There. I think I'll just miss the Staged Reading of Billboard and the Labfest Lab products if I follow this schedule to the letter.

West Side Story (5 September, 8pm): Kythe Fundraising

After its highly successful staging of Footloose (2005) and Disney’s High School Musical (2007), Stages Production Specialists Inc. launches its third and most ambitious production yet – West Side Story!

With music by Leonard Bernstein, lyrics by Stephen Sondheim, and original choreography by Jerome Robbins, this exciting production will be headed by Asia’s pop idol Christian Bautista as Tony and Joanna Ampil of Ms. Saigon fame as Maria.

West Side Story was first staged in Manila back in 1982 with Audie Gemora as Riff and Menchu Lauchengco as Maria. Happily, the Philippines’ King and Queen of Philippine Musical Theater now sit at the helm of this classic favorite.

This staging promises to bring something new for the current generation of theater goers, yet still keep its charm for the generation who wishes to relive the glorious moments of the Best Film of the 1959 Academy Awards.

West Side Story is an intense, dramatic dance musical with many show-stopping numbers and immortal songs like “Somewhere”, “ Tonight”, “One Hand One Heart”, “America” and “Something’s Coming.” It will be a night “like no other night”. Come and be part of it.

The show will be on September 5, 2008. 8PM, Meralco Theater. Ticket prices are as follows:

PhP 500 - balcony sides
PhP 700 - balcony center
PhP 1000 - orchestra / lodge side
PhP 1200 - orchestra / lodge center

Proceeds from the play will be donated to Kythe, a foundation that provides psychosocial care for pediatric patients, especially children with cancer. (http://www.kythe.org)

I was once a member of Kythe as well and even though I didn't stay long with the organization, my experience playing with the children and educating high school students about cancer were meaningful. I really believe in what this org does so do support them and watch West Side Story on the Septemeber 5 (also the opening night).

Reservations and inquiries can be sent to 0917-8676332 or minnie.fong@gmail.com.

Tonys 2008- Funniest moments

The Awards are showing on Velvet, Sunday June 22, 630pm.

Also, I found this online. It's all in there: the Whoopi moments and the funny acceptance speeches.

Tonys 2008 Funniest Moments

Tonys 2008- The Lion King ten years after the win

The 62nd Tony Awards was opened with The Circle of Life. This marked ten years after The Lion King won Best Musical.

Check out the two performances. (Mas may dating talaga yung ten years ago.) It isn't shown here, but Whoopi Goldberg comes out after as Sebastian the Crab.

62nd Tony Awards Opening: The Circle of Life


52nd Tony Awards Opening: The Circle of Life

Tonys 2008- List of Winners and Some Videos

List from the New York Times (Check out the original site for links to show information)

BEST MUSICAL

In the Heights

Cry-Baby

Passing Strange

Xanadu

BEST PLAY

August: Osage County

Rock 'n' Roll

The Seafarer

The 39 Steps

BEST REVIVAL OF A MUSICAL

South Pacific

Grease

Gypsy

Sunday in the Park With George

BEST REVIVAL OF A PLAY

Boeing-Boeing

The Homecoming

Les Liaisons Dangereuses

Macbeth

BEST BOOK OF A MUSICAL

Passing Strange, Stew

Cry-Baby, Mark O'Donnell and Thomas Meehan

In the Heights, Quiara Alegría Hudes

Xanadu, Douglas Carter Beane

BEST ORIGINAL SCORE (MUSIC AND/OR LYRICS) WRITTEN FOR THE THEATER

In the Heights, Music & Lyrics: Lin-Manuel Miranda

Cry-Baby, Music & Lyrics: David Javerbaum & Adam Schlesinger

The Little Mermaid, Music: Alan Menken; Lyrics: Howard Ashman and Glenn Slater

Passing Strange, Music: Stew and Heidi Rodewald; Lyrics: Stew

BEST PERFORMANCE BY A LEADING ACTOR IN A PLAY

Mark Rylance, Boeing-Boeing

Ben Daniels, Les Liaisons Dangereuses

Laurence Fishburne, Thurgood

Rufus Sewell, Rock 'n' Roll

Patrick Stewart, Macbeth

BEST PERFORMANCE BY A LEADING ACTRESS IN A PLAY

Deanna Dunagan, August: Osage County

Eve Best, The Homecoming

Kate Fleetwood, Macbeth

S. Epatha Merkerson, Come Back, Little Sheba

Amy Morton, August: Osage County

BEST PERFORMANCE BY A LEADING ACTOR IN A MUSICAL

Paulo Szot, South Pacific

Daniel Evans, Sunday in the Park With George

Lin-Manuel Miranda, In the Heights

Stew, Passing Strange

Tom Wopat, A Catered Affair

BEST PERFORMANCE BY A LEADING ACTRESS IN A MUSICAL

Patti LuPone, Gypsy

Kerry Butler, Xanadu

Kelli O'Hara, South Pacific

Faith Prince, A Catered Affair

Jenna Russell, Sunday in the Park With George

BEST PERFORMANCE BY A FEATURED ACTOR IN A PLAY

Jim Norton, The Seafarer

Bobby Cannavale, Mauritius

Raul Esparza, The Homecoming

Conleth Hill, The Seafarer

David Pittu, Is He Dead?

BEST PERFORMANCE BY A FEATURED ACTRESS IN A PLAY

Rondi Reed, August: Osage County

Sinead Cusack, Rock 'n' Roll

Mary McCormack, Boeing-Boeing

Laurie Metcalf, November

Martha Plimpton, Top Girls

BEST PERFORMANCE BY A FEATURED ACTOR IN A MUSICAL

Boyd Gaines, Gypsy

Daniel Breaker, Passing Strange

Danny Burstein, South Pacific

Robin De Jesus, In the Heights

Christopher Fitzgerald, Young Frankenstein

BEST PERFORMANCE BY A FEATURED ACTRESS IN A MUSICAL

Laura Benanti, Gypsy

de'Adre Aziza, Passing Strange

Andrea Martin, Young Frankenstein

Olga Merediz, In the Heights

Loretta Ables Sayre, South Pacific

BEST DIRECTION OF A PLAY

Anna Shapiro, August: Osage County

Maria Aitken, The 39 Steps

Conor McPherson, The Seaferer

Matthew Warchus, Boeing-Boeing

BEST DIRECTION OF A MUSICAL

Bartlett Sher, South Pacific

Sam Buntrock, Sunday in the Park With George

Thomas Kail, In the Heights

Arthur Laurents, Gypsy

BEST CHOREOGRAPHY

Andy Blankenbuehler, In the Heights

Rob Ashford, Cry-Baby

Christopher Gattelli, South Pacific

Dan Knechtges, Xanadu

BEST ORCHESTRATIONS

Alex Lacamoire and Bill Sherman, In the Heights

Jason Carr, Sunday in the Park With George

Stew and Heidi Rodewald, Passing Strange

Jonathan Tunick, A Catered Affair

BEST SCENIC DESIGN OF A PLAY

Todd Rosenthal, August: Osage County

Peter McKintosh, The 39 Steps

Scott Pask, Les Liaisons Dangereuses

Anthony Ward, Macbeth

BEST SCENIC DESIGN OF A MUSICAL

Micheal Yeargan, South Pacific

David Farley and Timothy Bird & The Knifedge Creative Network, Sunday in the Park With Geroge

Anna Louizos, In the Heights

Robin Wagner, Young Frankenstein

BEST COSTUME DESIGN OF A PLAY

Katrina Lindsay, Les Liaisons Dangereuses

Gregory Gale, Cyrano de Bergerac

Rob Howell, Boeing-Boeing

Peter McKintosh, The 39 Steps

BEST COSTUME DESIGN OF A MUSICAL

Catherine Zuber, South Pacific

David Farley, Sunday in the Park With George

Martin Pakledinaz, Gypsy

Paul Tazewell, In the Heights

BEST LIGHTING DESIGN OF A PLAY

Kevin Adams, The 39 Steps

Howard Harrison, Macbeth

Donald Holder, Les Liaisons Dangereuses

Ann Wrightson, August: Osage County

BEST LIGHTING DESIGN OF A MUSICAL

Donald Holder, South Pacific

Ken Billington, Sunday in the Park With George

Howell Binkley, In the Heights

Natasha Katz, The Little Mermaid

BEST SOUND DESIGN OF A PLAY

Mic Pool, The 39 Steps

Simon Baker, Boeing-Boeing

Adam Cork, Macbeth

Ian Dickson, Rock 'n' Roll

BEST SOUND DESIGN OF A MUSICAL

Scott Lehrer, South Pacific

Acme Sound Partners, In the Heights

Sebastian Frost, Sunday in the Park With George

Dan Moses Schreier, Gypsy

SPECIAL TONY AWARD FOR LIFETIME ACHIEVEMENT IN THE THEATER

Stephen Sondheim

REGIONAL THEATER TONY AWARD

Chicago Shakespeare Theater

Tonys 2008- RENT Tribute

Before it says goodbye a few months from now (September 2008), the current and original cast of RENT unite for a tribute to the show. Even the audience joined in singing. Fun watching Patti Lupone clap along. Hay.

(Nakakatuwa ang spiel ni Idina.)

Tonys 2008- Best Actress in a Musical (Video)

Were there any doubts?!

Amazing! Finally, nanalo na naman siya.











Everything's Coming Up Roses by Patti Lupone (From Gypsy)

Basahin na ang ZZZ sa Maynila pages 10-14

Blooming ang Ada-Dodong loveteam. Hahaha. Basa na.

May Permanent Stall na ang RODIC'S sa Ateneo!!!

Hindi na kailangang dumayo ng mga Atenista sa UP Shopping Center para sa masarap na tapsilog, longsilog, at caldereta!

Hindi na lang sila basta-basta weeklong foodsale rito.

Check it out at the Loyola Schools 2nd Floor Cafeteria. I'll take a pic of it someday, hehe.

Virgin Labfest Na!

Labfest na namang muli sa June 25-July 6. Kung hindi niyo pa rin alam kung ano ito, basahin ang sumusunod:

Take 4 for Virgin Labfest by Walter Ang (PDI)
Three Plays and A Reading by Gibbs Cadiz

My kind of fun: 20+ plays in two weeks! Sana next time, though, may discount ang TP subscribers. Hehe. Pero at P200 per set of three plays, sulit na 'to!


The following information is lifted from www.viginlabfest.com.

Show Schedule
Set Descriptions (links)
Virgin Labfest 3 Revisited
Kapamilya, Kapuso, Kabisyo
Katotohanan, Katarungan, Kapatiran
Pagbabago, Paghahanap, Pagkakataon
Pagkagahaman, Panlilinlang, Pananampalataya
Mga Premyadong Kuwentong Pambata

Tickets to the Virgin Labfest are at P200 for main exhibition sets, P100 for the symposium and "Pay What You Can" for play readings. For more details, please contact Tanghalang Pilipino at 832-3661, or the CCP Box Office at 832-3704. For details on how to apply for a slot in The Labfest Lab, call Nikki Torres at 8321125 loc. 1607 or 832-2314 or email drama_ccp@yahoo.com.

V is for Victory: V-DAY 2008

Happy Independence Day to all! Dahil kalayaan rin naman ang usapan, magsusulat na rin ako tungkol sa isang palabas tungkol sa isang uri ng paglaya. Only got to write about this now due to the preparations for the first sem.

Last June 1, some friends and I watched the one-night-only celebration of V-DAY 2008 at the RCBC Theater. Produced by New Voice Company, the event featured two sets of monologues: A Memory, A Monologue, A Rant, and A Prayer (MMRP), and Eve Ensler's The Vagina Monologues.

MMRP featured selected monologues from the book of the same title. The book, edited by Ensler, is a compilation of writings generally speaking of violence against women. The entries are by renowned men and women in their fields like Carol Gilligan, Kathy Najimy, and Edward Albee, to name a few. Though different in tone and points of view, the entries demand the world to act against such violence or, at the very least, be aware of it.

The selection of monolgues in VDAY2008 was a great mix: funny, angry, tragic, and hopeful. A memorable one was "Maurice" (performed by Juno Henares) where Kathy Najimy shared her experience with the most popular guy in school. "True" by Carol Michelle Kaplan (performed and translated into Filipino by Rody Vera) was about a heartfelt testimony that turned tragic. The delivery Filipino only made Kaplan's point more poignant. The set ended with Ensler's "Fur is Back", wonderfully delived by NVC and V-Day luminary Monique Wilson. This was my favorite monologue of the lot. My JVP friends who watched empathized with Ensler's experience of being the socially-concerned "party-killer."

When I looked at my seatmate at the end of the set, she was in tears. Sobrang naka-relate daw siya sa karamihan ng monologues. The writings were indeed powerful. That week I was with Missy Maramara at the Loyola Schools TFI (Teacher Formation Institute) and told her I watched the show. She had a few monologues in the show as well. Sila rin daw, nadala that afternoon where most of them heard the monologues for the first time during the single major rehearsal. Bigat!

The second half was the lighter set of select Vagina Monologues. As usual, the monologue that got the wildest cheers was "Reclaiming the Cunt," delivered perfectly in its Filipino form, "Pagbawi ng Puki," by Mads Nicolas. She had the RCBC audience applauding and shouting "Puki!" at in the end. Cherie Gil (elegant in her deep pink backless dress) ended the show with "I was there in the room," Ensler's recount of childbirth.

At that moment another play, Marisol, came to mind. In Marisol, there was a scene where a man was shown pregnant and says something like, kung alam lang ng kalalakihan ang kapangyarihan ng pagdadalang-tao.

The night also forwarded the cause of the Filipina Comfort Women. A good number of them were there that night and took the final bow with the cast. I couldn't help but be thankful that my lola didn't experience the horrors these brave women faced. Marami pa sanang sumuporta sa kanilang pakikipaglaban sa karahasan sa panahon ngayon. (The organization is Lila Pilipina, 4877649, lilafcw@pworld,net.ph)

I do hope they do a full Filipino version of both sets of monologues again someday.


Last April, V-DAY celebrated its 10th Anniversary in New Orleans. Part of the star-studded cast performing Ensler's work was our very own Monique Wilson. New Voice Company has a video of the complete performance of "Reclaiming the Cunt" (done in English, Mexican, Italian, and FILIPINO!) also available at the vday website. Check it out!

Zaturrnah sa Maynila pages 7-9 at Carverhouse

Click on this link to read the unfolding story of Ada and Dodong in Manila!