Building on the successful formula—time-honored Filipino music cum dance—of its earlier “Harana,” the Philippine Opera Company (POC), led by soprano Karla Gutierrez, came up with “Ang Bagong Harana” (RCBC Plaza’s Carlos P. Romulo Theater), creatively written and directed by Floy Quintos.
And what do you know: The second show surpassed the first!
The new “Harana” ran the gamut of classical music (Abelardo and Santiago), novelty and hi-jinks (“Waray-Waray,” a tribute to the icon Sylvia la Torre), OPM, and patriotic anthems. It was a fitting tribute to our musical heritage, entertaining and ultimately inspiring.
And the 12 formally trained singers of POC showed once again that they could dance almost as well as the more professional Ramon Obusan Folkloric dancers (who performed with them).
The 12 are Twinkle Prietos, Al Gamaitan, Janine Santos, Floyd Tena, Jurgen Unterberg, Lawrence Jatayna, Jack Salud, Nazer Salcedo, Marion Santiago, Marvin Gayramon, Charley Magalit and POC artistic director Gutierrez.
The venerable “Swan Lake” was a swan song of prima ballerina Liza Macuja, now in her middle years, at Aliw Theater, CCP Complex, before a cheering crowd of almost 3,000.
The awesome 32 fouttés were transformed into dazzling whiplash turns and spins—with pauses. But the effect on the fans was just as electrifying. May asim pa siya (she’s still got it).
More arias, please
Another major artist—soprano Rachelle Gerodias—celebrated her 40th birthday in style at the Cultural Center of the Philippines. Relatives and colleagues were on hand to heap praise upon her.
We had hoped for more operatic arias, duets and even quartets—considering that Gerodias gained fame as an opera star, and that opera singers Arthur Espiritu, Lemuel de la Cruz and Andrew Fernando shared the stage with her.
As Romeo declared to his Juliet, “Wilt thou leave me so unsatisfied?” In other words, bitin.
“Bombita,” perhaps the best play by Tony Perez, was restaged by Tanghalang Pilipino at the CCP’s Tanghalang Huseng Batute after 30 years, and proved to be as affecting as before, adroitly directed by Dennis Marasigan. Playing bewildered airmen on an absurd mission, Gino Ramirez and Jelson Bay, and Jonathan Tadioan as the gay reporter, exploited the comic elements of the play.
These, however, did not hide the bleak message of the work: There seems to be no hope for the naïve and innocent, as personified by the character Salvador Bombita (poignantly performed by Marco Viaña).
After an anemic first act, Repertory Philippines’ “Peter Pan” (at Meralco Theater) came to life in the second act with the heroics of Sam Concepcion as Peter Pan and Michael Williams as Captain Cook. But the flying scenes were not as impressive as ballyhooed.
Because Peter did not want to grow up, his love for Wendy (played by the young Tippy dos Santos and, at the end, by the veteran Joy Virata), or, rather, Wendy’s love for him, was not realized. It was a poignant (that word again) scene, the coda of this musical fairy tale.
A dark ‘Noli’
The musical treat of the year was National Artist Felipe Padilla de Leon’s “Noli Me Tangere-The Opera” (with libretto by National Artist Guillermo V. Tolentino), presented by Dulaang UP at Wilfrido Ma. Guerrero Theater. Alexander Cortez directed it in noir fashion, with production design by Gino Gonzales dark and almost funereal.
The choreography by Dexter Santos enhanced the festive moments and heightened the tense scenes. Music was only by piano off-stage, with music director Camille Lopez conducting from the front view. It was, in short, a chamber presentation.
As the leads Crisostomo Ibarra and Maria Clara, tenor Antonio Ferrer and soprano Elaine Vibal were an appealing couple, visually and vocally. Hunky, handsome baritone Frederick Hipol (UP Concert Chorus alumnus) was convincing as the revolutionary Elias.
And in the famous aria “Ang Awit ng Gabi ni Sisa,” soprano Jean Judith Javier was spellbinding, and deservedly received the loudest applause at curtain call. Retold in operatic terms, the “Noli” remains evergreen and heart-tugging even after countless versions.
Repertory Philippines’ “Suessical” (Greenbelt I, Onstage, directed by Joy Virata) is a disarming children’s musical with a message of concern for the vulnerable, as exemplified in the refrain “A person’s a person/ no matter how small.”
It is the story of Horton the Elephant (Oliver Usison) and his little protégé Jojo (Nacio Samonte); his fiancée Gertrude (Giannina Ocampo, who has a fine singing voice); and how Norton is betrayed and sold to the circus. But he, of course, triumphs in the end.
As Amayzing Mayzie, singing actress Liesl Batucan showcased her versatility by dancing up a storm à la Carmen Miranda.
