For its first production this year, Repertory Philippines mounted a significant comedy-drama with a heart, Geoffrey Nouffts’ “Next Fall” (OnStage, Greenbelt 1, directed by Audie Gemora).
The world of skeptic Adam (Bart Guingona) unravels when his live-in lover Luke (David Bianco), a Born-Again Christian, meets an accident and is hospitalized. Each scene is a hospital episode followed by a flashback, abounding in comic as well as dramatic incidents and witty, provocative dialogue.
There were brilliant performances all around, with Guingona and Bianco supported by topnotch performers: Liesl Batucan, Miguel Faustman, Juno Henares and Nicolo Manahan.
Best plays
Tanghalang Pilipino’s “Eyeball” restaged some of the best plays in its Virgin Labfest, including: Carlo Pacolor Garcia’s “Bakit Wala Nang Nagtatagpo sa Philcoa Oberpas” (directed by Riki Benedicto); “Doc Resurrecion: Gagamutin ang Bayan” (directed by Tux Rutaquio); and “Isang Araw sa Karnabal” by Nicolas Pichay, (directed by Chris Millado).
“Doc Resurrecion” is a hate-driven tale climaxed by a shocking murder, demonstrating how poverty and failed ambitions can brutalize a marginal family.
In stark contrast was “Philcoa Oberpas,” a madcap comedy about intersecting lives in a busy overpass filled with motley characters. Character actor Jelson Bay, the threatening sergeant in “Bombita,” was a gay evangelist this time, showcasing his versatility.
“Isang Araw sa Karnabal” is about a troubled young couple who meet in the carnival, rekindle their passions, and meet the demons of their past in a hair-raising roller-coaster ride skillfully interpreted by the performers (Yul Servo and Sheenly Gener), deftly directed by Millado, and made riveting by lighting design (Katsch Katoy) and sound effects (TJ Ramos).
Traveling tenor
“Our man in New York” lyric tenor Rogelio “Jun” Peñaverde continues to land lead roles in professional productions in that city.
After playing Ottavio in Mozart’s “Don Giovanni,” he appeared as Amaryllus in Vaughn Williams’ “The Poisoned Kiss,” produced by the Bronx Opera Company. The New York Times hailed his “sweet lyric voice.”
The work is all about a valiant prince and a vengeful musician’s daughter “whose kiss can kill.” It was the first professional New York production of the opera in decades.
Mozart, Shakespeare in Tagalog
That was a clever, innovative chamber presentation of Mozart’s opera buffa “Cosi Fan Tutte” at St. Scholastica’s College, featuring fine singing by talents of the college’s School of Music and the Manila Symphony Orchestra under the baton of Arturo Molina.
As she did in Dulaang UP’s “Noli–The Opera,” music director Camille Lopez-Molina conduced from the front row. The audience was able to follow the story through English translations of the libretto, with spoken dialogue (recitatives) in Tagalog!
The talented singers were Myramae Meneses, Iona Ventocilla, Kristine Baligcos, Ivan Nery, Carlo Falcis and Ralph Perez.
The young musicians, notably principal cellist Gian Gonzales, of the MSO, shone again as they did in our—the Andres Bonifacio Concert Choir’s—show at the Philamlife Theater last Nov. 30.
Another good news is that the MSO will present Bizet’s opera “Carmen” in September, also at St. Scholastica’s College.
Nonon G. Padilla’s adaptation of Shakespeare’s greatest play “King Lear” (“Haring Lear”) was dark, gothic, expressionist, startling at times and with weirdly comic touches (like a gyrating macho dancer and Lear playing golf—in China, no doubt!).
The all-male cast, bald and dressed in black, led by Teroy Guzman, gave felt, intense performances.
The production was enhanced by National Artist Bienvenido Lumbera’s translation, formal yet “with-it”; the grim, moveable set design of Gino Gonzales, mood music (Dodjie Fernandez) and special effects (Jonjon Villareal).
Catholic blues
Ateneo Blue Repertory restaged its hit for-adults-only pop opera “Bare” (Intrabartolo-Hartmere), bringing it out of the closet, este, campus and into the Teatrino, Greenhills, directed with brio by Ana Abad Santos. “Bare” is all about homosexual and heterosexual love in a Catholic boarding school.
Those who have been through Catholic high school may relate to this sung-thru musical, although they may not necessarily behave like these characters (who are supposed to be American graduating seniors) do.
Jaime Barcelon and Bibo Reyes as the tragic lovers led a terrific ensemble of actors-dancers-singers (mostly Ateneo college students).
And the cross-dressing Rem Zamora was a scream as a cool nun and—in a riotous dream sequence, with angels fluttering overhead—as a blue-hot Mama Mary performing like Diana Ross!
