And what a great way to end a year that has been very good to us. We have been fortunate enough to have had the support of many corporations this past year such as myDSL, Philippine Charity Sweepstakes Office, Music One/Tower Records, Weave Creatives, Soundcrew, Carlos P. Romulo Auditorium, Bravo, Citrio, MBC Yes FM, Joey 92.3 FM, Citilite 88.3 FM, Raymund Isaac, Avon, Sommerset Serviced Residences, Goldilocks, Emphasis, Sarabia Optical/Mossimo, Aristomart, Nativa Green Tea/Fly Ace, Franzia Wine/Fly Ace, Aiwa, Aquasquare, AppleCenter by Powermac, Asian Food Express/ Kanin ni Tisay, Tapa King, Royal Clean, King Philip, Maidenform/Rustan’s marketing, Thai in a Box, Besa’s, Oppen Building/ Pipeline, Fanny Serrano and most especially, The Philippine STAR, spearheaded by Max Soliven and Miguel Belmonte, who through their endless support, have become benefactors of the performing arts. And Isaac Belmonte, Millet Martinez-Mananquil, Doreen Yu and Ricky Lo who generously promote the theater arts in their respective sections. Philippine theater will continue to thrive if more organizations and corporations follow suit and incorporate into their yearly budgets methods of supporting the live arts.
Heading our cast are Calvin Millado as the world’s most powerful (and sweetest) transvestite Frank N’ Furter (immortalized in the film by Tim Curry), Aiza Seguerra in the dual role of Eddie, the pizza delivery boy and Dr. Scott, a scientist (at certain performances Chari Arespacochaga plays the parts), Jett Pangan as the mysterious handyman Riff Raff, Anna Fegi as the incestuously fashionable chambermaid Magenta, Bituin Escalante as the rock groupie from hell Columbia, Joel Trinidad as straight laced Brad, Cathy Azanza as the virginal Janet, Jay Espano as the most delicious creature Rocky and Michael de Mesa as the narrator of the show. Joining them is a wonderful ensemble led by Mylene Dizon, Jeremy Aguado, Pheona Barnda, Myrene Fernandez, Raul Montessa, Glory Sicam and Nyoy Volante. It is always inspiring to have them at rehearsals and learn from their joy and excitement they bring to each rehearsal. And I guess that’s what it’s really all about for me. Creating live entertainment with people as passionate about the work as you are. There isn’t one rehearsal that I see someone not trying to do their best. No matter how tired they are or how long their day has been, the cast is always there to give it their all.
What makes me even prouder about The Rocky Horror Show is that we have assembled one of the best creative teams around. Designing costumes for the musical is none other than top fashion designer Rajo Laurel. Rajo and I began talking about the musical around the time I was directing Proof earlier this year. He was immediately excited and couldn’t wait to begin work on the musical. Though he was constrained by a limited budget for costumes, he has come up with some of the most spectacular designs for the characters, which contribute tremendously to the mood and ambience of the musical. I can’t wait to collaborate with him again on Dreamgirls ( our musical next year).
Choreographing The Rocky Horror Show is Andy Alviz. I first met Andy when I directed Ariel Rivera’s anniversary concert at the Folk Arts Theatre in 2000. Andy was choreographing the Whiplash dancers for the concert. But I really got to know him when we worked together for almost a year on Miss Saigon in Manila. Andy was the Resident Choreographer of the musical and was responsible for keeping the dances sprightly and clean (plus teaching all the cast replacements and understudies their dances).
Andy has a wonderful sense of occasion when he choreographs. Every bump in the music is taken into consideration and nothing passes his watchful eye unpolished. ManMan Angsico musical directs the production with flair, flamboyance and a contagious sense of festivity. It’s always a memorable experience working with him on a production. And designing the lights for the musical is my partner in crime Gerry Fernandez. Gerry and I have worked on practically every musical and concert I have done here in the Philippines (and also in Singapore). He has become an extension of myself in the creative process and is truly the best lightning designer I have worked with. Through the years of working together we can almost practically read each other’s minds. I really can’t see myself working without him.
Aside from the cast and creative team, the people who really got the show running are the production team. And I am lucky to have an extremely efficient production team at the theatre and at the office. Bernice, Pinky, Sally, Bea, Boni, Arnold, Jonsy and Karen don’t get seen by the audience, nor they get the applause and accolades but they are the ones who fuel the machinery and keep things moving.
I count my blessings everytime I come into rehearsals and see the joy in people’s faces and sincerity in their candor while we go through scenes and songs repeatedly. I wonder what it is that keeps them on the theatrical stage. We all know that theatre here in the Philippines in no way can compete with the profitability of film, television and the concert scene. But I guess the fulfillment of working in theatre is what keeps us going. Theatre allows you (for a brief moment or even longer if you are lucky) to see the world through rose tinted glasses. There really is nothing else quite like it. Those who have experienced it know exactly what I mean.