My 25-year affair with Carrie

MANILA, Philippines - Has it really been 25 years since I caught the infamous Broadway production of the now legendary musical Carrie? In some ways it feels like just yesterday, in others it feels like a lifetime ago. Twenty- five years ago, I was a student in New York City finishing my freshman year of college at Fordham University. I remem- ber coming out of the subway one day and seeing an abstract poster of a girl with a tear of blood running down her cheek with the catchphrase that read “There’s never been a musical like her.”

That was when I first met Carrie, the musical based on Stephen King’s modern gothic thriller by Michael Gore, Dean Pitchford and Lawrence D. Cohen, that would soon gain “legendary” status in Broadway folklore. With nothing planned for the night (except to review the com- plexities of Calculus for my final exams), I headed to the Virginia Theater (which was painted all black) and got myself a Stu- dent Rush ticket to see the show. It would be the first time that I would be seeing the phenomenal Betty Buckley on stage and the first time that I would be introduced to the fantastic British musical theater actress, Linzi Hateley.

I came into the show already a fan of the story, both the Stephen King novel and the Brian de Palma film. To say I was captivated by the musical would be an un- derstatement. While there were moments of staging and storytelling that boggled the mind, there was something extremely exciting about it — the music and that story. A tragic retelling of the Cinderella tale, complete with superpowers, a Bible- bashing monster mother and a prom night unlike any other. I became an obsessive fan right then and there. I bought the Car- rie window card and made friends with the sound desk people and scored a much coveted cassette bootleg of the production. That would be how I would listen to Car- rie for years to come.

Sometime last year I heard that the writers came together again to rework their musical and create the show they had always hoped to have from the very beginning. Although I didn’t get to see that production, I immediately inquired as to whether we would be able to do it in Manila. Although a risk to stage in the Philippines, I believed in it enough to pursue it. And, like most things in my life, when you set your mind on it, the uni- verse conspires to help you.

So here I am, 25 years after first falling in love with it, directing my own version of Carrie. The brilliant creators Cohen, Gore and Pitchford have become great colleagues and cheerleaders so supportive of our production. I have worked closely with them for the last few months and whenever a question arose in rehearsals they were an e-mail away. I can’t thank them enough for trusting me with their little girl.

We have assembled a cast worthy of waiting 25 years. Menchu Lauchengco- Yulo has always welcomed a challenge, and she takes on one of the biggest

of her career, as Margaret White, the mother made famous in the film by Piper Laurie. Singing most of the score in Betty Buckley’s original, exciting musical key, Menchu once again knocks another per- formance out of the ballpark. Markki Stroem has matured into a wonderful musical theater leading man, with so much heart and sincer- ity. Yanah Laurel, who has worked with us for five years now, shows just how amazing an actress she is and why the next generation of theater performers will be in very good shape. Jill Peña, whom I am working with

for the first time, is a spitfire as the villain- ous Chris along with Mako Alonso’s bad boy Billy (played in the film by Nancy Allen and John Travolta). Shiela Valderrama-Martinez is magical as the “fairy god mother” in dis- guise, Miss Gardner. Her version of Unsus- pecting Hearts is quite breath-taking. And the ever dependable Jamie Wilson brings out his inner disciplinarian as Mister Stephens. Add to that a first-rate ensemble consisting of Bibo Reyes, Johann dela Fuente, Nel Gomez, Garie Concepcion, Lilette Lorenzana and Kim Mo- lina. And then there is Mikkie Bradshaw, who takes on the lead role of Carrie White. At 22, Mikkie is delivering one of the best perfor- mances I have witnessed by young musical theater leading ladies in my lifetime. Carrie White is one of the most demanding female musical theater roles and Mikkie delivers a breakout performance filled with loneliness, anger, resentment, pain, joy and suffering. It packs a wallop. A new leading lady is born.

Like most things in life, the sum is only ever as good as how solid its parts are, and luckily, I have a first-rate team who has had my back every step of the way. Choreographer and seatmate Cecile Martinez once again creates energetic choreography; assistant director Jamie has put in so much time getting every- one and everything ready for me before I enter the room; musical director Ceejay Javier has meticulously melded the cast and the musi- cians; vocal coach ManMan Angsico, whom I have been working with for 17 years, yet again amazes me with his genius; Raven Ong creates costumes that enhance character and location; Otto Hernandez creates an evocative gothic set that sets the mood; Martin Esteva’s light- ing design of footlights, shadows and shafts of light complete the picture; and Johann dela Fuente’s detailed hair and make-up design, GA Fallarme’s always exciting graphic and projection designs, and the production and technical team led by Bernice Aspillaga and Sheryl Polancos make working on a show with complex special effects, logistics and a heck of a lot of blood, a joy to work on. Add to them the hard-working office staff who are the glue keeping us all together; it is without a doubt a collaborative effort that I am lucky enough to have spearheaded.

In theater, productions only come to be when generous benefactors and corporations extend a helping hand and put their faith in you. Atlantis Productions is proud to have the support of Metrobank, The Philippine STAR, New World Makati Hotel, Portfolio, BusinessWorld, Velvet, MYX, Metro Magazine, Hit Productions, Digipost, Media Magnet, Sony, ClickTheCity, When In Manila, Astro- plus, MBC Radio, Crossover 105.1, Mellow 94.7, AShop, MAC Cosmetics, F&H Salon, Converse, Crystal Clear, McDonald’s, Sir Boy’s Food Republic, Gerry’s Grill, Super- bowl, Carlo’s Kitchen, Moshi Moshi, Big Daddy Jay’s, Lunchbox, Rub Ribs and BBQ, Wingman, Yoshinoya, Popcakes, Lynelle Hair Fashion, SJG Development, AAP Print- ers, Backroom Inc., RCBC Theater and the City of Makati and all the loyal showbuy- ers. Thank you for believing in us and in the necessity of theater in people’s lives.

Truth to tell, I am exhausted. Directing Car- rie takes a lot out of you. It is a complex and complicated show that sometimes delves into some very dark territory. There would be days that I would get home, pass out on the bed im- mediately and wake up the next morning still dressed from the day before with lights still all on. But aren’t those the best days? When you are so exhausted yet extremely fulfilled because the show matters that much to you. Carrie has reminded me of that singular belief that I have stayed true to all my life — if you set your mind on something, it is bound to happen for you...even if it takes 25 years.

(Carrie runs from Sept. 20 to Oct. 6 at the Car- los P. Romulo Auditorium, RCBC Plaza, Makati. For details, call Atlantis Productions at 892- 7078/0917-8381534 or TicketWorld at 891-9999.)