The ‘resurrection’ of our theater scene

Happy Easter everyone! It’s only been three months into the year, but if there’s one arena of our cultural landscape that has brought me renewed joy and excitement, the local theater scene would have a lock on that lofty position. In just 90 days, we’ve seen openings of productions that showcase just how fertile our homegrown stage can be — whether they be adaptations, original material, full-blown productions, or dinner theater presentations held at people’s homes. And don’t get me talking about the talent yet; but let me just say for now, that given the right breaks and opportunity, there’s a wealth of Filipino thespians out to give such trailblazers as Lea Salonga a royal salute, and show they also have the mettle to create fresh recognition and acclaim for what the Filipino can do globally, when the “curtain rises.”

At the RCBC Theater, we had Atlantis Productions’ Piaf, and if ever Pinky Amador was born for a role, this would be one of those up there for consideration. I know Pinky spent weeks in Paris in preparation for this role, and it shows when she handles the songs Edith Piaf immortalized. Pinky astounds us, teases us, has us treating Piaf with disdain, and ultimately showering her with compassion as she travails the course of Piaf’s tragic life. Before there were the likes of Joplin, Hendrix and Morrison, there was Piaf, the artist/chanteuse as tortured soul; and Pinky gives us Piaf, French national treasure, with all her “warts and blemishes.” In fact, it’s Pinky’s bravura performance that saves the material, which I personally found one-dimensional. Yes, one can be honest and unflinching, but showing Piaf as a sex addict, drug abuser and devoid of much scruples is like creating a play about Sinatra, which concentrates on his booze, reputed ties to the Mob and his womanizing. Yes, that may all be true, but you then don’t explain why singers like Piaf and Sinatra were so loved and idolized, revered in their respective eras and countries. Fortunately, Pinky transcends the musical’s “book,” and has us rising to our feet, with hands clapping, when the last note is sounded.

At Onstage, Greenbelt 1, Repertory staged the musical comedy No Way to Treat a Lady. A psychodrama about a failed actor with severe “mommy issues,” who turns serial killer in order to get the attention and acclaim he craves, the cast was an impeccable five-man roster with each performer creating “magic” with his or her portrayal. There’s Joel Trinidad as the detective assigned to the case, Sheila Francisco as his overprotective mother, Carla Guevara-Laforteza as the detective’s love interest and Pinky Marquez as various “victims” and as the actor’s deceased mother. And playing the actor/killer who dons disguises, accents and personas in order to perpetuate his crime wave was the delightful Audie Gemora. The truly wonderful thing about this staging was how evident it was that the cast was having so much fun while impressing us with their top-notch singing and delivery. A wonderful must-see, that deserves a fresh run!

In February, there was Cris Villonco in PETA’s D’ Wonder Twins of Boac. Who would have thought that the Bard’s Twelfth Night, a comedy about mistaken identities and gender confusion, could be transformed into a highly entertaining, hilarious send-up of the Philippine local film industry, circa 1960, when the likes of Nora Aunor began their careers, and right before the advent of the “bomba” craze. Directed by Maribel Legarda (I loved her Cinema One Original directorial film debut, Melodrama Negra), here was Shakespeare made relevant for a local audience ready to be regaled, amused, and spilling into the aisles with laughter. Matteo, my middle boy, had to watch this one for school, and admitted he thoroughly enjoyed the play, happy it became required viewing — and Cris was an absolute darling in this musical! February also meant Red at St. Benilde’s, the very cerebral Tony-award winning drama that spoke about the meaning of art in today’s world via abstract expressionist painter, Mark Rothko. This was Bart Guingona on full display, in a role that was both mentally and physically challenging and just as challenging for us, the audience, given the amount of pontificating and deep discussions about art as an organic process that emanates from a person — the artist.

On the lighter side, 9 Works Theatrical presented They’re Playing Our Song, a retro musical. This is the play where the song Fallin’ originally came from. A light comedy about songwriters, and loosely based on the relationship between legendary Marvin Hamlisch (who just passed away late last year) and Carole Bayer Sager, the winning performances of Nikki Gil and Lorenz Martinez turned this Neil Simon play into a refreshing, comedic trip down memory lane. While they ran all the Fridays of February, one such night introduced me to the MMQ Theater Group. Founded by a number of civic-minded expat women (I met the equally wonderful Mimi Carter and Michelle Washington), the members of the MMQ group merges their love of theater and performing with their seeking fulfillment by helping the disadvantaged here in the country they’ve “adopted” (or has adopted them!). With an Aeta children’s school up in a mountain village in Zambales as the direct recipient of their generosity, MMQ staged a suite of short comedic pieces that travelled from house to house every Fridays of February — their Valentine celebration of laughter and romance. The likes of Issa Litton and Nicanor Campos lent their services, and mingled with the MMQ stalwarts in putting the cast together. Theater in the name of a good cause became that much more enjoyable with this light-hearted romp through the minefield called love.

And I shouldn’t forget to mention that the balanced year looks just as bright. Atlantis has The Full Monty in April, based on the cheeky movie that has working class lads doing a Chippendale for charity (their own), and for the whole family, Tarzan in June — and then, a return stint for Rock of Ages. PETA went musical in March, with a musical concert that celebrates that most iconic of Filipino films, Himala. 9 Works is on hiatus until November, when it’s back with a vengeance, staging Grease. And look out for MMQ’s next foray, its annual fund-raiser, Le Cabaret, on Sept. 14 at the Dusit Thani Ballroom.

Truly, this is springtime for the avid theatergoer, with such a wide range of choices, excellent performances and portrayals, and proof positive that our world can be a stage — that as a member of the audience, we have the best seat in town when it comes to rich and varied entertainment.

Hallelujah! The curtain has risen!