Some hotter-than-hot Arabian nights

My life as a columnist and other facets of being a multiphrenic youth in the 21st century have been put on hold for an imperative commitment to long, arduous rehearsals for Repertory Philippines’ Aladdin Jr. Sprinkled with six-plus hours of quick costume changes, sweat-inducing choreography, and technical maneuvering of props, sets, et al, my time, for the most part, has been allocated to perfecting the show and appeasing the theater bug that constantly rages within.

Retracing a few steps back to June when auditions for the beloved children’s musical were first held, I remember fearfully entering the Rep Studio amid scores of applicants vying for a spot in the cast of 60 or so. Amid hopeful aspirants, neophytes, those halfway and those already there, there I stood shaken to the very core of my not-so-long theatrical existence. Determined to audition the hard way, I put some extra pressure on myself to see if I really had it in me to succeed in the cutthroat world of professional theater. I remember having to rehearse endlessly with a bunch of workshop mates, taking constructive criticism and converting it into jolts of confidence that could hopefully boost my singing during the actual audition. Though it would have been my second time around to be part of a Rep Children’s Musical, the pressure was inevitably still there. It was just a matter of getting past it, or using it to my advantage.

In retrospect, Ms. Barredo once said that an actor has four obligations: to join a workshop, to showcase his best during an audition, to experiment and perfect his art during rehearsals, and to deliver his best during an actual show. After all, an actor is only as good as his last performance. I’d done the Workshops, twice. And it was a blast! It was now a matter of taking it a step further, and journeying once again into the world of professional theater with all its immense challenges, especially to the courageous student who dares to balance both studies and having a career – which brings us to now.

After two long months of Monday-to-Saturday rehearsals for Aladdin Jr., we are down to the last stretch of tech rehearsals before the show opens this week. I’ve learned a whole lot from my cast members, from Tita Joy and Liesl, about how to balance my political science studies, other extra-curricular activities, time with my loved ones, and the demands and pressures of theater. As most have probably realized after being bopped by so many coconuts over the head, a commitment is a commitment. And once it’s made, you have to stick to it. Well, I’ve stuck to mine like Elmer’s glue, and am still preoccupied with an encompassing desire to give the children every bit the magical experience that Disney has shared in its rendition of the popular children’s tale. Believe me, it took a lot of long hours and hard work, constantly aiming for the zenith of calculated perfection. But as those who have taken a sneak peak at the goings-on in Agrabah have enthused, "It’s going to be a good show." Hell, it’s Aladdin, baby! It’s going to be a great show.

Brimming with mayhem, mystery, and some hotter-than-hot Arabian Nights, the story follows Aladdin, a street kid whose fate changes upon his momentous encounter with Princess Jasmine. The two meet eye-to-eye despite disparate social conditions, and they are instantly drawn to each other until they are cut short by the interference of Razoul and the Royal Guard. Aladdin is then arrested and deposited in a distant cave where a certain artifact containing a certain blue fella tips the scales to his advantage. With his newfound power, the boy now must fend off the evil Jafar, win Jasmine’s favor, and in the process, realize that wearing his own clothes ain’t so bad after all.

Catch Repertory Philippines’ staging of Aladdin Jr., based on the popular children’s tale brought to life by the wonderful world of Disney. The musical will feature a number of Oscar Award-winning songs by Alan Menken, including A Whole New World, Prince Ali, and the ever-so-quirky Friend Like Me.

With lyrics by Tim Rice and Howard Ashman, the show will also feature your favorite characters Aladdin, Jasmine, the Sultan and the hilarious Genie, with a more than whimsical assortment of townsfolk from the city of Agrabah. And of course, where there’s smoke, there’s the fiendish Jafar and the not-so-distant Iago flying not so far behind. And just when you thought it couldn’t be possible – yes, there is a flying carpet!

Under the direction of Joy Virata and Liesl Batucan, and musical direction by Baby Barredo, Aladdin Jr. will also feature amazing choreography by Douglas Nierras, costumes by Edgar Santiago, and stunning set design by Johann Quisumbing. With a talent pool of stage veterans such as Topper Fabregas, Joel Trinidad, Niccolo Manahan, Jenny Jamora and Liesl Batucan spearheading the cast, the show will also feature up-and-coming theater actors Kyla Rivera, Nica Reynoso and Caisa Borromeo (who previously appeared in Atlantis Production’s Footloose), Crisel Consunji, Dandy Ramos and Nelson Caruncho who were previously involved in New Voice’s Aspects of Love. The cast also includes Repertory Summer Workshop graduates including Carlos Canlas, Cara Barredo, and James Stacey, and an assortment of BlueRep alumni including Kakki Teodoro, Ren Robles and Pol Doble to name a few.

The show runs from today to December 15 at the Globe Theatre, On-Stage Greenbelt. For ticket inquiries, call Ticketnet at 891-9999 or Repertory Philippines at 887-0710.

* * *

Catch your breath and let me know what you think at chasingtoff@yahoo.com.