Category Archive for: entablado

kultura

Kleptomaniacs*

I tend to imagine that these times of political and socio-economic crises demand of creative work an amount of relevance, where it is easy to pinpoint films and TV shows and writing that tends towards escapism, refusing to speak of issues that are urgent and important.

But escapism is also exactly what we need in times like these, when only the wealthy minority can live oblivious to the rising cost of basic goods and the utter lack of public services, when only the rich might navigate nation and not see the majority who are living below the poverty line. It makes sense to the rest of us who live each day struggling to make ends meet to want to escape by watching Transformers, or uh, Sarah and Coco in Maybe This Time (walang basagan ng trip). (more…)

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rising to the occasion: on “Cock” and the text as king

My refusal to compare foreign texts with local ones is based on the notion of independence. That is, I’d rather grant a local work with as much individuality as possible, and save it from what — to me — would be a false because unfair comparison with foreign work that I (on most counts) would not have seen anyway.

I imagine I can be criticized for having such tunnel vision, or allowing local theater such leeway when critiquing its adaptations. And yet this is really more about my limitation as a writer: I will not pretend to know what the foreign stagings look like when all I’ve seen are clips of these on YouTube. I’d also like to think that much might be gained from acknowledging these limitations and working with nothing but the play in front of me and my intertextuality.

Cock poster via Red Turnip Theater.

The years  (limited as it is) have provided me with a sense of these limitations. With nary the budget for the grandness of musicales, and sometimes the lack of imagination for sets that actually work, what we do always have and consistently is the talent.

And then of course, there is Cock.

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slow and disjointed: on August Osage County

I have come to the conclusion that accents are good. It is what I expect of most every Repertory Philippines play, given the texts that they choose to stage, and the truth that it is crucial to the insistence on staging plays set in places far away, if not within a historical period that is alien to a local audience.

It is Rep that has taught me that. And with August: Osage County I felt like I was being taught to un-learn it. I was forced to contend with the distance between audience and stage. No one took my hand and brought me into this world strange and different, but also absolutely familiar.

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space for troubled youth: on Toilet The Musical

It was funny that before I could find where exactly Toilet The Musical was being staged in the Ateneo campus, I first had to happen upon the Rizal Mini Theater where Antigone The Musical was being staged. It made me want to try and get into the latter — for how fun that sounded after all! — but then again, Toilet was making a promise difficult to refuse: it’s an all-original Filipino musical. That it had Ejay Yatco at the helm might be exactly what kept me walking towards Toilet even as Antigone was calling. Yatco after all was musical director of the underrated success that was Sa Wakas (2013).

In Toilet, Yatco does not disappoint. Neither do writers Bym Buhain and Miyo Sta. Maria. Neither does the rest of Blue Rep.

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the anxiety of rain: on Rak Of Aegis

It was difficult to imagine a musical that could use Aegis’s diverse discography, one that spans 15 years of the band’s existence, and seven albums. From posters and press releases it was clear that PETA’s Rak Of Aegis was using the song “Basang-basa sa Ulan” as center, with the obvious premise of … uh … rain to tell what would be a painfully contemporary story for nation.

It was difficult to be optimistic, but it sure was easy to get excited. I was sitting after all on the balcony, right side, and from where I was I could clearly see the members of Aegis below, sitting on the second row. Not even an ill-behaved little girl who should not have been brought into the theater, could ruin that image of the Sunot sisters singing and laughing along to the musical that lives off their music.

via rakofaegis.com.

That’s getting ahead of the story. (more…)