PETA's Karaoke Dreams, an apt theatrical feast (Theater)

Working in other countries is a dream for many Filipinos. This dream has been fully-realized in exchange of hard work savings earned for lengthy years of service in local companies we have served for. Incidentally, some would sell or barter passed-on material wealth by our ancestors or parents who left us behind in order to augment the fulfillment of that dream.

Some would be successful but others fail. Filipinos thrive best to earn a better living abroad despite sacrifices for family separations and even psychologically-torturing experiences these foreign nationalities might have not been aware of.

The case is simple – make sure working documents are authentic.

The Philippine Educational Theater Association (PETA) recently staged Karaoke Dreams, a musical comedy with full-blast humor using “karaoke” singing as a Pinoy habit and witty social commentaries on the plight of Filipino aspiring migrants who intend to work abroad for greener pastures. Award-winning playwright-composer Vincent de Jesus takes us to a higher level of consciousness with the use of sharp comic devices depicted through the staging and its thematic ingredient of the dramatic text.

In collaboration with the generous European Union (EU) through the Philippine Border Management Project (BPMP) implemented by International Organization for Migration (IOM), the musical has exhibited tremendously an unexpected apt staging with usual cliché about fake passports and visa as deemed by co-Filipino fixers and pretending travel agents. The ensemble cast led by Julienne Mendoza (Rudy Natsugi), Joan Bugcat (Julie Nahuli) and Paolo Rodriguez (Isko Nabisto) masterfully-woven the lives of their families, relatives and friends set in Aling Pising’s Carinderia and Karaoke. .

Other stand-out performances were Mary Ann Espinosa (Aling Doray) and Carlon John Matobato (Bayaw).

Though the musical needs to be tightened-up, director Maribel Legarda explores un-theatrical possibilities especially in blocking an all-cast stage appearance. She may have the purpose of staying it that way but ‘firing squad’ blocking is a “no-no” and a “lazy chore” in the theater. Boni Juan, production designer, gives a very effective devised set contrary to the flat lights design of Ian Torqueza. Some choreographic patterns are interesting to look at. “Factory” dance is one of the highlights.

Over-all, the message is crystal clear. The Department of Foreign Affairs (DFA) headed by Secretary Alberto G. Romulo should celebrate as PETA achieves both the artistic integrity in Philippine theater and the socio-political information campaign against using fake passports, visa and human trafficking of aspiring Filipino migrant workers in this timely Filipino musical comedy.