PETA's Noli at Fili Dekada 2000

Two outstanding novels Noli Me Tangere (1887) and El Filibusterismo (1891) written by our National Hero Jose Rizal once more are proven to be timeless and appropriate up to these days. The Philippine Educational Theater Association (PETA) proudly brings their audiences to another level of discourse tackling the social, political and economic conditions of our fellow ‘kababayans’ and our beloved country today.

Nicanor Tiongson adapts the novels into two-act dramatic text without forgetting some of the most memorable characters popularized by its authenticity in Philippine culture and identity – Act I: Ibarra Marasigan (Crisostomo Ibarra); Governor Santiago Santos (Kapitan Tiyago); Salvador Salvatierra (Salvi); Damaso Villareal (Damaso); Kumander Elias (Elias) and Act II: Kumander Simon (Simoun); Kumander Sally (Salome); Juli (Juli); Basilio (Basilio) to name a few. Members of the audience can easily identify the characters made by Rizal to that of Tiongson.

PETA’s version parallels and presents socio-realistic viewpoints about the ongoing national issue on deforestation and its continuing illegal practices of loggers from various provincial towns like in Tara Illenberger’s Brutus, a Mindoro tale in the lives of illegal loggers and one of the winning entries in Cinemalaya Independent Film Festival 2008.

Specifically cited in the program notes is the town of Infanta, Quezon where in 2004, hundreds of families and thousands of people suffered from heavy floods and mudflows due to the evident loss of trees. While in the play, Tiongson cites Maypajo town in the province of San Lorenzo in Southern Tagalog with Sierra Madre mountains as the most affected area.

PETA’s resident theater director Soxy Topacio synthesizes Tiongson’s newer interpretation to his provocative staging about power, leadership, betrayal and love for the country. Impressive theater elements depicted on the staging are Gino Gonzales’ elegant yet ominous set design, accurate lighting provided by Jonjon Villareal and Dodjie Fernandez in creating an engaging music and sound together with Noel Cabangon.

Lead actor Lex Marcos heads an effective ensemble cast of veteran theater artists Robert Sena, Bembol Roco alternates with Bodjie Pascua, Jack Yabut, Raffy Tejada, Ernie Cloma, Jess Evadone and Upeng Galang-Fernandez. Marcos makes his acting debut on PETA stage something to look forward to especially with his death as Kumander Simon in Act II.

In the epilogue, it stirred those Rizal fanatics in embroidering hope and continues effort to change the absurdities and helpless conditions of Filipinos in the twenty-first century’s ever increasing oil crisis, rice and other basic commodities. Does this sound too cliché for the numbing resolutions of Philippine governance? To quote in their program: “The slaves of today will be the tyrants of tomorrow.” Change should start from within oneself or society’s cancer will definitely spread all over like a virus. Thus, change is a wake-up call for all of us regardless of social status and faith.

Noli at Fili Dekada 2000 is PETA’s 41st Theater Season opener. It will run until August 24, 2008 at PhinMa Theater, PETA Center. For ticket inquiries, call PETA office at (02)4100821.

The Phenomenal Cinemalaya: an Experience

Cinemalaya started having a very small community. I have not heard of it til Cinemalaya’s 3rd came last year. I was able to watch almost all the full-lengths. Of course, many entries were mostly half-baked last year. Jim Libiran’s Tribu though became one of my favorite viewed films and eventually held the best picture in the recognition rite.

I have always craved for excellent Filipino aesthetics. Many of our kababayans are much into the arts. Even our kasambahays (helpers) are good at either singing or inclined in a lot of art appreciations. They also become critics when watching TV’s teleseryes and other local and international movies shown in cable while amos (bosses) boringly watch in their living rooms preoccupied with a lot of things in mind. Kasambahays, after all, come from rich sources of native arts that would even be related when they see such on television.

The ability to grow in us the art forms embodies the kind of people we are – hungry and thirsty for artistic excellence. My Cinemalaya experience delimits the class struggle for I saw, heard and mingled with different sectors in our society talking intelligently about the films. Many of our influential personalities (celebrities, politicians, producers, directors, businessmen) would bring in their PA’s (personal assistants) / secretaries and others would bring in their kasambahays (helpers) beside them watching conveniently (maids are the ones buying tickets for their amos and they’re included in the privilege of watching). On the other hand, I saw some prominent people (Atty. Giana Reyes-Montinola, daughter of the owner of FEU, director Joel Lamangan among others) that would even fall in line to secure tickets. While students and their respective teachers in film and other tangible subjects in different universities all the way from Los Banos, Binan, Cavite, Bulacan, Quezon and Rizal were even there for cinematic experience and perhaps, springboards for future interactions in classrooms through viewed films. Even the Mangyans in Mindoro (Brutus) came in to see their own stories in their film.

This is phenomenal I must say.

I congratulate each artist as they involved themselves in the practice of the craft and presumably perfecting it. If last year I was able to watch almost all film entries with close friends from the entertainment industry (actress Eugene Domingo, director Andoy Ranay, comedienne Candy Pangilinan, director Dante Garcia among other friends), this year I finally became independent and watched all full-lengths. Most of the time, I would just go in CCP without pre-planned viewing with friends and yet I get to see a lot of familiar friends and ended up together in watching.

This Independent Film Festival became my independence as well as an audience member and lover of cinema.

I was impressed on the directorial approaches of Ellen Ongkeko-Marfil (Boses), Francis Pasion (Jay), Chris Martinez (100), Paul Morales (Concerto), Tara Illenberger (Brutus). They were able to transform the written text into an exciting set of visual and aural spectacle. I was moved, affected and disturbed by 100 (Chris Martinez), Boses (Ellen Ongkeko-Marfil), Jay (Francis Pasion) and Concerto (Paul Morales) because of the premise, conflict and even catharsis of their respective stories.

I salute actors Shamaine Buencamino, Meryll Soriano, Nonoy Froilan (Concerto); Mylene Dizon, Eugene Domingo, Tessie Tomas (100); Baron Geisler, Coco Martin, Flor Salanga (Jay); Julian Duque, Ricky Davao, Coke Bolipata, Cherry Pie Pichache (Boses); Jojit Lorenzo, Ces Quesada, Dante Balois (Baby Angelo); Ronnie Lazaro (Brutus); Neil Ryan Sese (Huling Pasada); Mailes Kanapi (My Fake American Accent) and Garry Lim (Ranchero).

I love the editing of Jay (Kats Serraon, Chuck Gutierrez, Francis Pasion); Concerto (Laz Andre); Brutus (Fiona Borres, Tara Illenberger). I commend the production design of Concerto (Gerry Santos), Boses (Bianca Gonalez). I enjoyed and was moved by the theme music of Namets (Vince de Jesus); Concerto (Jed Balsamo); Boses (Coke Bolipata).

I hope that with Cinemalaya’s quest for development in Philippine cinema, filmmakers, whether mainstream or independent, should realize and must then create outstanding and 'never-heard' stories using this phenomenal medium and still the most popular artistic tool in the arts today.

The event itself deserves all the recognitions it must take.

To close this event and my life-experience in Cinemalaya, let me tell you that our fellow Pinoys are aware of their innate creative talents - encourage and challenge them instead of suppressing their freedom and their rights to express. They should be given more opportunities like this. Stop the politicking and Philippine arts would soar high. Stop the crab mentality as well and everything will turn out well. Sometimes artists themselves would destroy each other's personal reputation.

Just do your thing, create, excel and that's it!

Brava Philippine cinema! Brava Cinemalaya!

Dulaang UP's Hinabing Pakpak ng ating mga Anak

The hope to change street children’s lives is a test for survival among fellow Filipinos living in poverty and cataclysm. Even with the consistent support of government and non-governmental agencies like Department of Social Welfare and Development (DSWD), Global Call to Action against Poverty and Bantay-Bata 163 of the Lopezes, these kids keep on increasing and increasing out on the streets. This upheaval is yet to be told in an artistic eloquence and susceptible lyricism.

Dulaang UP’s right choice to touch on this issue has overwhelmed the audience during its opening night held at Wilfrido Ma. Guerrero Theater in UP Diliman last Wednesday, July 16, 2008. Anton Juan’s ‘Hinabing Pakpak Ng Ating Mga Anak’ narrates the stories of poverty and of dearth as children fight for true survival. These children – abused, tortured and harassed – are our true unsung heroes of Philippine society’s hope and realization for change. Juan’s elegy declares much sensitivity and calls all kinds of people to unite for justice and truth in Philippines’ decaying governance.

To parallel this theatrical event is to juxtapose the name late Rene Villanueva, a true artist and propagator of children’s mythical legends and stories in literature, be it a short story, poetry, essay and drama. Villanueva is considered by many artists as ‘father’ of children’s literature for he almost dealt his life for children. Aside from creating stories in literature, he went on to pursue exposures in media – being the creator of a popular children’s show ‘Batibot’ during the 90’s and soon followed with a whole lot more of children’s programs on television discussing refreshing insights and impact for both adult and kids. Villanueva was a recipient of many award-winning entries and even reached the ‘Hall of Fame’ stature in the annual Carlos Palanca Memorial Awards for Literature among other significant literary recognitions in the world of literature, theater and the arts.

Anton Juan, known for his first-rate visual and aural spectacle in the theater, proves once more of his intelligent use of theater as a medium of communicative transference and artistic expression to audience. His directing has a lot to say to the world and discusses the importance of memory and moments in Rene Villanueva’s literature to that of his true-to-life observations and experiences. With a keen translation of words to images, Juan creates effective symbols using Semiotics in dialogic way.

Juan collaborates with some of the noted and leading theater artists today. Among them are Alex Cortez (the new DUP artistic director), Dexter Santos (choreography), Leo Abaya (Production design), John Neil Ilao Batalla (lights design), Winter David (Video / Graphic design), Fabie Ortiz (managing director) and Jethro Joaquin (music and sounds design). These talented artists contributed a lot in the success of Juan’s staging.

The ensemble cast led by competent film-tv-theater artists Joel Saracho and Earl Ignacio, however, should put their transformations into a more truthful interpretation of the characters. Ensemble needs to realize the necessity for truth and sincerity in their acting as the staging calls for it urgently that is why immersions are encouraged in the theater for artists to observe and keep record of what the full-reality is.

Dulaang UP is making history in reaching Philippine institutions and agencies to do something for the welfare of the street children – our hope; our future. These kids are not just like dolls and toys; they’re human beings as well.

Anton Juan, now based in NotreDame University in Indiana, USA as a theater director-professor, pays tribute to late Rene Villanueva in a new devised theatrical experience.

Catch this engaging theater production at Wilfrido Ma. Guerrero Theater, Palma Hall, UP Diliman. It opened July 16 and runs until August 10, 2008. For inquiries and ticket reservations, call (02) 926-13-49.

Cinemalaya Best Picture: JAY

‘Jay’ is an entry to the official CCP independent film festival termed as Cinemalaya this July 2008. Witnessing the brilliance of this film makes even more exciting to see all the full-length films lined up for competition.

The premise of the story simply translates the literal to a very captivating imagery of cinema verite (documentary) as it uses a kind of genre which is automated in reflexive type. It is like film within a film within a film – three levels of camera delusions and life-theatrics.

It tells the story of (present) Jay (played by Baron Geisler), a documentary producer and director of a newly-opened reality drama television show aired over Channel 8. He covers (past) Jay (played by RJ Payawal) who was stabbed to death in his rented apartment in Manila by an allegedly masseur (played by JC Santos) and with the 'supposedly' assistance of the tv program. Exposing the story might help discover the true gay-killer criminal in a realistic scenarios of television complexities and justice in the family. Incidentally, both Jays are gays characterized in the film and it tackles the complexities as well of this gender.

Baron Geisler disguises as the present Jay who translated the literal into something magnificent acting stint. He carries out even small scenes into bravura performances.

Some of the memorable scenes of Geisler include the scene with the past Jay’s mother (played by Flor Salanga) in the room re-enacting the seeing of the bird as a premonition of the death of his son Jay; another scene is when he asked the mother to re-enact destroyed footages of the first exposition – mother seeing for the first time the dead Jay in the embalming room for the dead; another is when he visited the museum inside the basement of the church with Jay’s former lover (played by Coco Martin) and him playing at the backdrop of this huge painted altar for 'getting married' couple.

These are some of the outstanding scenes of Geisler as he is brilliant in portraying the role of Jay. Martin, on the other hand, marks his natural acting in the film.

Successful production team is composed of director of photography (Carlo Mendoza), assistant director (Karla Pambid), production designer (Joy Puntawe), fabulous editors (Kats Serraon, Chuck Gutierrez, Francis Pasion), music (Gian Gianan), sound recording (Mark Locsin), Costume designers (Rowena Sanchez, FEU's Charmaine Idea), art director (Kariktan Pagarigan), script consultant (Armando Lao), design consultant (Leo Abaya) with Click Digital Post functioned as post production, line producer (Ronald Mangubat) and production managers (Hans Audric Estialbo, Andrew Legarda).

Though the film wants to touch a lot of universal issues, Pasion makes this directorial piece deliberately beautiful, well-crafted and intelligently told in an 'interesting way’ kind of film.

This film is currently showing in Cinemalaya 2008 at CCP.

Word of Mouth's Macbeth: Unplugged

Theater productions are everywhere these days. In Manila alone, almost all of the theater companies are passionately dedicated to produce refreshing, attractive and insightful productions for the audience. University-based theater groups as well exert tremendous effort in brewing intellectually thought-provoking, mesmerizing and intriguing productions.

To name some, Tanghalang Pilipino (TP) of the Cultural Center of the Philippines recently concluded the triumphant success of Virgin Labfest 4 in collaboration with the Writer’s Bloc. Repertory Philippines (REP) showcased thespian Jose Mari Avellana in 'Tuesdays with Morrie' and an interesting stage concept of 'Hamlet' both shown first quarter of the year. Philippine Educational Theater Association (PETA) will launch this July a newer version of Jose Rizal’s Noli-Fili with Nicanor Tiongson as the adaptor of these two novels set in a small town in the Quezon province. Our own Philippine theater pride Anton Juan Jr. explores captivating imagery using dead children as subjects in the forthcoming Dulaang UP (DUP) production this month. Tony awardee Lea Salonga plays Cinderella, a Musical under Broadway Asia this coming August.

Part of the list is a newly-established non-stock, non-profit organization that brings in world-class artists and performers together through Word of Mouth (WOM) Theater Philippines’ preview of a modern-day interpretation of William Shakespeare’s ‘Macbeth: Unplugged’, artistically-headed by theater actor-director Jeremy Domingo.

Domingo, with lengthy vigorous years of rigid theater training under mentors late Zenaida Amador and UP professor-emeritus Tony Mabesa, envisions Philippine theater with renewed vitality and exuberance for all performing artists today.

With this year’s left and right quality theater productions, is the golden age of Philippine theater near or is it actually here?

WOM’s production of Macbeth may not be the best product so far exhibited in the theater circuit for the year but can be a benchmark of another golden age in contemporary Philippine theater scene. Directorially, it needs tightening up especially in transitional scenes where set-pieces inhibit theatricality and magic. On another point, Roeder (Camanag), as he is popularly called by his fellow colleagues, bravely takes the lead character into an unconvincing softer interpretation which it should have been boldly portrayed as a man of steel. He still needs to develop the charming but aggressive Macbeth. Gigette Reyes (Lady Macbeth) is evidently alluring on stage. Maritina Romulo, Cherry Mae Canton and Judith Javier (three witches) enunciate the dialogues well.

The production ‘Macbeth’ displays the opening scene with an all-white art-deco inspired scenic style of various sizes serving the actors as their unit set-pieces. Quite abstract at that, Domingo entices the audience to think and imagine. Still, one of the more popular plays of Shakespeare, the entrance of the three witches in the prologue catches the attention of the audience and furthers its spectators with exposition of the characters including the entrance of Macbeth and eventually his wife, Lady Macbeth. With corporate suits and elegant swatches of costuming, the Shakespeare characters in WOM’s staging provided a reachable modern dress tale of guilt, deceit and egocentricism. In the end, Macbeth is killed and was beheaded by Macduff. This tragic tale was evidently shared by stellar performances of some of today’s recognized theater actors.

Together in the ensemble cast include Leo Rialp and Richard Cunanan (Duncan), Manuel Aquino and James Paolelli (Banquo), Apollo Abraham and Andre Tiangco (Macduff), Jeremy Domingo (Malcolm), Astarte Abraham (first witch), Jing Reyna Jorge (second witch) and Jenny Jamora (Lady Macduff). Also in the powerful-house cast are Miguel Vasquez, Gio Respall, Rob Rownd, Henry Strzalkowski, Martin de la Paz, Don Rivera, Lexter Victorio and Ricardo Osita.

Liesl Batucan assists in direction. Gio Respall supervises the passable choreographic patterns with Miguel Vasquez as fight choreographer. John Neil Ilao Batalla designs the lights while Gwyn Guanzon exhibits sufficient art-deco production design. Jacques Borlaza is at the helm of managing the production. Cara Mesina heads the stage management team with Technical Director Arnold Cao.

WOM Theater Philippines initially launched its preview of ‘Macbeth: Unplugged’ at the PETA-PHINMA Theater Center for possible sponsorships and special invitational tours. Call (02) 489-48-19 and look for Jeremy or Liesl.

Layeta Bucoy & Rogelio Braga: two promising playwrights

There are two promising plays opened at the Tanghalang Huseng Batute, Cultural Center of the Philippines for the fourth installment of a laboratory festival for playwrights popularly known as VIRGIN LABFEST 4.

To mark-off this festival’s success, two different scheduled plays exhibited uniquely two promising productions: Layeta Bucoy’s Las Mentiras de Gloria, directed by Tuxqs Rutaquio and Rogelio Braga’s Ang Bayot, Ang Meranao at ang Habal-Habal sa isang nakababagot na paghihintay sa kanto ng Lanao Del Norte, directed by Nick Olanka.

Bucoy’s theme investigates more on a character-centered type. Las Mentiras de Gloria ( The Lies of Gloria ) touches on a woman's relationship with fraternal twin brother Utoy. Incest was its primary focus and how they have kept lies and deceit living separately through the years as they become more mature and old. The play ended so dramatic and pitiful.

May Bayot’s emotive performance made the play so moving and affecting. She delivered the character almost like a Cancer victim. Bart Guingona, her co-actor, could have been more effective if he commanded the speaking dialogue ( in Tagalog ) well. However, he was having a hard time coping for the right speed, unpredictable rhythm and seamless pronunciation of native words. Surely, acting wise, he was able to justify with his engaging performance.

Tuxqs Rutaquio, with his numerous work experiences in directing, bravely confronts the level of difficulty the play of Bucoy. Thrust staging though is a tricky space where one would not see the difference between staging a proscenium and a thrust. Thrust staging is a three-sided stage where a director would take advantage in using consistently quarter and profile blocking for actors or even the set is placed with a three-quarter axis. Rutaquio's blocking scenes were done mostly in proscenium not to mention its mistaken set axis (toilet sink, faucet, drawn shower curtain, book box and false back wall) from which it evidently positioned frontal. This affects the viewing pleasure of an audience when sitting on both unfavorable sides of the stage. Tricky as it is, Rutaquio successfully contributed intensely as a director to his actors.

Braga’s theme on the other hand deploys the omen of Philippine society today. The play, as intended to be satirical, tackles hilariously unresolved problems every Pinoy is still facing. Racial and gender discrimination, hypocrisy, bigotry, divisiveness of faith and corruption are few of the discussed issues in the play. To add on to its mirthful observations, the play sarcastically used vulgar street language, tawdry words and shabby cultured taste which, by the way, was so effectively done by two outstanding actors in the production – Joey Paras and Arnold Reyes. They were actually the saving grace. Paras played a gay visiting NGO worker while Reyes, effortlessly personified a Muslim-accent Habal-Habal native guy with his real motorcycle, is heard like the normal Muslim vendors who sell pirated DVD's in Quiapo.

Truly, effort is necessary in the theater – whether it has a good or bad effect in the outcome of the product.

Though known more in the film circuit, Nick Olanka, the director of the play, also bravely handled such competent actors. However, the set and the choice of costumes were badly decided upon. These theater elements are really worthy to be thought of by a director. To see only a projection of supposedly mountainous Habal-habal and a motorcycle all through out the play is quite disappointing. This abysmal display of designs created some deductions of making this play an outstanding one.

These two playwrights, Layeta Bucoy and Rogelio Braga, should inspire the others in making more witty, challenging but tastefully-written drama for Philippine theater in the years to come. One of the ways to save it is to explore delicate issues and problems of our society in the most dramatic or comic approach one could ever think of. Bucoy and Braga have absolutely achieved through this year's Virgin Labfest.

Floy Quintos' Ang Kalungkutan ng Reyna

The Cultural Center of the Philippines, Tanghalang Pilipino and Writer’s Bloc in collaboration with the National Commission for Culture and the Arts, Japan Foundation and Ms. Mae Paner introduces an annual celebratory festival for untried, untested, unpublished and unstaged plays written by promising and competent playwrights, directed and acted by novice and veteran actors and directors of today billed as VIRGIN LABFEST 4.

Festival artistic director Rody Vera is at the helm of this fourth installment theatrical event for Writer's Bloc while Tanghalang Pilipino artistic director Dennis Marasigan supervises its triumphant success.

One of the plays presented in Tanghalang Huseng Batute seen through the play ‘Ang Kalungkutan ng mga Reyna’ was directed by Virgin Labfest first timer Floy Quintos, an accomplished theater and television director, actor and multi-awarded playwright. Quintos also wrote the play and envisioned it in the most surreal way, proven to be a successful auteur.

The use of hair and beauty, as juxtaposed in the play metaphor, is an indication of a leader’s reflecting image peeped in for society’s change and change in other people’s perceptions on self-serving corrupt officials. To achieve absolute transformation, an official examines and even hires stylists for radical replacement on its physical aspect, particularly - the hair, coupled with appropriate and digested well-mannered gestures and postures.


Yolanda Cadiz ( Shamaine Centenera-Buencamino ) proves this psychological theory of image and personality the only solution she could think of to better her various pessimistic images seen by her constituents. Cadiz hires Marcel ( Tuxqs Rutaquio ), a world-class beauty and image enhancer of royal queens and princesses of other Monarchical countries. Marcel could have changed the physical attributes of Cadiz in a period of decadence but then again, at the end of the play, the people’s plot to assassin her made the ending so tragic and bothering.

This is one outstanding play produced in this year’s theater festival. Shamaine Centenera-Buencamino makes the character of Yolanda Cadiz so perfect. She controls anger, fear, frustrations, pity along with laughter, humor and wit. Centenera-Buencamino always adheres tremendous performances ever since she stood on center stage during her UP years in Wilfrido Ma. Guerrero Theater mentored by the stalwart Prof. Tony Mabesa. Tuxqs Rutaquio, also a Mabesa baby, being the co-actor of Centenera-Buencamino, did not play an under-rated acting stint with the giant actress. He can also maneuver his powerful presence with several scenes where he essayed the role effectively with wit and accuracy as evident in his fitting performance in this difficult play and for Zsa Zsa Zaturnnah: Ze Musicale produced by Tanghalang Pilipino years ago. He effortlessly distinguishes clearer nuances of an actor from other jaded acting styles of other Filipino theater gay-actors. The suitability of the film ‘Bernard and Doris’ ( 2007 ) starred by Susan Sarandon and Ralph Fiennes can be explored and paralleled as a source of inspiration for this well-thought of play.

Quintos, another Mabesa mentee, marks this directorial staging an elation of sorts in Philippine contemporary theater. With the use of elegant velvet red curtains as accent with carefully-chosen chairs, his set design transposes functionality in minimalism. Costumes were pertinent while the chosen music ‘Somewhere over the rainbow’ ( Judy Garland version ) theme provided an apposite leitmotiff. It is recognizable to mention ensemble cast that include Jonathan Tadioan, Nar Cabico, Riki Benedicto and Jerald Napoles to complete the perfect picture.

On the contrary, the Veranda door would have been effective with door holders from behind. It was strategically placed rather on a weak area (up stage left). It should have been located at the up-center stage, the strongest part of the stage for thrust staging. The imaginary glass should stay as it is. If one closes, it should not be flawed by breaking the imagined glass while touching and closing it through using seen front door holders.

It is also high time for mentor Tony Mabesa to observe and watch his former students grow like gems in such an intimate industry as theater.

Bullet Points for Virgin Labfest 4, CCP

Tanghalang Pilipino, Writer's Bloc and Cultural Center of the Phils. in collaboration with National Commission for Culture and the Arts, Japan Foundation, Boysen Paints and Ms. Mae Paner proudly brings you VIRGIN LABFEST 4 - untried, untested, unpublished and unstaged plays - featuring theater artists from different theater companies, student artists among other artists from various fields.

Festival artistic director Rody Vera culminates these materials on center stage from June 25 - July 6, 2008 at the CCP.



June 25 Wednesday

(Re-Staging)

ANG OBRA NI MAESTRA.
Strengths:
Actors Abby Gonzales, Nympha Gonzales and Cashlyn Cuarez. Costuming.
Weaknesses:
Unsurprising. Dragging. Niel De Mesa’s uninspired direction. Niel De Mesa’s written text. Multi-media set design.

ELLAS INOCENTES.
Strengths:
Riveting. Appropriate pacing. Actors Ness Roque and Lovely Balili. Layeta Bucoy’s text. Set design. Costumes.
Weaknesses:
'thrust' staging.

THREE SISTERS: A NOH PLAY. (Most Powerful of the three)
Strengths:
Engaging. Histrionic. Costumes. Jose Estrella’s elegant direction. Yoji Sakate’s powerful dramatic material. Actors Mailes Kanapi, Marj Lorico, Bong Cabrera and Cheryl Ramos.
Weaknesses:
Set design.

June 26 Thursday

(New Plays)

LAS MENTIRAS DE GLORIA. ( Good )
Strengths:
Poignant. Tuxqs Rutaquio’s intense direction. Layeta Bucoy’s dramatic text. May Bayot’s performance.
Weaknesses:
Set design. Bart Guingona’s performance. 'Thrust' staging.

ANG MGA HALIMAW.
Strengths:
Hilarious. Ensemble performance of JK Anicoche, Amihan Ruiz, Kristine Balmes, Alvin Obillo, Nar Cabico, Isab Martinez and Oscar Garcia. Paolo O’Hara’s actor’s perspective in direction. Set Design.
Weaknesses:
Costumes. Carlo Garcia’s weak points in the dramatic text.

AMOY NG LANGIT.
Strengths:
NONE
Weaknesses:
Tedious. Tiresome. Monotonous. Wearisome. Dull. Toshiisa Yoshida’s mind-numbing direction. Hase Hirochi’s uninteresting material. Set and Costumes. Dreary performance of the cast.


June 27 Friday

PAMANTASANG HIRANG.
Strengths:
Nicco Manalo and Jonathan Tadioan’s performance.
Weaknesses:
Obvious. Inert. Tim Dacanay’s material text. Hazel Gutierrez’s slapdash direction. Set axis.

MASAGANANG EKONOMIYA.
Strengths:
Profound. Deep-seated. Victor Villareal’s formless direction. Incorporation of peculiar techniques and devices connected to theater images and stage directions.
Weaknesses:
Unclear. Fuzzy. Allan Lopez’s nebulous dramatic material.

DONG-AO.
Strengths:
Assertive. Star-studded ( Bembol Roco, Nanding Josef, Carme Sanchez, Tommy Abuel, Dido de la Paz, Monica Llamas and Gigi Escalante ). Stand-out performances of Nanding Josef, Tommy Abuel and Gigi Escalante.
Weaknesses:
Set design. Loud-mouthed ending. F. Sionil Jose’s over-ambitious text for a laboratory theater festival. Chris Millado’s go-ahead stage direction.

June 28 Saturday

ANG KUWENTO NG MENGINGA NG NEW YORK CITY NA KAMUKHA NG BEE-STUNG LIPS NI JULIA ROBERTS.
Strengths:
George De Jesus’ stage direction. Ricci Chan's theatrical presence and clarity in delivery.
Weaknesses:
Superfluous. Unessential. George Kabrisante’s excessive material. Ricci Chan’s occasional clown-around performance. Set design. Too long.

ANG BAYOT, ANG MERANAO AT ANG HABAL-HABAL SA ISANG NAKABABAGOT NG PAGHIHINTAY SA KANTO NG LANAO DEL NORTE.
( Good )
Strengths:
Mirthful. Fastidious. Joey Paras’ uproarious performance. Arnold Reyes’ believable Muslim-accent performance. Rogelio Braga’s opinionated dramatic text.
Weaknesses:
Nick Olanka’s appalling direction. Unimaginative set and costume design. Too long.

GUMAMELA.
Strengths:
Authentic. Dennis Teodosio’s non-toxic theater script. Roobak Valle’s coherent direction. Set. Chrome Cosio, Riki Benedicto and Russell Legaspi’s credible performances.
Weaknesses:
Phil Noble’s poor vocal energy. Slow-paced rhythm. Too long.

June 29 Sunday

MGA BABAENG TOO BRIGHT
Strengths:
NONE
Weaknesses:
Inane. Debbie Tan’s convoluted plot. Ana Valdez Lim’s unvarnished directorial approach.

ANG KALUNGKUTAN NG MGA REYNA ( Outstanding )
Strengths:
Shamaine Buencamino. Tuxqs Rutaquio. Floy Quintos’ spotless direction. Floy Quintos’ valiant dramatic text. Set. Costumes. Music.
Weaknesses:
NONE

ANG DALAWA NIYANG LIBING
Strengths:
NONE
Weaknesses:
Leo Rialp’s dull direction. Ensemble’s distressing performances.

July 6 Sunday 3pm

BRU-HA-HA-HA-HA-HA, BRU-HI-HI-HI-HI
Strengths:
NONE
Weaknesses:
Argel Tuazon's amateurish script. Mayen Estanero's awful direction. Bea Sara.

UUWI NA ANG NANAY KONG SI DARNA
Strengths:
Job Pagsibigan's light but substantial text. cast.
Weaknesses:
weak technical cues. Catherine Racsag's direction.

TERENGATI
Strengths:
colorful. Niel De Mesa's direction.
Weaknesses:
Niel De Mesa's predictable adaptation.

The film "Urduja" sets a higher standard

APT Entertainment owned by Antonio P. Tuviera seems to be engaged with setting a higher standard for Philippine animation feature. Undoubtedly, “Urduja” is the finest full-length animation picture so far ever produced and created by an all-Filipino artistic team in the history of cinema in the country.

Using Pangasinan’s epic tale of a native warrior princess Urduja, the decision to adapt the myth into a full-blown picture surely ignites once more the possibility of another Golden Age for us. However, Filipino audience should support this humble beginning as they venture into another set to show on December 2008 with its title "Dayo."

The myth tells the story of Urduja (originated from “Urja” which means “breath’), daughter of the old chieftain Lakanpati who is about to pass his throne to her in order to lead the kingdom of Tawilisi situated along the shoreline of Lingayen Gulf with neighbor China Sea. Limhang, a Chinese pirate, accidentally lingered the paradise and sees Urduja on a shore. The encounter of the two starts its usual Filipino mythical problems such as Urduja’s arranged wedding for another warrior (Simakwel); other rival community; other Chinese pirates to kill Limhang among other convoluted sub-plots but finally reaches towards a joyful resolution, the love of Urduja and Limhang for each other.

The film’s highest points were, of course, the character images created in collaboration with the Seventoon and Imaginary Friends, two of the hardworking teams we have in Philippine animation circuit. The late Mina Caliguia, another enthusiastic producer of animation and a former colleague in the National Commission for Culture and the Arts on Cinema representing the new media that includes animation, might have been proud of this achievement. The hand-drawn images and its absolutely terrific movements made this film a quality product. Animators should have thought of something more Pinoy-looking characters though. At one scene, Urduja had the slight semblance of Mulan (Disney Pictures). Another point that made the film so strong was the use of music. Noel Zarate is known for his theatrical melodies used in Filipino theater musicals as he furnishes good selections of melodies for Regine Velasquez (voice of Urduja). Voices used became credible, among other notable prescriptions were Eddie Garcia (voice of Lakanpati), Cesar Montano (voice of Limhang), Allan K (voice of Tarsir), Jay Manalo (voice of Simakwel), Michael V (voice of Kukut), Johnny Delgado (voice of Wang) and Ruby Rodriguez (voice of Mayumi). The direction was strongly compressed, thus, keeping up a tight pace. Thank to Director Reggie Entienza who also made its screenplay and story adaptation for its outstanding quality-controlled vision. Finally, bravo to the Tuvieras as well for a job well done.

As for the audience, make sure to catch up this film. This is the only way to bring back another Golden Age in Philippine cinema through its new media – animation.

Cinemalaya produces PINOY NEW WAVE

Pinoy New Wave has just arrived. Definitely, Francis Pasion’s Jay, Paul Morales’ Concerto and Chris Martinez’s 100 are included in the new breed of distinguished and skillful filmmakers this year for Cinemalaya Independent Film Festival organized by Cinemalaya Foundation Inc., Cultural Center of the Philippines, UP Film Institute, Ecolink Investments Inc. and Film Development Council of the Philippines.

The French New Wave of film directors during the 60’s provided new and exciting insights in filmmaking. Eminent French film critics-turned-film directors Claude Chabrol, Jean Luc-Godard, Jacques Rivette, Eric Rohmer and Francois Truffaut created films with their own distinct and remarkable styles which the audience favored much over the mainstream directors. Soonafter, they led the new cinema in France during those fervent times.

And with the exhibited films of these three Pinoy filmmakers’ entries in Cinemalaya, there is actually hope in bringing Philippine cinema in a new phase and development. The accurate use of digital camera plus ardent thirst for creating art films would lead us to a higher level of film appreciation and education especially that audience now wants more intelligent but entertaining cinematic experience. This event perhaps is a precursor of younger filmmakers to join this meaningful and fruitful Cinemalaya in the years to come.

Francis Pasion’s JAY

‘Jay’ is a reflexive film that deals primarily with intertextuality of a producer-director handling a new reality-based television program, a gay incidentally with a name Jay Mercado on the other hand was murdered and tortured by an allegedly masseur and finally, revealing the actor Baron Geisler portraying the producer-director character Jay Santiago. Pasion intertwined these three different plots in one tight film. Geisler was brilliant in this film and so was Coco Martin who played as the childhood friend of the character Jay Mercado. Editors Kats Serraon, Chuck Gutierrez and Francis Pasion are to be recognized with actors Flor Salanga, Angelica Rivera and JC Santos as well.

Paul Morales’ CONCERTO

‘Concerto’ tells the story of familial relationship and how it maintained during the horrors of World War II. Morales’ true-to-life family history engages the audience into the classic tale of the Japanese occupation in the Philippines. It was set in one of the small towns in Mindanao. Joselito, son of Ricardo and Julia, becomes the interpreter of the family to the neighboring Japanese. Highlighting the cast are the performances of natural-born actresses Meryll Soriano and Shamaine Centenera-Buencamino, noted choreographer Nonoy Froilan with fresher faces and captivating appeal of Jay Aquitania and Yna Asistio. Commendable in the artistic team of Morales include Jed Balsamo for musical score, Jethro Joaquin for sound design, Regiben Romana for director of photography, Gerry Santos for production design and Laz’ andre for editing.

Chris Martinez’s 100

‘100’ examines how a cancer victim explore one hundred things to do before dying. Mostly, practical and spiritual obligations, Mylene Dizon’s excellent portrayal of the character is a must-see cathartic film experience. She manipulates her dignified acting style through mixtures of both laughter and tears. Adding on to its stunning story-telling are: Eugene Domingo who perpetuates her friend’s condition simply by allowing her to be happy in the last few days of her life; Tessie Tomas who elaborates her concern as a mother; Simon Ibarra who functions effectively as the brother of Dizon; and Ryan Eigenmann who benevolently stood for Dizon’s character until the last breath of her life. Martinez establishes the first and the last scene as the prologue and epilogue of the film with the premise of death as a new journey of life. Joining in this film are creative supervisor Marlon Rivera, line producer Madonna Tarrayo, music scorer Brian Cua, composer for original music Ricci Chan, editor Ike Veneracion and director of photography Larry Manda.

Pasion, Morales and Martinez also share equally the billing of writers for they wrote their own respective scripts – being auteurs indeed. Seldom we take note of the brilliance and talent of directors who at the same time can write intelligently. Moreover, each distinctively showed personal approaches in directing and critical as they are in providing unique insights on communal problems such as relationship to oneself, to others and to society.

The Pinoy New Wave is here and hopefully this marks another new breed of film directors, actors, actresses, designers and producers in the surviving Philippine contemporary cinema.

Cinemalaya screening entries are exhibited daily until July 20, 2008. Witness this growing and developing festival for independent cinema makers. Bravo!