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 Mae Paner introduces an annual celebratory festival for untried, untested, unpublished and unstaged plays written by promising and competent playwrights, directed and acted by novice and veteran actors and directors of today billed as VIRGIN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.
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.
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