At first I didn’t know what to expect when my friend Earle (Figuracion) invited me to watch DUP’s Collection by Floy Quintos. I was not too impressed with the last play that I saw, but since Earle was part of the cast, I trusted his taste and knew this would be good. And indeed it was. Billed as a “dark comedy” by the playwright, its humour appealed to me, its veteran cast (lead by theatre’s famous Jeremy Domingo) was excellent, and the transition-choreographies (directed and choreographed by Dexter Santos) moved the story, the scenes and the message forward seamlessly and gracefully.

At the beginning, my sister, who accompanied me, was somewhat confused as she did not know what to make of the exaggerated depiction of an auction by a government agency (fictional National Commission on the Disposal of Philippine Patrimony) selling to the highest bidder the country’s Banawe Rice Terraces. I thought it was a commentary on the art scene and how commercialism has corrupted the artist, the way he makes art, and how art is consumed. In the next scenes that followed, I then thought the play was a reaction to the classes of society, how the rich spend their wealth on these senseless collectibles-slash-national treasures and how the poor would not mind selling their identity, their history, or the Philippine heritage to alleviate their hunger or escape poverty. I thought I had it, I thought I got the play, but no, the latter half introduced me to the religious icon, the Virgin of the Lost Souls and a mystic character, called the La Hermana Augusta Beata. Both the ivory relic and the Hermana woman had a legend attached to them rooted in faith and religion. And then I finally thought it was story focusing on a piece of our Catholicism that was lost and now being reintroduced in this play. All these things were running in my head while watching, and despite the confusion, the play kept me thinking and excited as to what the next scene would be and what was the real message of this play.

This play was unpredictable, witty, and just plain entertaining. Sarimanok.ph’s DUP favourites Jean Judith Javier and Jules Dela Paz did not disappoint. Miss Javier’s portrayal of the politically ambitious head of the National Commission on the Disposal of Philippine Patrimony was fun to watch, a reminder of how some politicians and public figures are in real life. Jules Dela Paz, has amazing comical timing and despite his big physic, he always seemed so light on his feet during the transition dance numbers.

DUP’s Collection was a pleasant surprise. I left the theatre slightly disturbed and puzzled, as the playwright may have intended, but I also left with a smirk on my face. Indicative that I had fun watching it and me saying to my sister, who apparently does not appreciate dark comedies as much as I did, “That was good.”

Remaining Play Date:
March 3, 2013 (Sunday), 10:00 AM & 3:00 PM
Wilfrido Ma. Guerrero Theater, Palma Hall, UP Diliman
Ticket price is P350

Dulaang UP presents Noli Me Tangere: The Opera, yes, you read it right, “the opera”. It was refreshing for me to watch this presentation by Dulaang UP, because it was my first time to watch Rizal’s classic novel done through music and song.

In the continuing year-long celebration of Jose Rizal’s birth sesquicentenary and also as a pre-birth centennial tribute for National Artist Felipe de Leon, Dulaang UP is proud to present Noli Me Tangere: The Opera. This production of de Leon’s classic with libretto by Guillermo Tolentino marks only the third time since the 1980s that Rizal’s immortal novel is staged not as a play but as an opera.

Directed by DUP Artistic Director Alexander Cortez (Cayabyab/ Asensio’s Spoliarium, Lumbera/Letaba’s Hibik at Himagsik nina Victoria Lactao,  Quintos/De Guzman’s Atang: A Play with Music,  Quintos/ Africa’s St. Louis Loves dem Filipinos: The Musical),  Noli Me Tangere: The Opera is a testament to the ingenuity of the Filipino artist.  With two pianos providing the accompaniment to the powerful voices of young and talented artists, the 2011 staging of this opera welds energy and fresh insight together with tradition to breathe life into Rizal’s opus through the transcending power of music.

From left to right: Cynthia Guico as Tiya Isabel, Fritz Rivera as Dr. de Espadana, Myramae Meneses as Maria Clara, Tanya Corcuera as Donya Victorina

Under the watchful tutelage and music supervision of vocal coach Camille Lopez Molina, promising opera singers Myramae Meneses, Antonio Ferrer, Kuya Manzano, Elainne Vibal, Frederick Hipol, Mark Queddeng, and veterans Jonathan Velasco, Jean Judith Javier, Joy Abalon-Tamayo, Cynthia Guico, Rica Nepomuceno and Natasha Cabrera among many others from UP and other music conservatories interpret memorable songs from the opera.  Among the songs included are Maria Clara’s Kay Tamis ng Buhay, Maria Clara and Ibarra’s duet Sa Lupang Pangako, Sisa’s haunting aria Awit ng Gabi, and Ibarra’s Aking Isinangguni to name but a few. Talented actors from the Dulaang UP ensemble complete the cast.  Accompanists are pianists Noel dela Rosa and Christine Park.

Production designer Gino Gonzales puts to good use Philippine indigenous materials for the sets and the inabel cloth from the Ilocos region for the costumes. Lighting designer Jon Jon Villareal, sound designer Jethro Joaquin, and choreographer Dexter Santos collaborate to create an all-Filipino ambience fitting for the production. Winter David provides the video support with special props designed and executed by John Gaerlan. Pow Santillan renders the graphics design with photos by Jojit Lorenzo and Dino Dimar.

Elainne Vibal as Maria Clara and Antonio Ferrer as Crisostomo Ibarra

Apart from watching this ‘Noli’ with a singing Ibarra and Maria Clara, a dancing cast, and live music accompanying the performances, it was interesting to watch the specific scenes and parts of the novel that I myself have forgotten and overlooked. We often remember events in the novel that symbolize and mirror the state our country was in during the time of our colonization. But the presented scenes from the opera focused more on the characters and their relationship with each other. The way the novel was adapted made the characters more human, more relatable. I saw Ibarra and Maria Clara not just as the main characters in our National Hero’s novel but also simply as two ordinary youngsters falling in love; romantic and naïve of the realities of life and may be even the realities of marriage. I saw Padre Damaso not as the selfish and evil prayle of the novel, I saw him as a loving father who only wanted the best for his child.

From left to right: Jean Judith Javier as Sisa, Matthew Anenias as Basilio, Jhiz Deocareza as Crispin

Sarimanok’s favorite and one of Dulaang UP’s regular Jean Judith Javier played Sisa, and she did not disappoint. Her portrayal of Sisa was so moving that even without dialogue you find yourself drawn to her on stage. She had one aria, accompanied by music and with her voice alone (almost no lyrics in her solo part), Sisa became more than the crazy person running around town. Sisa became the mother who loved her children so much, a person in pain for having lost something dear, and a Filipina in torment of what has happened to her country under the rule of the Spaniards. Her one scene was enough to garner applause from the entire audience.

My favorite songs from the opera was the duet by Maria Clara and Ibarra Sa Lupang Pangako, and Sisa’s Awit ng Gabi. You can still catch this Dulaang UP presentation running on their last week.

Noli Me Tangere: The Opera is supported by the UP Office of the President, UP Diliman Office of the Chancellor, Office of the Dean College of Arts and Letters, UP Office for Initiatives in Culture and the Arts, the Senate Of The Philippines, Senator Edgardo J. Angara, Manila Water, Maynilad, Day by Day Christian Ministries, Ms. Irene M. Araneta, Dr. Joven Cuanang, NCCA Chairman Jun de Leon and the UP College of Arts and Sciences Alumni Foundation, Inc.

Noli Me Tangere: The Opera runs from November 16 to December 4, 2011 (Wednesday to Friday, 7pm; Saturday and Sunday, 10 am and 3pm) at the Wilfrido Ma. Guerrero Theater, Palma Hall, University of the Philippines Diliman. For sponsorship and ticket inquiries, please contact Cherry Bong Edralin at 09177500107, or the Dulaang UP Office at 926-1349, 981-8500 local 2449 or 433-7840.

Two weeks before the elections in a state of paranoia and extreme desire to win, the story of a hitman who fights back bloodily unfolds.

Dulaang Unibersidad ng Pilipinas presents its third offering for its 36th season, Titus Andronicus: Tinarantadong Asintado, Layeta Bucoy’s Filipino adaptation of William Shakespeare’s first tragedy under the direction of Tuxqs Rutaquio.

Drenched in blood, Titus Andronicus: Tinarantadong Asintado intertwines political chaos and religious frenzy in a world where elections, showbiz and a town feast drown the people in murky violence.

Titus Andronicus: Tinarantadong Asintado features a stellar cast led by Cinemalaya 2011 best actor Bembol Roco and best supporting actress Shamaine Centenera-Buencamino,GMA-7 actor Mike Tan and theater actors Mailes Kanapi, Paolo O’Hara, Paulo Cabanero, Arnold Reyes, Rolando Inocencio, Cris Pasturan, Nicco Manalo, JK Anicoche, Nar Cabico, Delphine Buencamino, Olive Nieto, JR Macanas, Julius Gareza and Miss Eula Valdez. They are supported by today’s most talented crop of young performers from Dulaang UP.

Titus Andronicus, as I remember, was one of Shakespeare’s most tragic, violent, and extremely graphic plays written. So I was curious as to how the adaptation Titus Andronicus: Tinarantadong Asintado by Dulaang UP would turn out. I was also curious as to how Mr. Bembol Roco would do in a play. I knew him from local old-school action and drama movies, and I knew he did some theater as well, but it would be my first time to see him perform on stage.

At first I really thought how could Mr. Roco fit into this play? But after the first few scenes, Bembol Roco was actually perfect for the role, and for this particular adaptation. It felt like I was watching a 1980’s action flick. From the stage design, to the production design, even down to the poster design (done by Carlo Vergara, known for his Zsazsa Zaturnnah graphic novel), the Director, Tuxqs Rutaqiuo really did a good job envisioning this play and making it as if it was meant for the Filipino audience.

The adaptation by Ms. Layeta Bucoy was also brilliantly done. The original elements of the play became timely. Elements such as revenge, politics, violence and even sex, all fit into the modern setting of the play – Philippine Elections. Adding to it the feuding political families, massacres, ubusan ng lahi, so-and-so-marrying-so-and-so for the sake of winning, and all other happenings and gimmicks during the election time, make this play a relevant reflection of the Filipino society.

All the actors were all-around amazing…Bembol Roco Shamaine Centenera-Buencamino, Mike Tan, Paolo O’Hara, Paulo Cabanero, Arnold Reyes, Cris Pasturan. But my favorites among the cast were MA Theater Arts student from UP, Olive Nieto (Salve Munoz in the play, Lavinia in the original), veteran Nicco Manalo, and UP student and Dulaang UP regular, Ross Pesigan (playing brothers Nomer Castillo and Nathan Castillo, Demetrius and Chiron). The three delivered the most powerful scene of the play, drawing so much emotion from the audience. I think everyone, including myself, was relieved and glad to be given that intermission break after watching their scene.

Titus Andronicus opened September 14 and will run until October 2 at Wilfrido Ma. Guerrero Theater.

Direction and Set Design: Tuxqs Rutaquio
Filipino Adaptation: Layeta Bucoy
Film Direction: Jobin Ballesteros
Costume Design: Santi Obcena
Lights Design: John Neil Ilao Batalla
Sound Design: Jethro Joaquin
Asst. Direction: Emman Feliciano and Kiko Miranda
Songs (Jingle) Composer: Vincent de Jesus
Photography: Jojit Lorenzo
Poster Design: Carlo Vergara
Design for Carcass: Leeroy New
Program Lay-out and Campaign Poster Design: Aaron Misayah