Saturday, July 19, 2014

Peta's Rak of Aegis, Rep's August: Osage County lead Philstage Gawad Buhay!’s 2014 1st/2nd-quarter citations

Philippine Daily Inquirer, 07.19.2014



THE PHILIPPINE EDUCATIONAL Theater Association’s “Rak of Aegis,” a musical-comedy production about a fictional urban-poor community coping with floods that features the songs of the iconic pop-rock band Aegis, grabbed the lead in the 1st/2nd-quarter citations of the 2014 Gawad Buhay!, the Philstage Awards for the Performing Arts, with 16 citations in the performance and technical categories.

“Rak of Aegis,” written by Liza Magtoto and directed by Maribel Legarda, got nods in the following categories: Outstanding Original Musical, Outstanding Ensemble Performance for a Musical, Stage Direction for a Musical (Legarda), Original Libretto (Magtoto), Musical Direction (Myke Salomon), Choreography (Gio Gahol), Costume Design (Carlo Pagunaling), Sound Design (Salomon and Happy Constantino), Set Design (Mio Infante), Female Lead Performance in a Musical (Aicelle Santos and Joan Bugcat), Female Featured Performance in a Musical (Kalila Aguilos) and Male Featured Performance in a Musical (Salomon, Pepe Herrera, Jerald Napoles and Juliene Mendoza).

Meanwhile, Repertory Philippines’ production of Tracy Letts’ Pulitzer- and Tony-winning play “August: Osage County,” directed by Chris Millado, followed closely with 13 citations.

It was cited in the following categories: Outstanding Production of Existing Material for a Play, Outstanding Ensemble Performance for a Play, Outstanding Stage Direction for a Play (Millado), Lighting Design (Katsch Catoy), Sound Design (Jethro Joaquin), Set Design (Miguel Faustmann), Female Lead Performance in a Play (Baby Barredo), Female Featured Performance in a Play (Pinky Amador, Liesl Batucan, Shiela Francisco and Tami Monsod) and Male Featured Performance in a Play (Richard Cunanan and Hans Eckstein).

Tanghalang Pilipino’s production of “Mga Ama, Mga Anak,” a translation into Filipino by Virgilio Almario and José Lacaba of Nick Joaquin’s short story and later three-act play “Three Generations,” got eight nods, including citations for its two alternating male leads (Robert Arevalo and Spanky Manikan) and three of its featured female actors: Madeleine Nicolas, Celeste Legaspi and Banaue Miclat.

Tying with the eight citations of “Mga Ama, Mga Anak” is Resorts World Manila’s production of the musical “Priscilla, Queen of the Desert,” under its newly formed Full House Theater Productions (the newest member company of Philstage). “Priscilla” received nods for, among others, Outstanding Production of Existing Material for a Musical, Outstanding Stage Direction for a Musical (Jaime del Mundo) and Male Lead Performance in a Musical (Red Concepcion).

In dance, both Ballet Manila’s “Aramica,” choreographed by Bam Damian for BM’s “Heart2Heart: Ballets and Ballads” production, and Ballet Philippines’ “Muybridge Frames,” choreographed by Denisa Reyes for BP’s “Art of Dance,” got four citations each.

(See complete list of citations below.)

Now on its sixth year, Gawad Buhay! is the first-ever industry awards exclusively for the performing arts juried by an independent panel of critics, scholars, artists and theater enthusiasts. Outstanding individual and group achievements in various artistic and technical aspects of play, musical and dance productions and performances are honored based on quarterly citations deliberated by members of the jury who are required to watch all productions of Philstage member-companies for the entire year.

From the four quarterly citations, the jury will select the final nominees qualified to win the awards by the end of the performance season. Awarding ceremonies will be in early 2015.

Philstage is the only alliance of professional performing arts organizations in the Philippines. Its members include Ballet Manila, Ballet Philippines, Gantimpala Theater Foundation, Organisasyon ng Pilipinong Mang-aawit (OPM), Peta, Repertory Philippines, Tanghalang Pilipino, Trumpets, Actor’s Actors, Inc., 9 Works Theatrical, and Philippine Opera Company and RWM’s Full House Theater Productions.



COMPLETE LIST OF THE 2014 1ST/2ND-QUARTER CITATIONS IN VARIOUS CATEGORIES:

Outstanding Original Script
No citation

Outstanding Original Libretto
• Liza Magtoto, “Rak of Aegis” (Peta)

Outstanding Translation or Adaptation
• Virgilio Almario and José Lacaba, “Mga Ama, Mga Anak” (TP)

Outstanding Musical Direction
• Myke Salomon, “Rak of Aegis” (Peta)
• Inday Echevarria, “Priscilla, Queen of the Desert” (Full House Theater Productions)

Outstanding Original Musical Composition
No citation

Outstanding Choreography for a Dance Production
• Bam Damian, “Aramica”/“Heart2Heart: Ballet & Ballads” (BM)
• Denisa Reyes, “Muybridge Frames”/“Art of Dance” (BP)

Outstanding Choreography for a Play or Musical
• Nancy Crowe, “Priscilla, Queen of the Desert” (Full House)
• Gio Gahol, “Rak of Aegis” (Peta)

Outstanding Costume Design
• Carlo Pagunaling, “Rak of Aegis” (Peta)
• Edgar San Diego, “Priscilla, Queen of the Desert” (Peta)
• Rajo Laurel, “Full Gallop” (My Own Mann Productions/AAI and The Necessary Theatre)

Outstanding Lighting Design
• John Batalla, “Wait Until Dark” (Rep)
• Monino Duque, “Mga Ama, Mga Anak” (TP)
• Katsch Catoy, “August: Osage County” (Rep)
• Shakira Villa-Symes, “Priscilla, Queen of the Desert” (Full House)
• Katsch Catoy, “Muybridge Frames”/“Art of Dance” (BP)
• Jaime Villanueva, “Shutter”/“Heart2Heart: Ballet & Ballads” (BM)

Outstanding Sound Design
• Jethro Joaquin, “Noises Off” (Rep)
• Jethro Joaquin, “Wait Until Dark” (Rep)
• Jethro Joaquin, “August: Osage County” (Rep)
• Myke Salomon and Happy Constantino, “Rak of Aegis” (Peta)

Outstanding Set Design
• Mio Infante, “Rak of Aegis” (Peta)
• Joey Mendoza, “Full Gallop” (My Own Mann/AAI)
• Miguel Faustmann, “August: Osage County” (Rep)
• Miguel Faustmann, “Noises Off” (Rep)
• Tuxqs Rutaquio, “Mga Ama, Mga Anak” (TP)

Female Lead Performance in a Play
• Baby Barredo, “August: Osage County” (Rep)
• Cherie Gil, “Full Gallop” (My Own Mann/AAI)
• Liesl Batucan, “Wait Until Dark” (Rep)

Male Lead Performance in a Play
• Spanky Manikan, “Mga Ama, Mga Anak” (TP)
• Robert Arevalo, “Mga Ama, Mga Anak” (TP)

Female Featured Performance in a Play
• Pinky Amador, “August: Osage County” (Rep)
• Liesl Batucan, “August: Osage County” (Rep)
• Sheila Francisco, “August: Osage County” (Rep)
• Tami Monsod, “August: Osage County” (Rep)
• Madeleine Nicolas, “Mga Ama, Mga Anak” (TP)
• Celeste Legaspi, “Mga Ama, Mga Anak” (TP)
• Banaue Miclat, “Mga Ama, Mga Anak” (TP)

Male Featured Performance in a Play
• Richard Cunanan, “August: Osage County” (Rep)
• Hans Eckstein, “August: Osage County” (Rep)

Female Lead Performance in a Musical
• Aicelle Santos, “Rak of Aegis” (Peta)
• Joan Bugcat, “Rak of Aegis” (Peta)

Male Lead Performance in a Musical
• Red Concepcion, “Priscilla, Queen of the Desert” (Full House)

Female Featured Performance in a Musical
• Bituin Escalante, “Priscilla, Queen of the Desert” (Full House)
• Kalila Aguilos, “Rak of Aegis” (Peta)

Male Featured Performance in a Musical
• Pepe Herrera, “Rak of Aegis” (Peta)
• Jerald Napoles, “Rak of Aegis” (Peta)
• Myke Salomon, “Rak of Aegis” (Peta)
• Juliene Mendoza, “Rak of Aegis” (Peta)

Female Lead Performance in Modern Dance
• Donna Mangahas, “Shutter”/“Heart2Heart: Ballet & Ballads” (BM)
• Monica Gana, “Duet”/“Art of Dance” (BP)

Male Lead Performance in Modern Dance
• Elpidio Magat, “Shutter”/“Heart2Heart: Ballet & Ballads” (BM)
• Earl John Arisola, “Duet”/“Art of Dance” (BP)
• Rudy de Dios, “Aramica”/“Heart2Heart: Ballet & Ballads” (BM)

Female Featured Performance in Modern Dance
No citation

Male Featured Performance in Modern Dance
No citation

Female Lead Performance in Classical Dance
No citation

Male Lead Performance in Classical Dance
No citation

Female Featured Performance in Classical Dance
No citation

Male Featured Performance in Classical Dance
No citation

Outstanding Modern Dance Production
• “Aramica”/“Heart2Heart: Ballet & Ballads” (BM)
• “Muybridge Frames”/“Art of Dance” (BP)

Outstanding Classical Dance Production
No citation

Outstanding Stage Direction for a Play
• Chris Millado, “August: Osage County” (Rep)
• Miguel Faustmann, “Wait Until Dark” (Rep)
• Bart Guingona, “Full Gallop” (My Own Mann/AAI)

Outstanding Stage Direction for a Musical
• Maribel Legarda, “Rak of Aegis” (Peta)
• Jaime del Mundo, “Priscilla, Queen of the Desert” (Full House)

Outstanding Ensemble Performance for a Play
• “August: Osage County” (Rep)

Outstanding Ensemble Performance for a Musical
• “Rak of Aegis” (Peta)

Outstanding Ensemble Performance for Modern Dance
• “Aramica”/“Heart2Heart: Ballet & Ballads” (BM)
• “Muybridge Frames”/“Art of Dance” (BP)

Outstanding Ensemble Performance for Classical Dance
No citation

Outstanding Production of Existing Material for a Play
• “August: Osage County” (Rep)
• “Full Gallop” (My Own Mann/AAI)

Outstanding Production of Existing Material for a Musical
• “Priscilla, Queen of the Desert” (Full House)

Outstanding Original Play
No citation

Outstanding Original Musical
• “Rak of Aegis” (Peta)

Saturday, February 22, 2014

Trumpets’ The Bluebird of Happiness (16 nominations) and Tanghalang Pilipino’s Der Kaufmann (12) lead 2013 Gawad Buhay! race

Philippine Daily Inquirer, 02.22.2014

Peta’s ‘D’Wonder Twins of Boac’ and TP’s ‘Ibalong’ tie for third place with 10 nominations each


TRUMPETS’ “THE BLUEBIRD OF HAPPINESS,” a musical adaptation of the 1908 play by Belgian playwright Maurice Maeterlinck, with music by Rony Fortich and libretto and direction by Jaime del Mundo, dominates the 2013 Gawad Buhay!: The Philstage Awards for the Performing Arts with 16 nominations.

Close behind with 12 nominations is Tanghalang Pilipino’s “Der Kaufmann,” Rody Vera’s adaptation of Shakespeare’s “The Merchant of Venice” based on the late National Artist for Theater and Literature Rolando Tinio’s Filipino translation. “Der Kaufmann” was directed by Vera and Tuxqs Rutaquio.

“Bluebird” earned nominations in the following categories: Outstanding Original Libretto and Outstanding Stage Direction (Del Mundo), Musical Direction and Musical Composition (Rony Fortich), Choreography for a Play or Musical (Nancy Crowe), Costume Design and Set Design (Mio Infante), Lighting Design (John Batalla), Sound Design (Rards Corpus), Female Lead Performance in a Musical (Chimmi Kohchet-Chua), Male Lead Performance in a Musical (Anton Posadas), Female Featured Performance in a Musical (Lynn Sherman), Male Featured Performance in a Musical (Joel Trinidad), Outstanding Ensemble Performance for a Musical, Outstanding Original Musical, and Outstanding Production for Children—Play, Musical or Dance.

“Der Kaufmann,” meanwhile, earned the jury’s nod as nominee in the following categories: Outstanding Translation or Adaptation (Vera), Costume Design (Rutaquio), Lighting Design (Batalla), Sound Design (TJ Ramos), Female Lead Performance in a Play (Regina de Vera—the lone nominee in her category and automatically the winner), Male Lead Performance in a Play (Jonathan Tadioan), Female Featured Performance in a Play (Raquel Pareño), Male Featured Performance in a Play (Lou Veloso and Marco Viaña), Outstanding Stage Direction (Vera and Rutaquio), Outstanding Ensemble for a Play, and Outstanding Production of Existing Material for a Play.

Peta’s “D’Wonder Twins of Boac” and TP’s “Ibalong” are in third place with 10 nominations each. Ballet Manila’s “Tatlo Pang Kwento ni Lola Basyang,” meanwhile, earned nine, while three productions have eight nods each: Actor’s Actors Inc.’s “Red,” Repertory Philippines’ “The Producers” and Ballet Philippines’ “A Midsummer Night’s Dream.” (See complete list of nominations at right.)

Now on its sixth year, Gawad Buhay! is the first-ever industry awards exclusively for the performing arts. Outstanding individual and group achievements in various artistic and technical aspects of play, musical and dance productions and performances are honored based on quarterly citations deliberated by the jury who are required to watch all productions of Philstage member-companies for the entire year.

From the four quarterly citations, the jury selects the final nominees qualified to win the awards by the end of the performance season. Awarding ceremonies will be in April 2014.

Philstage is the only alliance of professional performing arts organizations in the Philippines. Its members include Ballet Manila, Ballet Philippines, Gantimpala Theater Foundation, Organisasyon ng Pilipinong Mang-aawit, Peta, Repertory Philippines, Tanghalang Pilipino, Trumpets, Actor’s Actors Inc., 9 Works Theatrical and Philippine Opera Company.



2013 GAWAD BUHAY! COMPLETE LIST OF NOMINATIONS

Outstanding Original Script
No nomination

Outstanding Original Libretto
• Nicolas Pichay, “Rock Supremo” (BP)
• Layeta Bucoy, “Sandosenang Sapatos” (TP)
• Jaime del Mundo, “The Bluebird of Happiness” (Trumpets)
• Rody Vera, “D’Wonder Twins of Boac” (Peta)
• Rody Vera, “Ibalong” (TP)

Outstanding Translation or Adaptation
• Rody Vera, “Der Kaufmann” (TP)

Outstanding Musical Direction
• Sweet Plantado-Tiongson and Joseph Tolentino, “Grease” (9 Works Theatrical)
• Only Torres, “The Producers” (Rep)
• Rony Fortich, “The Bluebird of Happiness” (Trumpets)
• Carol Bello, “Ibalong” (TP)
• Josefino “Chino” Toledo, “San Andres B” (Tanghalang Pilipino)

Outstanding Original Musical Composition
• Josefino “Chino” Toledo, “San Andres B” (TP)
• Carol Bello, “Ibalong” (TP)
• Noel Cabangon and Jed Balsamo, “Sandosenang Sapatos” (TP)
• Rony Fortich, “The Bluebird of Happiness” (Trumpets)
• Jeff Hernandez, “D’Wonder Twins of Boac” (Peta)

Outstanding Choreography for a Dance Production
• Edna Vida Froilan, “A Christmas Carol” (BP)
• Carlo Pacis, “A Midsummer Night’s Dream” (BP)
• Gerard Francisco (“Ang Palasyo ng Mga Duwende”) and Osias Barroso and Michael Divinagracia (“Anting-Anting”), “Tatlo Pang Kuwento ni Lola Basyang” (BM)

Outstanding Choreography for a Play or Musical
• Arnold Trinidad and Francis Matheu, “Grease” (9WT)
• Carlon Matobato, “D’Wonder Twins of Boac” (Peta)
• Nancy Crowe, “The Bluebird of Happiness” (Trumpets)
• Alden Lugnasin, “Ibalong” (TP)

Outstanding Costume Design
• Raven Ong, “Alice in Wonderland” (Rep)
• Raven Ong, “Boeing, Boeing” (Rep)
• Mio Infante, “The Bluebird of Happiness” (Trumpets)
• Tuxqs Rutaquio, “Der Kaufmann” (TP)
• Leeroy New, “Ibalong” (TP)

Outstanding Lighting Design
• John Batalla, “The Bluebird of Happiness” (Trumpets)
• John Batalla, “Der Kaufmann” (TP)
• Jay Aranda, “San Andres B” (TP)
• Jolu Escaño, “Red” (Actor’s Actors, Inc.)
• John Batalla, “The Graduate” (Rep)

Outstanding Sound Design
• Jeff Hernandez, “D’Wonder Twins of Boac” (Peta)
• Dodo Lim, “Red” (AAI)
• Rards Corpus, “The Bluebird of Happiness” (Trumpets)
• TJ Ramos, “Der Kaufmann” (TP)
• TJ Ramos, “Ibalong” (TP)

Outstanding Set Design
• Mio Infante, “The Graduate” (Rep)
• Gino Gonzales, “Alice in Wonderland” (Rep)
• Damien Anne and Baby Imperial-Anne, “Red” (AAI)
• Lex Marcos, “D’Wonder Twins of Boac” (Peta)
• Mio Infante, “The Bluebird of Happiness” (Trumpets)

Female Lead Performance in a Play
• Regina de Vera, “Der Kaufmann” (TP)

Male Lead Performance in a Play
• Bart Guingona, “Red” (AAI)
• Reb Atadero, “The Graduate” (Rep)
• Jonathan Tadioan, “Der Kaufmann” (TP)

Female Featured Performance in a Play
• Carla Dunareanu, “Boeing, Boeing” (Rep)
• Raquel Pareño, “Der Kaufmann” (TP)

Male Featured Performance in a Play
• Joaquin Valdes, “Red” (AAI)
• Joe Gruta, “Kanser” (Gantimpala Theater Foundation)
• Lou Veloso, “Der Kaufmann” (TP)
• Marco Viaña, “Der Kaufmann” (TP)

Female Lead Performance in a Musical
• Jenine Disederio, “Ibalong” (TP)
• Trixie Esteban, “Sandosenang Sapatos” (TP)
• Nikki Gil, “They’re Playing Our Song” (9WT)
• Chimmi Kohchet-Chua, “The Bluebird of Happiness” (Trumpets)
• Cris Villonco, “D’Wonder Twins of Boac” (Peta)

Male Lead Performance in a Musical
• Gian Magdangal, “Grease” (9WT)
• Robbie Zialcita, “The Producers” (Rep)
• Audie Gemora, “No Way to Treat a Lady” (Rep)
• Lawrence Martinez, “They’re Playing Our Song” (9WT)
• Anton Posadas, “The Bluebird of Happiness” (Trumpets)

Female Featured Performance in a Musical
• Shamaine Centenera-Buencamino, “D’Wonder Twins of Boac” (Peta)
• Pinky Marquez, “No Way to Treat a Lady” (Rep)
• Bituin Escalante, “Alice in Wonderland” (Rep)
• Lynn Sherman, “The Bluebird of Happiness” (Trumpets)
• G Töngi-Walters, “The Producers” (Rep)

Male Featured Performance in a Musical
• Audie Gemora, “The Producers” (Rep)
• Noel Rayos, “The Producers” (Rep)
• Joel Trinidad, “The Producers” (Rep)
• Joel Trinidad, “The Bluebird of Happiness” (Trumpets)
• Cheeno Macaraig, “Ibalong” (TP)

Female Lead Performance in Modern Dance
• Katherine Trofeo, “A Midsummer Night’s Dream” (BP)
• Kris-Belle Paclibar, “A Midsummer Night’s Dream” (BP)
• Carissa Adea, “Rock Supremo” (BP)
• Joan Emery Sia, “Tatlo Pang Kuwento ni Lola Basyang” (BM)
• Lisa Macuja-Elizalde, “Tatlo Pang Kuwento ni Lola Basyang” (BM)

Male Lead Performance in Modern Dance
• Nonoy Froilan, “A Christmas Carol” (BP)
• Cyril Fallar, “A Midsummer Night’s Dream” (BP)
• Richardson Yadao, “A Midsummer Night’s Dream” (BP)
• Richardson Yadao, “Rock Supremo” (BP)
• Michael Divinagracia, “Tatlo Pang Kuwento ni Lola Basyang” (BM)

Female Featured Performance in Modern Dance
• Guia Gequinto, “A Midsummer Night’s Dream” (BP)
• Monica Gana, “Rock Supremo” (BP)
• Jan Erika Basilio, “Tatlo Pang Kuwento ni Lola Basyang” (BM)
• Missy Macuja Elizalde, “Tatlo Pang Kuwento ni Lola Basyang” (BM)

Male Featured Performance in Modern Dance
• Jean Marc Cordero, “A Christmas Carol” (BP)
• Richardson Yadao, “A Christmas Carol” (BP)
• Earl John Arisola, “Rock Supremo” (BP)
• Jean Marc Cordero, “Rock Supremo” (BP)
• Victor Maguad, “Rock Supremo” (BP)

Female Lead Performance in Classical Dance
• Lisa Macuja-Elizalde, “Le Corsaire” (BM)
• Lisa Macuja-Elizalde, The “Nutcracker” (BM)
• Dawna Mangahas in “The Nutcracker” (BM)
• Denise Parungao, “Giselle” (BP)
• Katherine Trofeo, “Giselle” (BP)

Male Lead Performance in Classical Dance
• Mikhail Martinyuk, “La Bayadere” (BM)
• Rudy de Dios, “The Nutcracker” (BM)
• Earl John Arisola, “Giselle” (BP)
• Jean Marc Cordero, “Giselle” (BP)

Female Featured Performance in Classical Dance
• Jan Erika Basilio, “Le Corsaire” (BM)
• Dawna Mangahas “Le Corsaire” (BM)
• Jessa Balote, “The Nutcracker” (BM)
• Missy Macuja Elizalde, “The Nutcracker” (BM)
• Rita Winder, “Giselle” (BP)

Male Featured Performance in Classical Dance
• Francis Cascaño, “Le Corsaire” (BM)
• Gerardo Francisco Jr., “Le Corsaire” (BM)

Outstanding Modern Dance Production
• “A Christmas Carol” (BP)
• “A Midsummer Night’s Dream” (BP)
• “Tatlo Pang Kuwento ni Lola Basyang” (BM)

Outstanding Classical Dance Production
• “Le Corsaire” (BM)
• “The Nutcracker” (BM)

Outstanding Stage Direction for a Play or Musical
• Robbie Guevarra, “Grease” (9WT)
• Bart Guingona, “Red” (AAI)
• Maribel Legarda, “D’Wonder Twins of Boac” (Peta)
• Jaime del Mundo, “The Bluebird of Happiness” (Trumpets)
• Tuxqs Rutaquio and Rody Vera, “Der Kaufmann” (TP)

Outstanding Ensemble Performance for a Play
• “Red” (AAI)
• “Der Kaufmann” (TP)

Outstanding Ensemble Performance for a Musical
• “Grease” (9WT)
• “D’Wonder Twins of Boac” (Peta)
• “Ibalong” (TP)
• “The Producers” (Rep)
• “The Bluebird of Happiness” (Trumpets)

Outstanding Ensemble Performance for Modern Dance
• “A Christmas Carol” (BP)
• “A Midsummer Night’s Dream” (BP)
• “Tatlo Pang Kuwento ni Lola Basyang” (BM)

Outstanding Ensemble Performance for Classical Dance
• “Giselle” (BP)
• “Le Corsaire” (BM)
• “The Nutcracker” (BM)

Outstanding Production of Existing Material for a Play
• “Red” (AAI)
• “Der Kaufmann” (TP)

Outstanding Production of Existing Material for a Musical
• “Grease” (9WT)
• “They’re Playing Our Song” (9WT)
• “The Producers” (Rep)

Outstanding Production for Children—Play, Musical or Dance
• “Tatlo Pang Kuwento ni Lola Basyang” (BM)
• “A Christmas Carol” (BP)
• “Alice in Wonderland” (Rep)
• “Sandosenang Sapatos” (TP)
• “The Bluebird of Happiness” (Trumpets)

Outstanding Original Play
No nomination

Outstanding Original Musical
• “D’Wonder Twins of Boac” (Peta)
• “The Bluebird of Happiness” (Trumpets)
• “Sandosenang Sapatos” (TP)
• “Ibalong” (TP)

The spellbinding Ang Nawalang Kapatid

Philippine Daily Inquirer, 02.22.2014

Dulaang UP’s all-student production takes on the mighty ‘Mahabharata’–and triumphs



DULAANG UP’s “ANG NAWALANG KAPATID” (with remaining performances today and tomorrow at Guerrero Theater, UP Diliman) is billed in press announcements as a musical adaptation of the Indian epic “Mahabharata,” the theatrical transposition courtesy of Floy Quintos and the music by Ceejay Javier.

That billing is misleading, or at least thoroughly inadequate. Because, while “Ang Nawalang Kapatid” indeed simulates the form of a musical, with characters telling their stories through song and melodic motifs lending shape and propulsion to the narrative, what director Dexter Santos has created is a production that blends music, movement, text, character, color, drama and design into an astonishing theatrical experience that beggars description as a mere musical.

That is not a knock on Javier’s score, which is one of this production’s strengths—lean and disciplined at only about eight songs (“Lukso ng Dugo” is a standout), the rest piquant instrumentals, done live by a five-piece band. Rather, it is a recognition of the breadth of imaginative firepower Santos has managed to conjure on the cramped Guerrero stage.

Diversity, noise
Peter Brook had once described the “Mahabharata”—one of the world’s greatest and oldest texts, a Sanskrit poem said to be about 15 times the length of the Bible—as incorporating “diversity, multiplicity, noise, movement, activity, on such a rich and extraordinary scale...”

Brook, of course, is the esteemed British director who brought the “Mahabharata” to the stage in 1985, in a now-legendary 11-hour production that ran from sunset to sunrise at a stone quarry in Avignon, France. (He condensed the play into a five-hour film version in 1989.)

We’re not saying Santos is Brook (that’s not a slur, either—who is, anyway?), but the best compliment one can give his “Ang Nawalang Kapatid” is that, in its fiercest moments, not only does it live up to Brook’s appraisal of the text; it also seems to partake of the mystical, sacral life force at the heart of this most ancient of stories.

Quintos’ Filipino retelling retains the poem’s original framing device—the narrator Vyasa inviting the elephant-headed god Ganesha to record his central story of a primeval kingdom destroyed by a cosmic war between family members, the bloodbath then leading to an Edenic rebirth (in the formulation of Brook’s playwright Jean-Claude Carrière, “le grande poème du monde,” or “the poetical history of mankind”).

But the narrative has been streamlined even further—the five Pandava brothers that make up one side of the clan now reduced to three; their first cousins the Kauravas, originally a hundred brothers, now only one, the firstborn Duryodhana; and Draupadi, the princess shared as wife by all five Pandavas, assigned only to the oldest, Yudisthira.



Melodious Filipino
Out of that stripped-down foundation, Quintos tells the story in plainspoken if melodious Filipino (“Mahabharata—ang dakilang kasaysayan ng sangkatauhan! ‘Yan ang aking itutula, ‘yan ang aking itatala,” promise Vyasa and Ganesha in the beginning). A keen decision, because what Santos has proceeded to do to bring the text to life would have made any attempt at a richer, more poetic language superfluous.

Within the confines of Ohm David’s two-tiered rock-cavern set drenched in the red sandstone tinge of Agra Fort (Gino Gonzales did the costumes, John Batalla the lighting), Santos unpacks from his capacious theatrical arsenal a dazzlingly stylized world of the simplest props and the most vivid gestures evoking a whole universe of men and deities, heroes and legends caught up in all-too-familiar jealousies, betrayals and frailties.

The mating gazelles felled by King Pandu, launching the curse that would doom his bloodline, are performed by male dancers whose poses suggest the erotic statuary in the temple of Khajuraho.

The public shaming of Draupadi in the hands of Duryodhana occasions the magical appearance of a seemingly inexhaustible piece of linen undulating across the stage—only for the cloth to become, moments later, the rope that would imprison the Pandava clan and send them to exile.

In the opening scene, each character is introduced by Vyasa in the form of clay figurines; Ganesha then mashes them all up into a ball of earth, to begin the tale of the conflagration that would grind everything to non-distinction.

Later, to illustrate a skirmish between the cousins, Santos utilizes (if gone too soon) a marching column of backlit cloth panels etched with shadow puppets—in one blow referencing a pan-Asian classical art (wayang kulit in Java, Nang Yai in Thailand, Nang Sbek in Cambodia, ah myinth thabin in Myanmar), and how the immense primordial river of Indian civilization has enriched neighboring tributary cultures.

Enthralling flourish
The most enthralling theatrical flourish—cloth suspended from above, grasped by a writhing woman to denote childbirth—appears to be a paraphrase of a Brook touch. Frank Rich, then the New York Times theater critic, took note of “billowing cloth [that] can represent newborn children...” in his review of Brook’s “Mahabharata” when it played in Brooklyn’s Majestic Theater in 1987.

He also mentioned “the battles of multitudes... conveyed by acrobatic displays of Eastern martial arts, by dozens of white arrows flying through the air, by horizontal ladders spinning violently on a vast stage carpeted with dirt.”

There are no horizontal ladders or volleys of arrows in the local version, but there is physical exertion aplenty, performed by an extraordinarily energetic all-student ensemble. And the stage does end up awash in dirt—as well as blood, sweat, water and heaving bodies—in the all-consuming finale.

Those who’ve seen Santos’ earlier works may recognize his signature touches. A director who honed his chops as a choreographer, Santos once again confirms in “Ang Nawalang Kapatid” his talent for extracting cohesive visuals and emotional expressiveness out of art-directed chaos.



Sure touch
While that bent for loud, relentless staging can be exhausting, it’s an aesthetic that lends itself well to larger-than-life material. His debut directorial work “Orosman at Zafira” in 2008, for instance, was a proto-tribal reimagining of the Balagtas komedya, with similarly warring kingdoms and mythic, outsize characters.

In Santos’ two productions last year, “Collection” and “Maxie The Musical,” the best moments were also those that benefited from his sure touch with grand imagery—the coup de théâtre transition in “Collection” from the contemporary milieu to the pre-Hispanic, for instance; or Maxie’s infatuation with the cop Victor turned into a whimsical fairy-tale number brimming with endearingly outlandish touches (ball-and-ribbon gymnastics routine, anyone?) that simultaneously parodied and embraced the tropes of musical theater.

For this reason, some moments in “Ang Nawalang Kapatid” are bound to look repetitive, even tedious (the cousins’ overlong weapons practice in early Act 2, the crowd processions and mass celebrations), from the standpoint of its director’s earlier works. However, the tumult feels mostly right this time, as an echo of the country and culture “whose defining image is the crowd... superabundant, heterogeneous, many things at once,” as Salman Rushdie put it.

At just under two hours, the show is also surprisingly fleet-footed; the transitions are seamless, the pacing gripping.

Thundering mayhem
As “Ang Nawalang Kapatid” barrels toward its climax, one wonders how Santos would top the thundering mayhem he had devised for “Orosman.”

Here, the Parkour-like routines he had made the cousins go through in a buoyant early musical number (with a yoga headstand even thrown into the mix) would transform into the apocalyptic panorama of the Pandava and Kaurava brothers—now clad only in loincloths, the emblems of their human stations all stripped away—somersaulting, careening, slamming into each other in a fight to the finish on a dirt-strewn, blood-spattered stage, the rest of the ensemble meanwhile also tearing one another to pieces, until, with thunder and lightning, the cataclysmic upheaval freezes into a wasteland of death.

It’s an indelible scene—mesmerizing in its theatricality, horrifying in its truth. We’re tempted to call it Shakespearean, except, of course, the universality depicted is way older than Shakespeare.

British critic Michael Billington, who was there in Avignon in 1985, reported about Brook’s play: “Eleven hours later, with the birds singing in the Provençal dawn, the show finished with a vision of Paradise with sitars playing and candles bobbing gently in the onstage river.”

No birds sing in the haunting denouement of “Ang Nawalang Kapatid.” But as a new dawn begins, the characters journey to the afterlife, and Lord Krishna’s admonition that everything passes finally makes sense, the sense of cathartic communion is complete. One is left simply spellbound.

DUP should thank its gods that it has a corps of impressively agile and tireless actor-dancers (even if they are constantly shortchanged by mikes on the blink, and the grind of multiple shows a week that leaves a number of them with barely-there voices).

For many a show in past seasons, they had filled up ensemble ranks, but young student talents like Vincent Pajara (a commanding Duryodhana—also one of the choreographers along with Santos, Al Bernard Garcia, Jeff Hernandez and Stephen Viñas), Jon Abella (Yudisthira), John Paul Basco (Krishna), Gabo Tolentino (Shakuni) and Ronah Rostata (Kunti) finally get their chance to shine, and they do.

Teetin Villanueva (Draupadi), who dominated “Collection” last year, and Ross Pesigan (Karna), praised in another Quintos work, “Fake,” also stamp their parts with distinction. And Jules dela Paz is a powerful Vyasa.



The other spectacular
Comparisons are invidious, we know, but it has to be said. The other and way more popular spectacular in town, now playing at the Cultural Center of the Philippines, came to life on the back of a $14-million price tag.

That’s how much it cost to mount the original production of “Wicked” on Broadway in 2003. Add to that the countless workshops, revisions, tryouts—the entire regimen of fine-tuning it went through to become the international juggernaut that it is, now on its 11th year deigning to grace Manila (with top-price tickets at P7,000+).

We do not begrudge “Wicked” its success, because that is also the product of great talent and hard work. The first-rate production in Manila (its electrifying “Defying Gravity” sequence is even better than the one we saw in London three years ago) can teach local theater companies a thing or two about how investing in modern backstage technology—the crucial element of amplification, for instance—and how proper training that can help performers sustain an eight-show workweek without pushing themselves to breaking point, can make theatergoing in these parts an even more engaging experience.

Perspective
But we must also acknowledge how the presence of a giant inevitably forces a sense of perspective on us—or on anyone, really, willing enough to be clear-eyed about it.

Here is “Ang Nawalang Kapatid,” after all—a production from a campus-theater organization, with an all-student cast (none has alternates), a budget next to nothing, ticket prices at P350 (P160 if you’re a student), a rehearsal period of four months and a run of three weeks, but with the sheer talent to create something breathtaking out of the barest of circumstances on tremendous display (and that holds true for other Filipino productions and theater companies in the same straits).

All things being equal, the scale of achievement arcs higher with the underclassed, don’t you think? Makes you wonder which kind of show truly defies gravity.


[All photos by VLADIMEIR B. GONZALES]

“Ang Nawalang Kapatid” has remaining performances today, 10 a.m. and 3 p.m., and tomorrow 10 a.m., 3 p.m. and 8 p.m., at Wilfrido Ma. Guerrero Theater, 2/F Palma Hall, UP Diliman. Call 9261349, 9818500 loc. 2449, or 4337840. Visit www.facebook.com/DulaangUnibersidadNgPilipinas or follow on Twitter @Official_DUP.

Saturday, February 01, 2014

9 Works Theatrical’s Grease leads Philstage Gawad Buhay’s 2013 4th-quarter citations


9 WORKS THEATRICAL’S production of the evergreen Broadway musical “Grease” in November last year grabbed 13 nods to lead the fourth-quarter citations of the 2013 Gawad Buhay!, the Philstage Awards for the Performing Arts.

“Grease’s” citations include outstanding production of existing material for a play or musical, outstanding ensemble, direction (Robbie Guevara), musical direction (Sweet Plantado-Tiongson and Joseph Tolentino), choreography (Arnold Trinidad and Francis Matheu), lighting design (John Batalla), sound design (Chuck Ledesma) and set design (Mio Infante), as well as the lead performance of Gian Magdangal and the featured performances of Reb Atadero, Iya Villania, Carla Dunareanu and Peachy Atilano.

In second place is Ballet Philippines’ “A Christmas Carol,” which garnered 12 citations, including outstanding modern dance production, outstanding ensemble, choreography (Edna Vida-Froilan), lighting design (Dennis Marasigan), sound design (Jethro Joaquin), set design (Ricardo Cruz), and nods for Nonoy Froilan’s lead performance and the featured performances of Carissa Adea, Denise Parungao, Jean Marc Cordero, Richardson Yadao. The ballet is also cited in the category of outstanding production for children (play, musical or dance).

Repertory Philippines’ “The Producers,” meanwhile, received 11 citations, among them outstanding musical production and direction (Jaime del Mundo) and nods for the lead performances of Robbie Zialcita and Topper Fabregas, and the featured turns of Audie Gemora, Noel Rayos and Joel Trinidad.

Tanghalang Pilipino’s modern Filipino opera “San Andres B.”, which for purposes of consideration in the Gawad Buhay! awards was classified under the musical category, received 9 citations, while Ballet Manila’s production of “The Nutcracker” had 8.

The Gawad Buhay! jury, an independent panel of critics, scholars, artists and theater enthusiasts, has also decided to open a new category for Outstanding Production for Children (Play, Dance or Musical), to acknowledge the growing number of productions from Philstage companies specifically mounted and designed for such audiences.

All Philstage children’s shows are eligible for outstanding production consideration only in the fourth quarter of the year, since many of them have longer runs that may span two or more quarters, compared to other shows.

(See complete list of citations below.)

Now on its fifth year, Gawad Buhay! is the first-ever industry awards exclusively for the performing arts. Outstanding individual and group achievements in various artistic and technical aspects of play, musical and dance productions and performances are honored based on quarterly citations deliberated by the jury who are required to watch all productions of Philstage member-companies for the entire year.

From the four quarterly citations, the jury will select the final nominees qualified to win the awards by the end of the performance season. Awarding ceremonies will be in early 2014.

Philstage is the only alliance of professional performing arts organizations in the Philippines. Its members include Ballet Manila, Ballet Philippines, Gantimpala Theater Foundation, Organisasyon ng Pilipinong Mang-aawit, Peta, Repertory Philippines, Tanghalang Pilipino, Trumpets, Actor’s Actors Inc., 9 Works Theatrical and Philippine Opera Company.



COMPLETE LIST OF THE 2013 FOURTH-QUARTER CITATIONS IN VARIOUS CATEGORIES:

Outstanding Original Script
No citation

Outstanding Original Libretto
No citation

Outstanding Translation or Adaptation
No citation

Outstanding Musical Direction
• Sweet Plantado-Tiongson and Joseph Tolentino, “Grease” (9 Works Theatrical)
• Onyl Torres, “The Producers” (Repertory Philippines)

Outstanding Original Musical Composition
• Josefino Toledo, “San Andres B.” (Tanghalang Pilipino)

Outstanding Choreography for a Dance Production
• Edna Vida-Froilan, “A Christmas Carol” (Ballet Philippines)

Outstanding Choreography for a Play or Musical
• Arnold Trinidad and Francis Matheu, “Grease” (9WT)

Outstanding Costume Design
• Raven Ong, “Alice in Wonderland” (Rep)
• Raven Ong, “The Producers” (Rep)

Outstanding Lighting Design
• Dennis Marasigan, “A Christmas Carol” (BP)
• John Batalla, “Grease” (9WT)
• Jay Aranda, “San Andres B.” (TP)

Outstanding Sound Design
• Jethro Joaquin, “A Christmas Carol” (BP)
• Chuck Ledesma, “Grease” (9WT)
• Aji Manalo, “San Andres B.” (TP)

Outstanding Set Design
• Ricardo Cruz, “A Christmas Carol” (BP)
• Mio Infante, “Grease” (9WT)
• Gino Gonzales, “Alice in Wonderland” (Rep)
• Ricardo Cruz, “San Andres B.” (TP)

Female Lead Performance in a Play
No citation

Male Lead Performance in a Play
No citation

Female Featured Performance in a Play
No citation

Male Featured Performance in a Play
No citation

Female Lead Performance in a Musical
• Margarita Roco, “San Andres B.” (TP)

Male Lead Performance in a Musical
• Gian Magdangal, “Grease” (9WT)
• Topper Fabregas, “The Producers” (Rep)
• Robbie Zialcita, “The Producers” (Rep)
• Dondi Ong, “San Andres B.” (TP)

Female Featured Performance in a Musical
• Iya Villania, “Grease” (9WT)
• Carla Dunareanu, “Grease” (9WT)
• Peachy Atilano, “Grease” (9WT)
• Bituin Escalante, “Alice in Wonderland” (Rep)
• G. Tongi-Walters, “The Producers” (Rep)

Male Featured Performance in a Musical
• Reb Atadero, “Grease” (9WT)
• Audie Gemora, “The Producers” (Rep)
• Noel Rayos, “The Producers” (Rep)
• Joel Trinidad, “The Producers” (Rep)
• Antonio Rey Ferrer, “San Andres B.” (TP)

Female Lead Performance in Modern Dance
No citation

Male Lead Performance in Modern Dance
• Nonoy Froilan, “A Christmas Carol” (BP)

Female Featured Performance in Modern Dance
• Carissa Adea, “A Christmas Carol” (BP)
• Denise Parungao, “A Christmas Carol” (BP)

Male Featured Performance in Modern Dance
• Jean Marc Cordero, “A Christmas Carol” (BP)
• Richardson Yadao, “A Christmas Carol” (BP)

Female Lead Performance in Classical Dance
• Lisa Macuja-Elizalde, “Le Corsaire” (Ballet Manila)
• Liza Macuja-Elizalde, “The Nutcracker” (BM)
• Dawna Mangahas, “The Nutcracker” (BM)

Male Lead Performance in Classical Dance
• Mikhail Martinyuk, “La Bayadere” (BM)
• Arnulfo Andrade, “The Nutcracker” (BM)
• Rudy de Dios, “The Nutcracker” (BM)

Female Featured Performance in Classical Dance
• Jan Erika Basilio, “Le Corsaire” (BM)
• Dawna Mangahas, “Le Corsaire” (BM)
• Jessa Balote, “The Nutcracker” (BM)
• Missy Macuja-Elizalde, “The Nutcracker” (BM)

Outstanding Modern Dance Production
• “A Christmas Carol” (BP)

Outstanding Classical Dance Production
• “Le Corsaire” (BM)
• “The Nutcracker” (BM)

Outstanding Stage Direction—Play or Musical
• Robbie Guevara, “Grease” (9WT)
• Jaime del Mundo, “The Producers” (Rep)
• Floy Quintos, “San Andres B.” (TP)

Outstanding Ensemble Performance for a Play
No citation

Outstanding Ensemble Performance for a Musical
• “Grease” (9WT)
• “The Producers” (Rep)

Outstanding Ensemble Performance for Modern Dance
• “A Christmas Carol” (BP)

Outstanding Ensemble Performance for Classical Dance
• “Le Corsaire” (BM)
• “The Nutcracker” (BM)

Outstanding Production of Existing Material for a Play
No citation

Outstanding Production of Existing Material for a Musical
• “Grease” (9WT)
• “The Producers” (Rep)

Outstanding Original Play
No citation

Outstanding Original Musical
No citation

Outstanding Production for Children—Play, Musical or Dance
• “Tatlo Pang Kuwento ni Lola Basyang” (BM)
• “A Christmas Carol” (BP)
• “Alice in Wonderland” (Rep)
• “Sandosenang Sapatos” (TP)
• “The Bluebird of Happiness” (Trumpets)

Saturday, December 21, 2013

BRAVO! BEST OF THEATER 2013: The resurrection of the original Filipino musical

Philippine Daily Inquirer, 12.21.2013

When was the last time the homegrown song-and-dance variety outnumbered the Broadway imports?



WHEN “KATY” OPENED on Jan. 27 at the Cultural Center of the Philippines, not only was it the first local production to raise its curtain this year, it was also a harbinger of sorts.

Spotlight Artist Centre’s revival of the grandmama of contemporary original Filipino musicals, produced by the trailblazing Musical Theater Philippines of Celeste Legaspi and Girlie Rodis 25 years ago, brought in its wake an unprecedented number of old and new Filipino musical works—14 in all, a record.

In our nine years of assiduous theater-watching, there never has been a musical year as eclectic as 2013. On top of the usual Broadway imports (about 12 this year—when was the last time local material outnumbered foreign ones?), there were two revivals of major Filipino works (“Katy” and “Himala, The Musical”—the latter in a thoughtfully mounted 10th-anniversary concert presentation that unveiled a leaner, more compelling version); and one take on an old work that retained the music but opted for a stripped-down amateur staging (UP Repertory’s “Lean,” based on Gary Granada’s musical on the late activist Lean Alejandro—a lyrical work that demands proper reconsideration, flecked with lines like “Ang panahon ng ligalig ang siyang magpapanday sa ating pag-ibig”).

There were also fresh works from debuting theater companies that captured enthusiastic word of mouth, particularly among the younger crowd (Culture Shock Productions’ “Sa Wakas” and Bit by Bit Company’s “Maxie The Musicale”), while two poles-apart musicals served notice that they could hold a candle to foreign spectaculars with imaginative, opulent stagecraft (Trumpets’ English-language “The Bluebird of Happiness” and Tanghalang Pilipino’s adaptation of the Bicol epic “Ibalong”).

This being Andres Bonifacio’s sesquicentennial year, a slew of flag-waving musical dramas dedicated to the revolutionary hero also marched upfront, from the unfortunately incoherent (Gantimpala Theater’s “Katipunan, mga Anak ng Bayan”) to the earnest but hysterical (Philippine Stagers Foundation’s “Bonifacio: Isang Sarsuwela”), to the majestically orchestrated and staged but quite befuddlingly written (TP’s “San Andres B.”—not a musical but a contemporary opera, but included here for purposes of this yearend roundup).

The one novel production on Bonifacio turned out to be a nonmusical play—Dulaang UP’s “Teatro Porvenir,” which offered a heretofore unknown view of Bonifacio and his cohorts as amateur theater artists, and how the creative impulse could both be inspiration and distraction in a time of revolution. (“Me puwang pa ba ang sining sa gitna ng himagsikan?,” went one character.)

But, with the onslaught of musicals local and foreign, plays like “Teatro Porvenir” were quite scarce on the calendar.

One appreciated, then, the annual bounty of new plays at the Virgin Labfest, and productions like The Necessary Theater’s “Red;” or Patrick Marber’s “Closer,” the first offering of the newly formed Red Turnip Theater; even BB Gandanghari’s bravely self-produced (if ill-directed) venture “Halik ng Tarantula” (Rene Villanueva’s Filipino translation of Manuel Puig’s “Kiss of the Spider Woman”), for bucking the song-and-dance juggernaut.

Still, there is much to cheer in the local companies’ moxie to fight fire with fire—to serve up homegrown musical fare alongside the Broadway extravaganzas that have hogged the stages and commanded the lion’s share of press attention and ticket sales.

The larger picture appears to be encouraging: Despite the entry of international touring groups with mammoth shows like “The Phantom of the Opera” and the upcoming “Wicked,” the continuing expansion of local theater, whether in largely musical directions or not, indicates it’s now farther than ever from throwing in the towel.

The coming year looks set to open with more Filipino-style storytelling through song, as Peta rings in January 2014 with the jukebox musical comedy “Rak of Aegis” (yep, of the lung-busting “Halik” and “Basang Basa sa Ulan” fame).

Of the 65 shows we saw in 2013, here’s a look back at the ones that rocked. Salute!

Best Play (One-Act)
“Isang Daan (A Hundred, or a Road)” (Liza Magtoto, playwright; Ed Lacson Jr., director). Hours before it opened in this year’s Virgin Labfest, “Isang Daan’s” lead actor was rushed to the hospital for hypertension. The director filled in by reading the lines from a held script. Despite that deflating setup, the play’s bristly humor and probing intelligence came through, jabbing at our notions of patriotism and memory, progress and assimilation with farcical but clear-eyed comic truth.

Honorable Mentions: “Kung Paano Ako Naging Leading Lady” (Carlo Vergara; Chris Martinez, director); “Imbisibol” (Herlyn Alegre; Lawrence Fajardo, director); “Chipline” (Dominique La Victoria; Charles Yee Jr., director)

Best Play (Full-Length/ Non-Filipino material)
“Red” (John Logan; Bart Guingona, director). Anchoring this first-rate treatment of John Logan’s Tony-winning play was the crackerjack tandem of Bart Guingona as the painter Mark Rothko and Joaquin Valdes as his (fictional) apprentice—a pair of hyper-articulate heads duking it out on such matters as art, money, creativity, passion, hubris, self-doubt and selling out. Guingona also directed, and, under his ministrations, this expansive drama of ideas mesmerized from beginning to end.

Honorable Mentions: “The Maids” (Jean Genet; Anton Juan, director)

Best Play (Full-Length/Original Filipino Material or Filipino Adaptation)
“Der Kaufmann/Ang Negosyante ng Venecia” (William Shakespeare’s “The Merchant of Venice,” Filipino translation by Rolando Tinio, adaptation by Rody Vera; Tuxqs Rutaquio and Rody Vera, directors). The setup felt too schematic at times—Jews in a concentration camp forced to play equivalent characters in Shakespeare’s “The Merchant of Venice,” to double-underline the inhumanity of racism. But moment after moment of harrowing power also gave this reimagining, as Jessica Zafra wrote, “a thrilling urgency... [as] the play constantly twists and turns on itself, questioning Shakespeare, questioning history, challenging our fond notions about the theater.” The play’s formal audacity and intellectual rigor gleamed with the superb ensemble playing by the Tanghalang Pilipino Actors’ Company.

Honorable Mentions: “Teatro Porvenir” (Tim Dacanay; Alexander Cortez, director); “Euridice” (Sarah Ruhl’s “Eurydice,” Filipino translation by Guelan Luarca; Loy Arcenas, director); “Collection” (Floy Quintos; Dexter Santos, director); “Games People Play” (Glenn Sevilla Mas; Ed Lacson Jr., director); “Ang Baldado ng Isla Palasan” (Martin McDonagh’s “The Cripple of Inishmaan,” Filipino translation by Joshua Lim So; Tess Jamias, director); “Art” (Yasmina Reza, Filipino translation by Ian Lomonggo; JK Anicoche, director)

Best Actor-Play(One-Act)
Bart Guingona (“Red”). While nothing like the orotund Mark Rothko physically (or even Alfred Molina, who originated the role in London), Guingona applied the full heft and maturity of his actorly gifts to the character of the Russian-born abstract painter, galvanizing it to complex, nerve-jangling life.

Honorable Mentions: Jonathan Tadioan (“Der Kaufmann/Ang Negosyante ng Venecia”); Topper Fabregas (“The Maids”); Bart Guingona (“Closer”); Russell Legaspi (“Teatro Porvenir”); Reb Atadero (“The Graduate”); Jojit Lorenzo (“Teatro Porvenir”); Fitz Bitaña (“Teatro Porvenir”); Joel Saracho (“Teatro Porvenir”); Abner Delina Jr. (“Games People Play”); Kalil Almonte (“Games People Play”)

Best Actress-Play
Pinky Amador (“Piaf”). The play itself was an episodic blur, but the actress at its center, like the immortal woman she embodied, was a life force of clarity and feeling. Amador’s astonishing transformation into Edith Piaf was the best piece of acting by any actor this year, bar none. The moment she sang the first bars of “Hymne à l’Amour,” you knew you were watching a performance destined for the history books.

Honorable Mentions: Teetin Villanueva (“Collection”); Regina de Vera (“Der Kaufmann/Ang Negosyante ng Venecia”); Cris Villonco (“Closer”); Skyzx Labastilla (“Kung Paano Ako Naging Leading Lady”); Kiki Baento (“Kung Paano Ako Naging Leading Lady”); Carme Sanchez (“Pamamanhikan”); Blanche Buhain (“Art”); Thea Yrastorza (“Games People Play”)

Best Featured Actor-Play
Joaquin Valdes (“Red”). “There are times that it seems Valdes and his theatrical alter ego would be swallowed by the volatility of Guingona’s Rothko,” wrote Cora Llamas in Interaksyon.com. “Fortunately, the play gives the former enough ammunition and his own complexity to hold his own.” More than hold his own, we may add. Given Valdes’ acting chops plus that stocky build, it would be interesting, in fact, to see him own the older role in perhaps a couple of decades’ time.

Honorable Mentions:
Dennis Marasigan (“Euridice”); Marco Viaña (“Der Kaufmann/Ang Negosyante ng Venecia”); Leo Rialp (“Collection”); Lou Veloso (“Der Kaufmann/Ang Negosyante ng Venecia); Joe Gruta (“Kanser/Noli Me Tangere”)

Best Featured Actress-Play
Jenny Jamora (“The Maids”). In a casting feat, Jamora was one of eight actors, male and female, who alternated in the role of the overbearing Madame in Anton Juan’s production of “The Maids.” We couldn’t catch everyone of them, but of the three Madames we saw, the slyly comic Jamora was the standout, slaying her one scene with poise, potency and razor-edged volatility.

Honorable Mentions: Jean Judith Javier (“Teatro Porvenir”); Racquel Pareño (“Der Kaufmann/Ang Negosyante ng Venecia”); Carla Dunareanu (“Boeing Boeing”); Blanche Buhain (“Ang Baldado ng Isla Palasan”)

Best Musical (Non-Filipino Material)
“The Addams Family” (music and lyrics by Andrew Lippa, book by Marshall Brickman and Rick Elice; Bobby Garcia, director). Middling material, but Atlantis director Bobby Garcia managed to whip up all the other elements—ensemble, scenery, orchestration, an overall sense of giddy mischief—into a polished, lively romp that beguiled with its guilelessness. The cherry on top was Arnell Ignacio as a marvelous Gomez Addams.

Honorable Mentions: “Carrie” (music by Michael Gore, lyrics by Dean Pitchford, book by Lawrence D. Cohen; Bobby Garcia, director); “They’re Playing Our Song” (music by Marvin Hamlisch, lyrics by Carole Bayer Sager, book by Neil Simon; Robbie Guevara, director); “Cinderella” (music by Richard Rodgers, lyrics by Oscar Hammerstein II; Michael Williams, director); “The Producers” (music and lyrics by Mel Brooks, book by Mel Brooks and Thomas Meehan; Jaime del Mundo, director)

Best Musical (Original Filipino Material or Filipino Adaptation)
“Lorenzo” (music by Ryan Cayabyab, book and lyrics by Paul Dumol, Christian Vallez and Joem Antonio; Nonon Padilla, director). This is a tough call. Why not “Maxie The Musicale,” which had the loudest buzz late in the year with its sinewy libretto (by Nicolas Pichay), ear-grabbing pastiche score, fizzy performances, and Dexter Santos’ all-stops-out staging?

“Maxie” was terrifically hardworking and entertaining, but we submit that the book emerged stronger than the music (and certainly the heartfelt but uneven singing).

“Lorenzo,” however, has some of Ryan Cayabyab’s most magnificent—and magnificently sung—music in years, wed to Paul Dumol, Christian Vallez and Joem Antonio’s filigree lyrics (the play’s characters come to grips with martyrdom with the words, “Nang sa aming kaparusahan, pag-ibig Mo ay maitanghal”).

The script was flabby and repetitive, and, like Santos’ overgilded “Maxie,” one would be of two minds about Nonon Padilla’s direction, which trawled the breadth of Japanese (or Japanese-inspired) iconography—Kabuki, “Rashomon,” animé and manga, sakura, the founding myths of Amaterasu, Masahiro Shinoda’s film “Silence,” Sondheim’s “Pacific Overtures”—to retell the clash of cultures that led to Lorenzo Ruiz’s accidental sainthood in Edo-era Japan.

But this was no proselytizing hymnal masquerading as a musical. Padilla sidestepped the hagiography, the preachy pieties expected of texts of a catechetical bent, to create a profoundly human story grappling with existential questions of crime, punishment and redemption.

Throughout, Cayabyab’s rock-tinged score soared, screamed, gutted the heart and summoned sempiternal grace—to approximate, at its best moments (helped along by the hyper-theatrical staging), a pure, ecstatic rapture. It is, to our mind, a major work in this or any other year.

Honorable mentions: “Maxie The Musicale” (music by William Elvin Manzano, JJ Pimpinio and Janine Santos; book and lyrics by Nicolas Pichay; Dexter Santos, director); “Sa Wakas” (music and lyrics by Ebe Dancel, book by Andrei Pamintuan and Ina Abuan; Andrei Pamintuan, director); “Himala, The Musical—10th Anniversary Concert” (music by Vince de Jesus, lyrics by Vince de Jesus and Ricky Lee, book by Ricky Lee; Soxie Topacio, director); “Ibalong” (music by Carol Bello, book and lyrics by Rody Vera; Tuxqs Rutaquio, director); “The Bluebird of Happiness” (music by Rony Fortich; book, lyrics and direction by Jaime del Mundo); “Katy” (music by Ryan Cayabyab, book and lyrics by José Javier Reyes; Nestor Torre, director)

Best Actor-Musical
Poppert Bernadas (“Lorenzo”). Bernadas is a veteran performer as a member of the pop-vocal group The Ryan Cayabyab Singers; but as a theater actor, he’d been in only two productions before “Lorenzo:” “Magsimula Ka” (2010) and “Katy” (2013), both in minor parts. You wouldn’t know that from the vocal and emotive abilities he employed in “Lorenzo” to wrench a fully realized human character—who also sang the hell out of the punishing score—out of the plaster saint.

Honorable Mentions: Arnell Ignacio (“The Addams Family”); Jayvhot Galang (“Maxie The Musicale”); Nonie Buencamino (“The King and I”); Victor Robinson III (“Sa Wakas”); Fred Lo (“Sa Wakas”); Audie Gemora (“No Way to Treat a Lady”); Lorenz Martinez (“Lorenzo”); Robbie Zialcita (“The Producers”); Anton Posadas (“The Bluebird of Happiness”)

Best Actress-Musical
Mikkie Bradshaw (“Carrie”). It’s one of the year’s biggest theater stories—how Bradshaw opened “Carrie” to acclaim, only to fall sick right after, such that K-La Rivera had to learn the part in six days to fill in for her. But on the show’s last weekend, Bradshaw was back onstage, and the early verdict proved correct: “Carrie” was a breakout moment for this fierce young talent.

Honorable Mentions: Isay Alvarez (“Katy”); Aicelle Santos (“Katy”); K-La Rivera (“Carrie”); Nikki Gil (“They’re Playing Our Song”); Julia Abueva (“Cinderella”); Eula Valdes (“The Addams Family”); Menchu Lauchengco-Yulo (“The King and I”); Cris Villonco (“D’Wonder Twins of Boac”); Delphine Buencamino (“Ibalong”); Jenine Desiderio (“Ibalong”); Chimmy Kohchet Chua (“The Bluebird of Happiness”); Caisa Borromeo (“Sa Wakas”)

Best Featured Actor-Musical
Audie Gemora (“The Producers”). Flat-out hilarious as the cross-dressing washed-up director Roger De Bris. But true to camp’s affectionate nature, Gemora also imbued his flaming alter ego with a soft, bashful side that made his Judy-Garland-in-Carnegie-Hall moment, during the riot “Springtime for Hitler” number, such a doozy delight.

Honorable Mentions: Tirso Cruz III (“Katy”); Jamie Wilson (“The Full Monty”); Jojo Riguerra (“Maxie The Musicale”); Juliene Mendoza (“Lorenzo”); Noel Rayos (“Lorenzo”); Terence Guillermo (“Lorenzo”); Aaron Ching (“Maxie The Musicale”); Joel Trinidad (“The Bluebird of Happiness”); Cheeno Macaraig (“Ibalong”); Noel Rayos (“The Producers”); Joel Trinidad (“The Producers”); Antonio Ferrer (“San Andres B”); Rafa Siguion-Reyna (“Grease”)

Best Featured Actress-Musical
Dulce (“Katy”). She had big shoes to fill—Celeste Legaspi was the original Olivia, the faded diva who would sing “Minsan ang Minahal Ay Ako” with the young Katy, in the landmark musical’s inaugural run over two decades ago—but Dulce, no slouch herself as a singing superstar, easily made the role her own with her commanding voice and presence.

Honorable Mentions: Menchu Lauchengco-Yulo (“Carrie”); Shiela Valderrama-Martinez (“Lorenzo”); Isay Alvarez (“Himala, The Musical—10th Anniversary Concert”); Dulce (“Himala, The Musical—10th Anniversary Concert”); Margarita Roco (“San Andres B”); G Töngi (“The Producers”); Pinky Marquez (“No Way to Treat a Lady”); Lynn Sherman (“The Bluebird of Happiness”)

Best Director
Tuxqs Rutaquio. For two topnotch productions—“Der Kaufmann/Ang Negosyante ng Venecia” and “Ibalong,” one a provocative transposition of Shakespeare (co-directed with adaptor Rody Vera), the other a roaring neo-ethnic dance-musical—that showcased Rutaquio’s range and acuity as a director and his expert way with ensembles. A third work, the small-scale musical “Sandosenang Sapatos,” was a minor affair that nevertheless still throbbed with the emotional eloquence characteristic of Rutaquio’s output.

He also did double duty as set designer for all three productions (and played Antonio in a couple of “Der Kaufmann” performances). Already the most accomplished young director to emerge from the Virgin Labfest, Rutaquio represents a new generation of creative multi-hyphenates stirring the theater scene. He is an exciting artist to watch.

Honorable Mentions: Bart Guingona (“Red”); Nonon Padilla (“Lorenzo”); Bobby Garcia (“Carrie,” “The Addams Family”); Jaime del Mundo (“The Bluebird of Happiness”); Dexter Santos (“Maxie The Musicale”); Soxie Topacio (“Himala, The Musical—10th Anniversary Concert”); Ed Lacson Jr. (“Isang Daan,” “Games People Play”)

Artistic and technical standouts
Rody Vera’s impressive feat of four scripts produced this year—“D’Wonder Twins of Boac,” “Ibalong,” “Der Kaufmann” and the commissioned Ninoy and Cory Aquino musical “Pamana”; John Batalla’s lighting, ubiquitous as always but particularly strong in “The Graduate,” “Der Kaufmann” and “The Bluebird of Happiness”; Gino Gonzales’ brilliant production design of rampart balikbayan boxes and graphic-print kimonos for “Lorenzo,” his slice-of-Sampaloc scenery for “Maxie The Musicale,” and origami costumes and panels for “Alice in Wonderland”; Mio Infante’s lavish storybook visuals for “The Bluebird of Happiness” and ingenious jukebox set for “Grease”; Faust Peneyra’s set of fraying boards and shutters for “Piaf” and, especially, the singkaban bamboo frame he employed for “Teatro Porvenir”; and Leeroy New’s fantastical costumes for “Ibalong.”

Also, Vince de Jesus’ splendid musical direction and vocal coaching for “Himala: The Musical—10th Anniversary Concert”; Ryan Cayabyab and Dingdong Fiel’s robust work on “Lorenzo,” a model for how a live band should sound vis-à-vis musical theater; ditto for Ceejay Javier’s orchestrations for “Carrie” and “The Addams Family”; Ejay Yatco’s musical arrangements and direction for “Sa Wakas”; Rony Fortich’s luscious sound for “The Bluebird of Happiness”; “Euridice’s” austere music, courtesy of Teresa Barroso; Dexter Santos’ irresistible choreography for “Maxie The Musicale,” which also redefined energetic dancing this year; “Red’s” lived-in art-studio set, by Damien Anne and Baby Imperial-Anne; Andrew Botha’s grandiose scenery and Aksana Sidarava’s costumes for “Cinderella”; and Chino Toledo’s masterful orchestration of his own operatic score for “San Andres B.”

[“Lorenzo” Photo credit: JORY RIVERA]

Saturday, December 14, 2013

Trumpets’ The Bluebird of Happiness leads Philstage Gawad Buhay’s 2013 3rd-quarter citations

TRUMPETS’ “comeback” musical production “The Bluebird of Happiness,” with music by Rony Fortich and libretto and direction by Jaime del Mundo, leads the third-quarter citations of the 2013 Gawad Buhay!, the Philstage Awards for the Performing Arts, with 18 nods in the performance, creative and technical categories.

“Bluebird” earned citations for, among others, its libretto and adaptation work (Del Mundo), musical composition and direction (Fortich), choreography (Nancy Crowe), costume and set design (Mio Infante), lighting design (John Batalla), and the individual performances of its child actors: Female Lead Performance in a Musical for Alessa Zialcita and Chimmi Kohchet-Chua, and Male Lead Performance in a Musical for Anton Posadas and Guido Gatmaytan. Also cited are Lynn Sherman and Joel Trinidad in the featured performance categories. “Bluebird”’s other mentions are for Outstanding Stage Direction (Del Mundo), Outstanding Ensemble for a Musical, and Outstanding Original Musical.

Placing second with 14 citations each are Tanghalang Pilipino’s “Der Kaufmann/Ang Negosyante ng Venecia,” which transposed Shakespeare’s “The Merchant of Venice” into the Nazi era, with Jews in a concentration camp forced to perform the play; and Ballet Manila’s “Ang Mga Kuwento ni Lola Basyang,” a celebration in dance of Severino Reyes’ enduring folk tales.

Following them are two Ballet Philippines productions—“Rock Supremo” with 11 citations, and “Giselle” with 10.

(See complete list of citations below.)

The Gawad Buhay! jury, an independent panel of critics, scholars, artists and theater enthusiasts, has decided that, starting this year, a new category will be opened for Outstanding Production (Play, Dance or Musical) for Children, to acknowledge the growing number of productions from Philstage companies specifically mounted and designed for such audiences. However, since many children’s productions run for weeks, even months, longer than the typical three-week schedule of other shows, all Philstage children’s shows will be considered for citation in the fourth quarter of the year, leading to the Gawad Buhay! final nominations for 2013.

Now on its fifth year, Gawad Buhay! is the first-ever industry awards exclusively for the performing arts. Outstanding individual and group achievements in various artistic and technical aspects of play, musical and dance productions and performances are honored based on quarterly citations deliberated by the jury who are required to watch all productions of Philstage member-companies for the entire year.

From the four quarterly citations, the jury will select the final nominees qualified to win the awards by the end of the performance season. Awarding ceremonies will be in early 2014.

Philstage is the only alliance of professional performing arts organizations in the Philippines. Its members include Ballet Manila, Ballet Philippines, Gantimpala Theater Foundation, Organisasyon ng Pilipinong Mang-aawit, Peta, Repertory Philippines, Tanghalang Pilipino, Trumpets, Actor’s Actors Inc., 9 Works Theatrical and Philippine Opera Company.



COMPLETE LIST OF THE 2013 THIRD-QUARTER CITATIONS IN VARIOUS CATEGORIES:

Outstanding Original Script
No citation

Outstanding Original Libretto
• Nicolas Pichay, “Rock Supremo” (Ballet Philippines)
• Layeta Bucoy, “Sandosenanang Sapatos” (Tanghalang Pilipino)
• Jaime del Mundo, “The Bluebird of Happiness” (Trumpets)

Outstanding Translation or Adaptation
• Rody Vera, “Der Kaufmann/Ang Negosyante ng Venecia” (Tanghalang Pilipino)
• Jaime del Mundo, “The Bluebird of Happiness” (Trumpets)

Outstanding Musical Direction
• Francis de Veyra, “Rock Supremo” (BP)
• Rony Fortich, “The Bluebird of Happiness” (Trumpets)

Outstanding Original Musical Composition
• Diwa de Leon, “Ang Palasyo ng mga Duwende/“Ang Mga Kuwento ni Lola Basyang” (Ballet Manila)
• Juan Carlo Magsalin, “Anting-Anting”/“Ang Mga Kuwento ni Lola Basyang” (BM)
• Noel Cabangon, “Sandosenang Sapatos” (TP)
• Rony Fortich, “The Bluebird of Happiness” (Trumpets)

Outstanding Choreography for a Dance Production
• Gerard Francisco, “Ang Palasyo ng mga Duwende”/“Ang Mga Kuwento ni Lola Basyang” (BM)
• Osias Barroso and Michael Divinagracia, “Anting-anting”/“Ang Mga Kuwento ni Lola Basyang” (BM)

Outstanding Choreography for a Play or Musical
• Nancy Crowe, “The Bluebird of Happiness” (Trumpets)

Outstanding Costume Design
• Maki Albay, “Ang Mga Kuwento ni Lola Basyang” (BM)
• Tuxqs Rutaquio, “Der Kaufmann” (TP)
• Mio Infante, “The Bluebird of Happiness” (Trumpets)

Outstanding Lighting Design
• Jimmy Villanueva, “Ang Mga Kuwento ni Lola Basyang” (BM)
• Jonjon Villareal, “Giselle” (BP)
• John Batalla, “Rock Supremo” (BP)
• John Batalla, “Der Kaufmann” (TP)
• John Batalla, “The Bluebird of Happiness” (Trumpets)

Outstanding Sound Design
• TJ Ramos, “Der Kaufmann” (TP)
• Rards Corpus, “The Bluebird of Happiness” (Trumpets)

Outstanding Set Design
• Jay Janolo, “Ang Mga Kuwento ni Lola Basyang” (BM)
• Tuxqs Rutaquio, “Der Kaufmann” (TP)
• Tuxqs Rutaquio, “Sandosenang Sapatos” (TP)
• Mio Infante, “The Bluebird of Happiness” (Trumpets)

Female Lead Performance in a Play
• Regina de Vera, “Der Kaufmann” (TP)

Male Lead Performance in a Play
• Jonathan Tadioan, “Der Kaufmann” (TP)

Female Featured Performance in a Play
• Raquel Pareño, “Der Kaufmann” (TP)
• Doray Dayao, “Der Kaufmann” (TP)

Male Featured Performance in a Play
• Lou Veloso, “Der Kaufmann” (TP)
• Marco Viaña, “Der Kaufmann” (TP)
• Joe Gruta, “Kanser” (Gantimpala Theater Foundation)

Female Lead Performance in a Musical
• Trixie Esteban, “Sandosenang Sapatos” (TP)
• Chimmi Kohchet-Chua, “The Bluebird of Happiness” (Trumpets)
• Alessa Zialcita, “The Bluebird of Happiness” (Trumpets)

Male Lead Performance in a Musical
• Anton Posadas, “The Bluebird of Happiness” (Trumpets)
• Guido Gatmaytan, “The Bluebird of Happiness” (Trumpets)

Female Featured Performance in a Musical
• Lynn Sherman, “The Bluebird of Happiness” (Trumpets)

Male Featured Performance in a Musical
• Jonathan Tadioan, “Sandosenang Sapatos” (TP)
• Joel Trinidad, “The Bluebird of Happiness” (Trumpets)

Female Lead Performance in Modern Dance
• Denise Parungao, “Rock Supremo” (BP)
• Carissa Adea, “Rock Supremo” (BP)
• Joanne Emery Sia, “Ang Mga Kuwento ni Lola Basyang (BM)
• Liza Macuja-Elizalde, “Ang Mga Kuwento ni Lola Basyang” (BM)

Male Lead Performance in Modern Dance
• Michael Divinagracia, “Ang Mga Kuwento ni Lola Basyang” (BM)
• Richardson Yadao, “Rock Supremo” (BP)

Female Featured Performance in Modern Dance
• Jan Erika Basilio, “Ang Mga Kuwento ni Lola Basyang” (BM)
• Katherine Trofeo, “Rock Supremo” (BP)
• Monica Gana, “Rock Supremo” (BP)
• Missy Elizalde, “Ang Mga Kuwento ni Lola Basyang” (BM)

Male Featured Performance in Modern Dance
• Earl John Arisola, “Rock Supremo” (BP)
• JM Cordero, “Rock Supremo” (BP)
• Victor Maguad, “Rock Supremo” (BP)

Female Lead Performance in Classical Dance
• Denise Parungao, “Giselle” (BP)
• Katherine Trofeo, “Giselle” (BP)
• Carissa Adea, “Giselle” (BP)

Male Lead Performance in Classical Dance
• Earl John Arisola, “Giselle” (BP)
• JM Cordero, “Giselle” (BP)
• Richardson Yadao, “Giselle” (BP)

Female Featured Performance in Classical Dance
• Rita Winder, “Giselle” (BP)
• Ana Margarita Reyes, “Giselle” (BP)

Outstanding Modern Dance Production
• “Ang Mga Kuwento ni Lola Basyang” (BM)

Outstanding Classical Dance Production
No citation

Outstanding Stage Direction—Play or Musical
• Tuxqs Rutaquio and Rody Vera, “Der Kaufmann” (TP)
• Jaime del Mundo, “The Bluebird of Happiness” (Trumpets)

Outstanding Ensemble Performance for a Play
• “Der Kauffmann” (TP)

Outstanding Ensemble Performance for a Musical
• “The Bluebird of Happiness” (Trumpets)

Outstanding Ensemble Performance for Modern Dance
• “Ang Mga Kuwento ni Lola Basyang” (BM)

Outstanding Ensemble for Classical Dance
• “Giselle” (BP)

Outstanding Production of Existing Material for a Play
• “Der Kaufmann/Ang Negosyante ng Venecia” (TP)

Outstanding Production of Existing Material for a Musical
No citation

Outstanding Original Play
No citation

Outstanding Original Musical
• “Sandosenang Sapatos” (TP)
• “The Bluebird of Happiness” (Trumpets)

Wednesday, October 09, 2013

Lea Salonga, Cecile Licad and Lisa Macuja-Elizalde reunite in The Legends and the Classics Encore


Three iconic Filipino artists--Lea Salonga, Cecile Licad and Lisa Macuja-Elizalde--reunite onstage in “The Legends and the Classics Encore,” for an incomparable showcase of song, music and dance.

Presented by the Manila Broadcasting Company and Ballet Manila, “The Legends and the Classics Encore” runs October 12, Saturday, 8 p.m.; and October 13, Sunday, 5 p.m., at the Tanghalang Nicanor Abelardo (Main Theater) of the Cultural Center of the Philippines.

The concert brings together anew the outstanding talent and impeccable showmanship of three Filipinas who have shone brightly on the international stage and brought home countless accolades for their country. Each of them represents a lifelong dedication to the arts--in theater, music and ballet--where success is forged only through long years of training, unwavering commitment and an ironclad will in pursuit of excellence.

“The Legends and the Classics Encore” will highlight individual spot numbers, including medleys of Broadway hits and romantic standards from Salonga; immortal piano pieces from Licad; and lyrical ballet numbers from Macuja-Elizalde. But what will make it even more unforgettable are the triumvirate’s collaborative performances.

Also featured are the ABS-CBN Philharmonic Orchestra under the baton of Maestro Gerard Salonga, and Ballet Manila. Roxanne Lapus directs.

“The Legends and the Classics” was the winner of last year’s Aliw Award for Best Concert Collaboration. Coincidentally, the three stars have received top accolades from the same awards-giving body in different years. Macuja-Elizalde was 2012 Aliw Entertainer of the Year, the first classical artist so honored. Licad was the 2010 Aliw Lifetime Achievement Awardee. Salonga was Aliw Entertainer of the Year in 2004. Even concert director Roxanne Lapus was Aliw's Hall of Fame Awardee in 2011.

Macuja-Elizalde gives gredit to lawyer Katrina Legarda for the original concept of bringing together the three performing artists in one show. That planned show never materialized but the idea stuck in the ballerina's mind.

“I was determined to do it, plain and simple. As an artist, I sincerely wanted to perform alongside these two Filipino icons before I retire from the stage, which is not too far from now. So I made it my own personal mission to make it happen,” she relates.

Because of public clamor, Macuja-Elizalde decided to produce the concert anew this year. She promises a more refined show, retaining the bulk of last year's repertoire but also presenting new numbers particularly from Licad.

Salonga, Licad and Macuja-Elizalde have had stellar careers in their respective fields. All three have followed similar paths, starting young and then eventually making their mark on the international stage.

Salonga began her career in musical theater at the age of seven. With her lead role in “Miss Saigon,” she took the West End and Broadway by storm, winning a Tony Award and a Sir Laurence Olivier Award, among the numerous accolades she reaped.

Licad made her debut with a full orchestra when she was just seven and launched her international career as a piano virtuoso when she became the youngest gold medalist of the prestigious Leventritt Competition at age 19.

Macuja-Elizalde learned her first ballet steps at eight and went on to study ballet in Russia. After graduating at the top of her class, she was invited to join the legendary Kirov Ballet as soloist--the first foreigner and Filipino to be given that honor.

With BPI Credit Cards, Sofitel Philippine Plaza, Mekeni, Uratex, Solaire, El Nido as major sponsors, The Legends and the Classics Encore is also supported by Island Rose. Steinway Gallery Singapore is the official piano sponsor. Tickets are available at all TicketWorld outlets. For details, check out www.ticketworld.com.ph or call 8919999.


26th Aliw Awards (2013)--complete list of winners

This is an official announcement from the Aliw Awards.

The 26th Aliw Awards had its awards night on October 8, 2013 at the Manila Hotel. Winners below in boldface. For questions/inquiries, e-mail Frank Rivera at frank_aliw@yahoo.com.ph.


BEST CHILD PERFORMER
• Bea Borres (Bagaberde)
Ryzza Mae Dizon (JOWA/ Araneta Coliseum)
• John Gabriel Barlis (Penitensya ni Tiyo Renato/Tanghalang SLU)
• Yedda Lambujon (Katy/Spotlight Artist)
• Trixie Esteban (Ibalong/Tanghalang Pilipino)

BEST NEW ARTIST
Abra
• Jashael
• Myka Javier
• Young JV
• Nicole Ramos

BEST NEW ARTIST (GROUP)
• Chicsers
• Upgrade
• Snap Backs
West End Mamas
• Franciscan Quintet

BEST DANCE COMPANY
• Bungkos Palay (Munoz, Nueva Ecija)
• Sinagtala Dance Company (Davao City)
• PLM Hiyas ng Maynilad Dance Company
• St. Dominic Savio College Dance Group
• Salinlahi Dance Theater Company
Ballet Manila

BEST CULTURAL GROUP
Tanghalang SLU (Baguio City)
• LNU Sirang Theater Ensemble (Tacloban ,Leyte)
• Camiguin Enigmata Creative Circle
• Sipat Lawin Ensemble
• PUP Banda Kawayan (Morong, Bataan)

BEST CHORAL GROUP
SDS Chorale Group (Surigao Del Sur)
• DFA Chorale
• UST Singers
• SLU Glee Club (Baguio City)
• UE Chorale

BEST INSTRUMENTALIST
Lourdes De Leon-Gregorio (Harp)
• Diomedes Zaraza Jr.(Violin)
• Renato Lucas (Cello)
• Joseph Esmilla (Violin)
• Cristine Coyiuto (Piano)
• Nitoy Malimlim (Drums)

BEST EMCEE (FEMALE)
Toni Gonzaga
• Iza Calzado
• Pia Guanio
• Pops Fernandez
• Issa Litton

BEST EMCEE (MALE)
Luis Manzano
• Jojo Alejar
• Michael Lim
• Chris Tiu
• Sam YG

BEST STAND-UP COMEDIAN
Beverly Salviejo (Library)
• Boobay (Zirkoh)
• Jaya (Sebastian Comedy Bar/Tacloban)
• Jack en Poy (Insider Bar)

BEST CLASSICAL PERFORMER (MALE)
Andrew Fernando
• Eugene Delos Santos
• Ronan Ferrer
• Al Gatmaitan
• Arthur Espiritu

BEST CLASSICAL PERFORMER (FEMALE)
• Karla Gutierrez
Clarissa Ocampo
• Nenen Espina
• Thea Perez
• Margarita Gomez

BEST CROSSOVER/BROADWAY PERFORMER
• Jonathan Badon
• Ana Feleo
• Lionel Guico
Fame Flores
• Cris Villonco

BEST PRODUCTION FOR CHILDREN
• Adarna (Dulaang UP)
• Sandosenang Sapatos (Tanghalang Pilipino)
• Hiwaga ng Ibong Adarna (Tanghalang SLU)
Hansel and Gretel (Kids Acts Philippines)

BEST NON-MUSICAL PRODUCTION
• Collection (Dulaang UP)
Penitensya ni Tiyo Renato (Tanghalang SLU)
• Owel (Virgin Labfest 9)
• Red (TNT/Teatrino)
• Oresteyas (Tanghalang Ateneo)

BEST MUSICAL PRODUCTION
Katy (Spotlight Artist Centre)
• Piaf (Atlantis Production)
• Ibalong (Tanghalang Pilipino)
• Rivalry: Ateneo-La Salle (4th Wall Theater Company)
• Stageshow (Tanghalang Pilipino)
• Tarahiti, Bubunok Babaha (LNU Sirang Theater Ensemble)

BEST STAGE DIRECTOR (NON-MUSICAL)
• Marlon Rivera (Owel/Virgin Labfest 9)
• Jun F. Pablo (Sayaw ng mga Seniorita/Gantimpala Theater Foundation)
• Dan Rommel Riopay (Penitensya ni Tiyo Renato/Tanghalang SLU)
• Ricky Abad and Myra Beltran (Ang Oresteyas/Tanghalang Ateneo)
Bart Guingona (Red/TNT)
• Anton Juan (The Maids/World Theater Music Project)

BEST STAGE DIRECTOR (MUSICAL)
• Bobby Garcia (Piaf/Atlantis)
• Tuxqs Rutaquio (Ibalong/Tanghalang Pilipino)
• Joey Lianza (Tarahiti, Bubunok, Babaha/LNU Sirang Theater Ensemble)
Jaime Del Mundo (Rivalry: Ateneo-La Salle/ 4th Wall Theater Company)
• Robbie Guevarra (They’re Playing Our Song/9 Works Theatrical)

BEST ACTOR (NON-MUSICAL)
• Reb Atadero (The Graduate/Repertory Philippines)
• Paul Jake Paule (Ang Oresteyas/Tanghalang Ateneo)
• Joaquin Valdez (Red/TNT)
Bart Guingona (Red/TNT)
• Joel Lamangan (Sayaw ng mga Seniorita/Gantimpala Theater Foundation)

BEST ACTRESS (NON-MUSICAL)
Sherry Lara (Kapit/Virgin Labfest 9)
• Blanche Buhia (Art/Sige Ma/Isla Palasan/ Dulaang Sipat Lawin)
• Teetin Villanueva (Collection/ Dulaang UP)
• Kathy Arguelles (Kiriring/Tanghalang Batingaw)
• Frances Makil-Ignacio (Ang Oresteyas/Tanghalang Ateneo)
• Lotlot Bustamante (Our Lady of Arlegui/UP Repertory)

BEST ACTOR (MUSICAL)
Roeder Camanag (Stageshow/Tanghalang Pilipino)
• Gian Magdangal (Katy/Spotlight Artist Center
• Myke Salomon (Ibalong/Tanghalang Pilipino)
• Red Concepcion (Rivalry: Ateneo-La Salle/ 4th Wall Theater Company)
• Nonie Buencamino (Stageshow/Tanghalang Pilipino)

BEST ACTRESS (MUSICAL)
Isay Alvarez (Katy/Spotlight Artists Centre)
• Pinky Amador (Piaf/Atlantis)
• Nikki Gil (They’re Playing Our Song/ 9 Works Theatrical )
• Cris Villongco (Wonder Twins of Boac/PETA)
• Liesl Batucan (Stageshow/Tanghalang Pilipino)
• Jenine Desiderio (Ibalong/Tanghalang Pilipino)

BEST ACTRESS IN A FEATURED ROLE
Dulce (Katy/Spotlight Artists Centre)
• Aicelle Santos (Katy/Spotlight Artists Centre)
• Giselle Toengi (Piaf/Atlantis)
• May Bayot de Castro (Stageshow/Tanghalang Pilipino)
• Cen Cherrie Bagtas (Bonifacio, Isang Sarswela/PSF)
• Pinky Marquez (No Way To Treat a Lady/Repertory Philippines)

BEST ACTOR IN A FEATURED ROLE
Tirso Cruz III (Katy/Spotlight Artists Centre)
• Arnell Ignacio (Sayaw ng Mga Seniorita/ Gantimpala)
• Cheeno Macaraig (Ibalong/Tanghalang Pilipino)
• Patrick Libao (Bonifacio Isang Sarswela/PSF)
• Jovic Monsod (Halik ng Tarantula/BGP)
• Brian Sy (Ang Oresteyas/Tanghalang Ateneo)

BEST CONCERT/SPECIAL CONCEPT DIRECTOR
• Floy Quintos (One More Time, Lani Misalucha/Resorts World)
• Freddie Santos (Some Enchanted Broadway/Resorts World)
Anton Juan (Best of Opera/Resorts World)
• Rico Guttierez (Rise Against Gravity/Music Museum)
• Leo Rialp (All that Jazz/Resorts World)

BEST MUSICAL DIRECTOR
• Mel Villena (All that Jazz/Resorts World)
• Jeffrey Hernandez (Stageshow/Tanghalang Pilipino)
Ed Gatchalian (Rivalry: La Salle-Ateneo/ 4th Wall Theater Company)
• Eugene Belbis (Hansel and Gretel/Kids’ Act Philippines)

BEST PERFORMANCE IN HOTELS, MUSIC LOUNGES, BARS (FEMALE)
• Pat Castillo (Tap Room, Manila Hotel)
• Angela Vera (Tap Room, Manila Hotel)
Margaux Salcedo (Tap Room/ Manila Hotel)
• Maffy Soler (Le Boulevardier/Hotel Intercon)
• Karen Ortiz (Stone House)
• Jacqui Magno (Merks)
• Judith Baduria (Stone House)

BEST PERFORMER IN HOTELS, MUSIC LOUNGES, BARS (MALE)
• Noel Cabangon (Conspiracy Bar)
• Ronnie Diao (Moomba Bar)
• Arthur Manuntag (Top of the Century)
Michael Yonting (Bar 360)
• Benj Cruz (Le Monet/Baguio City)

BEST PERFORMER IN HOTELS, MUSIC LOUNGES AND BARS (GROUP)
Draybers (Bar 360, Resorts World)
• The Moments Band (Bar 360, Resortsworld)
• Music Making Company (Coricks)
• The Brothers Band (Moomba Bar)
• 70s Superband (Pagcor)
• City Rhythm Band (Yatai Ramen)

BEST PERFORMANCE IN A CONCERT (MALE)
• Noel Cabangon (Tuloy ang Byahe/PETA Theater)
• Gerard Sanatos (Prince of Ballad Live/Music Museum)
Ely Buendia (Greatest Hits Live/Music Museum)
• Brian Termulo (XXV Birthday Concert/Music Museum)
• Boy Inocencio (Bar Tour 2013/Bagaberde)

BEST PERFORMANCE IN A CONCERT (FEMALE)
Dulce (Bar 360/Resorts World)
• Julie Ann San Jose (It’s My Time/Music Museum)
• Mitch Valdez (Love and Laughter/Filinvest Tent)
• Rachelle Ann Go (Rock Against Gravity/Music Museum)
• Angeline Quinto (In Love/SMX FR1)

BEST PERFORMANCE IN A CONCERT (GROUP)
The Minstrels/Circus Band (All for Love/Music Museum)
• Callalilly/6 Cyclemind (Switch/Music Museum)

BEST COLLABORATION IN A CONCERT
Jon Santos/Company/Bo Cerrudo (I Heart Manila / Music Museum)
• Ogie Alcasid/Regine V/Pops F/ Martin Nievera (Foursome/MOA)
• Bituin Escalante/Arthur Manuntag/Lyn Sherman (All that Jazz/Resortsworld)
• Side A/Rachel Alejandro (Forevermore/Island Cove)
• Jinky Vidal/Side A/Top Suzara (Love X3/Resortsworld)

BEST COMEDY CONCERT
No winner

BEST MAJOR CONCERT
• Daniel Padilla (Araneta Coliseum)
Bamboo (Resorts World)
• Jed Madela (Bohol Wisdom School Gym)
• Lani Misalucha (One More Time/Resorts World)
• Kuh Ledesma (Valentine Concert/Tubud Lanao Del Sur)

ENTERTAINER OF THE YEAR
Dulce

SPECIAL AWARD
• Lirio Vital
• Ricky Lo
• Crispina Martinez-Belen


LIFETIME ACHIEVEMENT AWARD
• Joe Gruta
• Angie Ferro
• Nestor U. Torre
• UP Repertory Company
• Tito, Vic and Joey
• Leyte Dance Theater
• Nora Aunor


HALL OF FAME
• Louie Ocampo
• Freddie Santos
• Bobby Garcia


Sunday, September 15, 2013

26th Aliw Awards (2013)--complete list of nominees/finalists

This is an official announcement from the Aliw Awards.

The 26th Aliw Awards will have its awards night on October 8, 2013, 7 p.m., at the Manila Hotel. For inquiries, e-mail Frank Rivera at frank_aliw@yahoo.com.ph.


BEST CHILD PERFORMER
• Bea Borres (Bagaberde)
• Ryzza Mae Dizon (JOWA/ Araneta Coliseum)
• John Gabriel Barlis (Penitensya ni Tiyo Renato/Tanghalang SLU)
• Yedda Lambujon (Katy/Spotlight Artist)
• Trixie Esteban (Ibalong/Tanghalang Pilipino)

BEST NEW ARTIST
• Abra
• Jashael
• Myka Javier
• Young JV
• Nicole Ramos

BEST NEW ARTIST (GROUP)
• Chicsers
• Upgrade
• Snap Backs
• West End Mamas
• Franciscan Quintet

BEST DANCE COMPANY
• Bungkos Palay (Munoz, Nueva Ecija)
• Sinagtala Dance Company (Davao City)
• PLM Hiyas ng Maynilad Dance Company
• St. Dominic Savio College Dance Group
• Salinlahi Dance Theater Company
• Ballet Manila

BEST CULTURAL GROUP
• Tanghalang SLU (Baguio City)
• LNU Sirang Theater Ensemble (Tacloban ,Leyte)
• Camiguin Enigmata Creative Circle
• Sipat Lawin Ensemble
• PUP Banda Kawayan (Morong, Bataan)

BEST CHORAL GROUP
• SDS Chorale Group (Surigao Del Sur)
• DFA Chorale
• UST Singers
• SLU Glee Club (Baguio City)
• UE Chorale

BEST INSTRUMENTALIST
• Lourdes De Leon-Gregorio (Harp)
• Diomedes Zaraza Jr.(Violin)
• Renato Lucas (Cello)
• Joseph Esmilla (Violin)
• Cristine Coyiuto (Piano)
• Nitoy Malimlim (Drums)

BEST EMCEE (FEMALE)
• Toni Gonzaga
• Iza Calzado
• Pia Guanio
• Pops Fernandez
• Issa Litton

BEST EMCEE (MALE)
• Luis Manzano
• Jojo Alejar
• Michael Lim
• Chris Tiu
• Sam YG

BEST STAND-UP COMEDIAN
• Beverly Salviejo (Library)
• Boobay (Zirkoh)
• Jaya (Sebastian Comedy Bar/Tacloban)
• Jack en Poy (Insider Bar)

BEST CLASSICAL PERFORMER (MALE)
• Andrew Fernando
• Eugene Delos Santos
• Ronan Ferrer
• Al Gatmaitan
• Arthur Espiritu

BEST CLASSICAL PERFORMER (FEMALE)
• Karla Gutierrez
• Clarissa Ocampo
• Nenen Espina
• Thea Perez
• Margarita Gomez

BEST CROSSOVER/BROADWAY PERFORMER
• Jonathan Badon
• Ana Feleo
• Lionel Guico
• Fame Flores
• Cris Villonco

BEST PRODUCTION FOR CHILDREN
• Adarna (Dulaang UP)
• Sandosenang Sapatos (Tanghalang Pilipino)
• Hiwaga ng Ibong Adarna (Tanghalang SLU)
• Hansel and Gretel (Kids Acts Philippines)

BEST NON-MUSICAL PRODUCTION
• Collection (Dulaang UP)
• Penitensya ni Tiyo Renato (Tanghalang SLU)
• Owel (Virgin Labfest 9)
• Red (TNT/Teatrino)
• Oresteyas (Tanghalang Ateneo)

BEST MUSICAL PRODUCTION
• Katy (Spotlight Artist Centre)
• Piaf (Atlantis Production)
• Ibalong (Tanghalang Pilipino)
• Rivalry: Ateneo-La Salle (4th Wall Theater Company)
• Stageshow (Tanghalang Pilipino)
• Tarahiti, Bubunok Babaha (LNU Sirang Theater Ensemble)

BEST STAGE DIRECTOR (NON-MUSICAL)
• Marlon Rivera (Owel/Virgin Labfest 9)
• Jun F. Pablo (Sayaw ng mga Seniorita/Gantimpala Theater Foundation)
• Dan Rommel Riopay (Penitensya ni Tiyo Renato/Tanghalang SLU)
• Ricky Abad and Myra Beltran (Ang Oresteyas/Tanghalang Ateneo)
• Bart Guingona (Red/TNT)
• Anton Juan (The Maids/World Theater Music Project)

BEST STAGE DIRECTOR (MUSICAL)
• Bobby Garcia (Piaf/Atlantis)
• Tuxqs Rutaquio (Ibalong/Tanghalang Pilipino)
• Joey Lianza (Tarahiti, Bubunok, Babaha/LNU Sirang Theater Ensemble)
• Jaime Del Mundo (Rivalry: Ateneo-La Salle/ 4th Wall Theater Company)
• Robbie Guevarra (They’re Playing Our Song/9 Works Theatrical)

BEST ACTOR (NON-MUSICAL)
• Reb Atadero (The Graduate/Repertory Philippines)
• Paul Jake Paule (Ang Oresteyas/Tanghalang Ateneo)
• Joaquin Valdez (Red/TNT)
• Bart Guingona (Red/TNT)
• Joel Lamangan (Sayaw ng mga Seniorita/Gantimpala Theater Foundation)

BEST ACTRESS (NON-MUSICAL)
• Sherry Lara (Kapit/Virgin Labfest 9)
• Blanche Buhia (Art/Sige Ma/Isla Palasan/ Dulaang Sipat Lawin)
• Teetin Villanueva (Collection/ Dulaang UP)
• Kathy Arguelles (Kiriring/Tanghalang Batingaw)
• Frances Makil-Ignacio (Ang Oresteyas/Tanghalang Ateneo)
• Lotlot Bustamante (Our Lady of Arlegui/UP Repertory)

BEST ACTOR (MUSICAL)
• Roeder Camanag (Stageshow/Tanghalang Pilipino)
• Gian Magdangal (Katy/Spotlight Artist Center
• Myke Salomon (Ibalong/Tanghalang Pilipino)
• Red Concepcion (Rivalry: Ateneo-La Salle/ 4th Wall Theater Company)
• Nonie Buencamino (Stageshow/Tanghalang Pilipino)

BEST ACTRESS (MUSICAL)
• Isay Alvarez (Katy/Spotlight Artists Centre)
• Pinky Amador (Piaf/Atlantis)
• Nikki Gil (They’re Playing Our Song/ 9 Works Theatrical )
• Cris Villongco (Wonder Twins of Boac/PETA)
• Liesl Batucan (Stageshow/Tanghalang Pilipino)
• Jenine Desiderio (Ibalong/Tanghalang Pilipino)

BEST ACTRESS IN A FEATURED ROLE
• Dulce (Katy/Spotlight Artists Centre)
• Aicelle Santos (Katy/Spotlight Artists Centre)
• Giselle Toengi (Piaf/Atlantis)
• May Bayot de Castro (Stageshow/Tanghalang Pilipino)
• Cen Cherrie Bagtas (Bonifacio, Isang Sarswela/PSF)
• Pinky Marquez (No Way To Treat a Lady/Repertory Philippines)

BEST ACTOR IN A FEATURED ROLE
• Tirso Cruz III (Katy/Spotlight Artists Centre)
• Arnell Ignacio (Sayaw ng Mga Seniorita/ Gantimpala)
• Cheeno Macaraig (Ibalong/Tanghalang Pilipino)
• Patrick Libao (Bonifacio Isang Sarswela/PSF)
• Jovic Monsod (Halik ng Tarantula/BGP)
• Brian Sy (Ang Oresteyas/Tanghalang Ateneo)

BEST CONCERT/SPECIAL CONCEPT DIRECTOR
• Floy Quintos (One More Time, Lani Misalucha/Resorts World)
• Freddie Santos (Some Enchanted Broadway/Resorts World)
• Anton Juan (Best of Opera/Resorts World)
• Rico Guttierez (Rise Against Gravity/Music Museum)
• Leo Rialp (All that Jazz/Resorts World)

BEST MUSICAL DIRECTOR
• Mel Villena (All that Jazz/Resorts World)
• Jeffrey Hernandez (Stageshow/Tanghalang Pilipino)
• Ed Gatchalian (Rivalry: La Salle-Ateneo/ 4th Wall Theater Company)
• Eugene Belbis (Hansel and Gretel/Kids’ Act Philippines)

BEST PERFORMANCE IN HOTELS, MUSIC LOUNGES, BARS (FEMALE)
• Pat Castillo (Tap Room, Manila Hotel)
• Angela Vera (Tap Room, Manila Hotel)
• Margaux Salcedo (Tap Room/ Manila Hotel)
• Maffy Soler (Le Boulevardier/Hotel Intercon)
• Karen Ortiz (Stone House)
• Jacqui Magno (Merks)
• Judith Baduria (Stone House)

BEST PERFORMER IN HOTELS, MUSIC LOUNGES, BARS (MALE)
• Noel Cabangon (Conspiracy Bar)
• Ronnie Diao (Moomba Bar)
• Arthur Manuntag (Top of the Century)
• Michael Yonting (Bar 360)
• Benj Cruz (Le Monet/Baguio City)

BEST PERFORMER IN HOTELS, MUSIC LOUNGES AND BARS (GROUP)
• Draybers (Bar 360, Resorts World)
• The Moments Band (Bar 360, Resortsworld)
• Music Making Company (Coricks)
• The Brothers Band (Moomba Bar)
• 70s Superband (Pagcor)
• City Rhythm Band (Yatai Ramen)

BEST PERFORMANCE IN A CONCERT (MALE)
• Noel Cabangon (Tuloy ang Byahe/PETA Theater)
• Gerard Sanatos (Prince of Ballad Live/Music Museum)
• Ely Buendia (Greatest Hits Live/Music Museum)
• Brian Termulo (XXV Birthday Concert/Music Museum)
• Boy Inocencio (Bar Tour 2013/Bagaberde)

BEST PERFORMANCE IN A CONCERT (FEMALE)
• Dulce (Bar 360/Resorts World)
• Julie Ann San Jose (It’s My Time/Music Museum)
• Mitch Valdez (Love and Laughter/Filinvest Tent)
• Rachelle Ann Go (Rock Against Gravity/Music Museum)
• Angeline Quinto (In Love/SMX FR1)

BEST PERFORMANCE IN A CONCERT (GROUP)
• The Minstrels/Circus Band (All for Love/Music Museum)
• Callalilly/6 Cyclemind (Switch/Music Museum)

BEST COLLABORATION IN A CONCERT
• Jon Santos/Company/Bo Cerrudo (I Heart Manila / Music Museum)
• Ogie Alcasid/Regine V/Pops F/ Martin Nievera (Foursome/MOA)
• Bituin Escalante/Arthur Manuntag/Lyn Sherman (All that Jazz/Resortsworld)
• Side A/Rachel Alejandro (Forevermore/Island Cove)
• Jinky Vidal/Side A/Top Suzara (Love X3/Resortsworld)

BEST COMEDY CONCERT
• Vice Ganda (I-Vice Ganda Mo Ko/Araneta Coliseum)
• Ate Gay (Ako Naman/MOA)
• Jose and Wally (JOWA/Araneta Coliseum)

BEST MAJOR CONCERT
• Daniel Padilla (Araneta Coliseum)
• Bamboo (Resorts World)
• Jed Madela (Bohol Wisdom School Gym)
• Lani Misalucha (One More Time/Resorts World)
• Kuh Ledesma (Valentine Concert/Tubud Lanao Del Sur)

Related Posts Plugin for WordPress, Blogger...

Search this blog or the Web

Loading...