Monday, May 31, 2010

Bangkok's Central World mall, before its fiery death

It took Chuvaness' mournful post for me to realize that, holy crap, I had been to Bangkok's Central World, the giant shopping mall (Thailand's biggest, in fact) that was torched by anti-government demonstrators a couple of weeks ago.

Blame it on my general disinterest in shopping. My colleague Pam and I were in Bangkok late last year, along with the Star's JR Isaac and (namedrop alert) Jim Paredes of the Apo Hiking Society (wonderful man--will blog about him soon, now that the Apo has formally said adieu) for a Samsung event. During lunch break, with about 45 minutes to spare, Pam dragged me from the hotel and we walked the short stretch to Central World.

Of course, to my jaded urban eyes, one glass-and-steel shopping mall is often the same as another, so I didn't even bother to catch the name of our destination and just went along. It was noon, the heat was intense, we were under time constraints and I had to take snapshots while doing our brisk walk.

Many months later, with pictures of Central World's smoldering remains making their way around the world, Cecile's post instantly brought me back to that part of Bangkok which I remembered so differently from the bloody, chaotic battleground it had become, according to reports. I dug out my pictures, and here they are. Join me as I retrace my steps and revisit the mall that billed itself as “The largest lifestyle shopping destination in Bangkok”--now all gone. What a waste.

We started our walk from Erawan Bangkok Hotel, a side entrance of which opened into this street with Thai vendors selling flowers and native delicacies. We crossed the street corner by the main highway...

Entered this smaller shopping mall--odd, I thought, that it was noontime and there were hardly people inside...

And exited a mall door connected to an overpass, which had this view, on my left, of the corner where we came from. Note, too, the absence of the infamous Bangkok traffic on this particular day.

Let sleeping dogs lie, 'ika nga. On the overpass that we had to cross to get to Central World was this dog blissfully taking his siesta.

To my right was this view of a portion of commercial Bangkok. Who knew this posh part of the city would sprout barricades and erupt in bloody upheaval one day?

And there was the facade of Central World beckoning to us. Zen was the anchor department store of the mall. See the giant bust in gold on the courtyard? You will see it again, under vastly sadder circumstances, in the last picture of this post.

We went down the overpass and saw this group of veiled women checking out the dresses displayed in a stall. Below, a vendor selling--I'm not sure--buko?

The courtyard of Central World. Where were the crowds? I had so gotten used to the mall scene in the Philippines where, on a weekend, I actually dread going to Trinoma, Megamall or MOA because of the crush of shoppers.

Finally, inside the mall--quite an elegant sight. Imagine all this going up in smoke. I still can't.

An all-Thai bookstore on the third (fourth?) floor was where I saw this stack of Twilight books with a different cover design. Gone was the austere black-and-red look of the series, replaced by what looked like an updated version of those Barbara Cartland bodice-rippers. (I blogged about the books here.) Beside the bookstore was the department store Zen, which occupied a whole wing of the mall, I think.

Along the open-air walkway outside Zen were these interesting window displays--a row of mannequins in shirts sporting either colors or black and white. Simple concept, arresting sight.

On the opposite side of the mall was this building with a banner of Thailand's Queen Sirikit on the facade--the other mall we had to pass through to get to Central World. That covered overpass with the clock tower? That's the one we crossed, where the dog lay sleeping, and where I snapped pictures of a serene, ordinary Bangkok, months before its cataclysmic unrest.

On May 19, 2010, Central World went up in flames. [Photos and captions from The Big Picture.]

A Red Shirt protester throws a rock at a burning shopping mall on Wednesday, May 19, 2010. (AP Photo/Wason Wanichakorn)

A statue and a torn Thai national flag remain in front of Bangkok's Central World shopping mall, which was gutted by fire after army soldiers advanced towards an encampment of thousands of Red Shirt protesters, May 19, 2010. (REUTERS/Adrees Latif)

Friday, May 28, 2010

To NOT like Sex and the City 2 is sexist?

What do you think? That, anyway, is the charge of blogger Richard Drew over at RemotePatrolled, based on the fact that most of the reviewers who have savaged the film (and, boy, has it been savaged) are men. Some big whacks:

Roger Ebert at the Chicago Sun-Times: “I wondered briefly whether Abu Dhabi had underwritten all this product placement, but I learn the 'SATC2' was filmed in Morocco, which must be Morocco's little joke. That nation supplies magnificent desert scenes, achieved with CGI, I assume, during which two of the girls fall off a camel. I haven't seen such hilarity since 'Abbott and Costello in the Foreign Legion.'”

Kyle Smith at the New York Post: “As tasteless as an Arabian cathouse, as worn-out as your 1998 flip-flops and as hideous as the mom jeans Carrie wears with a belly-baring gingham top, 'Sex and the City 2' is two of the worst movies of the year.”

Michael Phillips at the Chicago Tribune: “Why have these women, photographed drearily and insanely costumed, become full-on drag queens?”

Well, I haven't seen the sequel, but I didn't much like the first. Neither did I develop a shine to the TV series at any time during its storied run, when every girl and fag around me was hyperventilating over it. So don't ask me what I think of the whole franchise, because I admit to bias, or at least indifference, to it.

My larger point is: Is it possible to not like a film headlined by four power women and marinating in “women stuff” simply because the film is just that--pangit, vapid and stupid--and not because you look down on women in general (the definition of sexist)?

Can straight men (I'm out of the running, see?) evaluate the movie for what it is and be able to arrive at an objective verdict about its merits? Or is that a hopeless thing because, as the blogger put it, “for some reason a lot of straight men feel incredibly threatened by the whole 'Sex and the City' phenomenon--and just love to attack it?”

Really?

Straight men out there--holler! We want to hear from you. And women, too--because I believe they can also distinguish between good movies and bad. To believe otherwise--that they'd blindly gush over anything that purported to be “about them” onscreen, no matter how lame and vacuous, simply out of female solidarity--is the greater condescension, I think.

The gals who are the natural demographic of Sex and the City are no simpering, simple-minded violets. They, too, can recognize crap--or excellence, as the case may be--when they see it. So let's hear it from them, and never mind the damn critics. Dearies, how are Carrie and company this time around?

Thursday, May 27, 2010

Walking on Sunshine leads to pot of gold

Strictly for us '80s spawn...

Katrina and the Waves' one-hit wonder, Walking on Sunshine, released in 1985, turns out to have had extraordinary--golden, you might say--legs. This article counts the beans:

The money from “Walking on Sunshine” kept coming in. In [a] wise move, Katrina and the Waves held on to the publishing rights. That's the money that typically goes to the songwriter, in this case the band's guitarist, Kimberley Rew, [who] shares that money with the rest of the band.

Over the years, the song showed up all over the place: in movies like “American Psycho” and “High Fidelity,” and in countless commercials, for everything from diapers to medicine.

“'Walking on Sunshine' was the crown jewel in EMI's catalog," says Jarrett Mason, who worked for EMI Publishing from 2004 to 2008. He says that of the roughly 1.3 million songs in EMI's catalog, “Walking on Sunshine” was one of its biggest earners--and that advertisers would pay $150,000 to $200,000 to use it for one year.

By some estimates, “Walking on Sunshine” has made the band about $1 million per year over the past decade. Rew has written more than 200 songs since then, but he lives off the money from “Walking on Sunshine.”

And Katrina Leskanich, the voice behind the song?

Leskanich says she was fired in 1998. Lawyers were involved, and she says she no longer gets a share of the money made from “Walking on Sunshine.” But she does still sing it.

Ouch. But, yeah, who can resist this song?



Critics on critics--and good criticism

Michael Billington, theatre critic. The critic who really obsessed me, and most of my generation, was Hobson's great rival, Kenneth Tynan at the Observer. What Tynan showed is that criticism is principally about writing well. Open his collected reviews on any page and you find the phrases lock perfectly into place. Here's one example, from a 1956 review of Graham Greene's “The Power and the Glory:” “Puffing on a cheroot, with lines of resignation etched as if by acid on to his cheeks and forehead, Mr Scofield exudes, drunk or sober, a Goyaesque melancholy.” That gives you an exact picture of Scofield's performance: it was the kind of writing many of us tried, and usually failed, to emulate.

Tynan was a role model in many other ways. He ardently championed the social and political theatre then emerging from London's Royal Court and Theatre Royal Stratford East. Tynan taught us that the critic is more than a privileged spectator: he or she can also campaign for a theatre that transcends escapism and embraces the wider world. If British theatre is today a lively, combative place unafraid of big issues, it's partly because of the battles waged by Tynan half a century ago. Combine a vision with a voluptuous style, as Tynan did, and you have the perfect critic.


Judith Mackrell, dance critic. There was also something inspirational about the best of the American writing. It had a novelist's sharpness of language and gaze, and almost never resorted to cliche. I remember reading the [Edwin] Denby collection in one sitting and marveling at his exactness. Take, for instance, this description of the ballerina in Balanchine's “Concerto Barocco,” as she is lowered slowly to the floor at the climax of a pas de deux: “She rests her foot on a single sharp point and pauses. It is the effect... of a deliberate and powerful plunge into a wound.” In this unsettling image, Denby managed to concentrate everything he saw and felt.

Adrian Searle, visual art critic. In the end, it doesn't matter what people write about. It's the way they make arguments, turn phrases, captivate and surprise the reader that counts, whatever the subject. If you want to write, the best thing is to read whatever you can get your hands on--novels, poetry, literary as well as art criticism, theory, love letters, the backs of cornflakes packets, the writings of ferocious lunatics and great stylists alike. It's all writing: most of it will teach you something.

Lucy Mangan, TV columnist. Everyone can watch a programme or play, or read a book, or eat a meal. Everyone can have an opinion. What you try to do in a review is add value to that basic combination – either through being steeped in knowledge of your subject; or by putting it beautifully; or by couching it in humorous terms. If you're a genius, you can do all three. Most of us just shoot for one and hope for the best.

More appreciations here.

Wednesday, May 26, 2010

Win free tickets to PETA's dance festival

To all Pinoy bloggers--get this chance to win free tickets to PETA’s "East West Danse" (watch and experience Bellydancing and Middle Eastern dance fever, Pinoy and French contemporary dance and Agnes Locsin’s masterwork, "Sayaw, Sabel"--a dance performance inspired by BenCab’s painting, Sabel).

You also get a rare and exclusive backstage pass to PETA’s dance event. Plus, get to bring home SLENDA products. Joining is easy.

Pre-event entry
Interested bloggers need to send their names, contact numbers and a link of their sample blog to petatheater@gmail.com. Should the blog meet all the entry criteria, the blogger will get a confirmation text or e-mail from PETA.

10 bloggers will be chosen to watch "East West Danse" on the following dates: Bellyfest2010 (June 5, 1 p.m.-9 p.m.), Pinoy-French Contemporary Dance Week (June 15 or 17, 7 p.m.) and "Sayaw, Sabel" (June 16, p.m. or 7 p.m.)

Deadline for entries is May 31, 2010.

Post-event review
The bloggers will then write a post-event review with a special feature about SLENDA. Each blog should have a SLENDA and PETA logo

Bloggers should e-mail their links to petatheater@gmail.com. Upon submission, a link to their blogs will be featured at the PETA and SLENDA Facebook account.

The 10 will each receive the following prizes: One (1) 43rd Theater Season Pass from PETA (a limited pass allowing them to watch all of PETA’s plays for PETA’s 43rd Theater Season) and; One (1) trial box of SLENDA diet pills.

For more information, call PETA Marketing and Public Relations Office at 7256244 or 41008211-22; 0916-5805153; or e-mail petatheater@gmail.com.


Monday, May 24, 2010

When the Ifugao and Kalinga conquered CCP

A rare and moving thing happened at the CCP last weekend, when the ancient cultures of the Kalinga and Ifugao tribes of the Northern Luzon highlands descended on the country's premiere performing arts venue for a devised show called Chanted Journeys, conceptualized and staged by Floy Quintos (that's him in black at 5:55 in the video below, embracing collaborators Gener Caringal and Jesse Lucas, choreographer and composer, respectively).

I say descended because that was what the Ifugao and Kalinga tribespeople did. Representatives of these indigenous groups journeyed from their mountain homes to perform in the concert and share with an enthralled crowd their mist-shrouded chants and dances, play their musical instruments, re-enact their rituals, wear their native finery with earthy poise and dignity.

Specifically, the designated chanters of the Kalinga Ulalim and the Ifugao Hudhud--the oral tradition of the tribes, in which they pass down myths and stories from one generation to the next--were there, filling the CCP's main theater with the sound of their rhythmic, melodic, profoundly stirring native harmonizing. You could feel the weight of ancient evenings as the munhawe (the lead chanter) threw out a long undulating note, and his peers--their shoulders swaying, their eyes often closed in rapture--picked up the sound and filigreed it with their own voices.

No mimicry or simulation here--this was the real thing, the fast-vanishing heritage of the Cordillera peoples ringing forth in pride and defiance. There was a ray of hope, too, in the presence of a group of very young chanters who are being taught their forebears' intangible contribution to world heritage.

More from Rina Jimenez-David's Inquirer column last Sunday:

“Chanted Journeys” [was] “a blend of live traditional performances, modern reinterpretations as well as documentary that will introduce contemporary audiences to the glories of traditional Cordillera chantings.”

With silent videos of traditional Cordillera village life as backdrop, Brischelle and Schaller Balinte, young Kalinga men from the village of Iubo, invited the audience to enter the world of the Kalinga people through a performance of the “Ullalim si Biag ti Ikalinga” or “Ullalim of the Kalinga People.” The ullalim, from what I gather from the performance, is a chant performed during important events in Kalinga society, such as a wedding, a battle or a harvest. The performers were led by Alonzo Saclag, a Manlilikha ng Bayan (literally, Creator of the Nation, akin to a Living National Treasure) and a community of chanters that included many of his sons and relatives.

The traditional performance was followed by a modern interpretation, “A Kalinga Cycle” featuring music by Jesse Lucas (performed by the UST Philharmonic Orchestra ) and dancers from the UE Silanganan Dance Troupe.

Following this was a performance of an excerpt from the “Hudhud of Aliguyon” performed by the Community of Chanters of Tungngod, Lagawe, Ifugao, representing generations chanting the rituals of Ifugao life, including the slaughter of sacrificial livestock and rice planting.

Both the Ullalim and Hudhud portions also feature energetic dances by women in their colorful woven skirts and men in g-strings and banging out irresistible rhythms on brass gongs. There was not a note of artifice or pretense in these presentations, save perhaps for the “pigs” fashioned out of black plastic bags that the old men were hard put to pretend were the real thing.

Dancers from the Philippine Ballet Theater and mezzo-soprano Clarissa Ocampo interpreted the Hudhud in a new modern piece that showcased the youthful exuberance of the dancers and the catchy beats of Lucas’ composition.

The evening ended with “Chanted Journeys” featuring the entire ensemble, the indigenous performers mixing it up with the modern dancers and orchestra. But they weren’t finished yet, for as we exited the auditorium we found the performers in the lobby, filling it with the sound of gongs and the whirl of their woven wear. I felt so happy for them.

You would, too, after you've seen how proud these people were to bring their heritage and culture to Manila. After a two-hour show, they weren't about to let go yet--they converged at the lobby and exploded into more communal dancing and music-making. (Afterwards, they had their dinner at Jollibee--a concession to modernity, but for now, their heritage held pride of place). It was an eye-popping sight. I have it on video--watch:



Virgin Labfest 6: show schedules and directors

Via Rody Vera's Facebook:

Mga pipol! Nadagdagan ng isa pang set ang Virgin Labfest, bagamat twinbill lang. It's a twinbill--one play from Japan, and the other from Indonesia. so here's the complete listing with their schedules. Directors and actors concerned, please check your playdates para makahanda na kayo sa rehearsals.

SET A: PARIAH PARAISO
JUNE 22 (TUES): 3PM and 8PM;
JULY 2 (FRI): 8PM, JULY 3 (SAT): 3PM
BALUNBALUNAN, BINGIBINGIHAN by debbie tan; director: issa lopez
BAKIT WALA NANG NAGTATAGPO SA PHILCOA OBERPAS by carlo garcia; director: riki benedicto
ISAGANI by alex dorola yasuda; director: vincent tañada

SET B: PAS DE DEUX
JUNE 23 (WED): 3PM and 8PM
JULY 3 (SAT): 8PM; JULY 4 (SUN): 3PM
ONDOY by remi velasco; director: ed lacson
HIGIT PA DITO by allan lopez; director: tuxqs rutaquio
COLLECTOR'S ITEM by juliene mendoza; director: roobak valle

SET C: PECADO MORTAL
JUNE 24 (THURS): 3PM and 8PM
JULY 2 (FRI): 3PM; JULY 4 (SUN): 8PM
SA PACKAGE COUNTER by isa borlaza; director: hazel gutierrez
MATYAG by u eliserio, maynard manansala, chuckberry pascual; director: paolo o'hara
SUOR CLARA by floy quintos (director)

SET D: PINK PESTIBAL
JUNE 25 (FRI) 3PM and 8PM
JUNE 29 (TUES) 8PM; JUNE 30 (WED) 3PM
CARMI MARTIN by j. dennis teodosio; director: paul santiago
HULING HABILIN NG SIRENA by layeta bucoy; director: j. victor villareal
A FISTFUL OF SAND by arlo de guzman; director: katte sabate

BANYAGA: twinbill
JUNE 26 (SAT) 3PM and 8PM
JUNE 30 (WED) 8PM, JULY 1 (THURS) 3PM
SUNDAN NATIN SI EVER-SAN by shungiku uchida; director: yoshi toshihisa
THREESOME by joned suryatmoko

VIRGIN LABFEST 5 REVISITED
JUNE 27 (SUN) 3PM and 8PM
JUNE 29 (TUES) 3PM; JULY 1 (THURS) 8PM
DOC RESURRECCION, GAGAMUTIN ANG BAYAN by layeta bucoy; director: tuxqs rutaquio
ISANG ARAW SA KARNABAL by nicolas pichay; director: chris millado
BOY-GEL ANG GIRLFRIEND NI MOMMY by sheilfa alojamiento; director: carlo garcia

For updates, pictures, links, articles, etc., visit the Virgin Labfest's Facebook page here.

Friday, May 21, 2010

Virgin Labfest auditions tomorrow, May 22

Auditions for the Virgin Labfest 6, a festival of new unpublished and unstaged works by Philippine playwrights, will be held on Saturday, May 22, 1- 7 p.m. at the CCP Silangan Hall.

Now on its 6th year, the Labfest is an annual joint partnership of the Writer’s Bloc, Tanghalang Pilipino and the Cultural Center of the Philippines. It aims to showcase a crop of new short/one act plays in bare-bones productions. In addition, there will be staged readings of full-length works and site-specific excerpts of new works.

Please prepare a 2-3 minute monologue. You may also be asked to do some improvisational work.

For more information, call Nikki Torres at 8321125 local 1607.


For updates, pictures, links, articles, etc., visit the Virgin Labfest's Facebook page here.

Wednesday, May 19, 2010

Yeah, that should scare them

A Red Shirt demonstrator taunts Thai soldiers in downtown Bangkok, Thailand on Friday, May 14, 2010. (AP Photo/Vincent Yu)

Photo and caption from The Big Picture. More images here, including the shooting of renegade Thai major-general Khattiya Sawasdipol. Warning: some graphic content.

Virgin Labfest 6: Set... play!

From Rody Vera's Facebook, more details about VLF 6, to run June 23-July 4 at the Cultural Center of the Philippines. See ya there.

All set for YEAR 6 of Virgin Labfest. Here are the sets. Temporary pa lang ang mga titles ng bawat set, but I guess you'd get a glimpse of what's in store per show!

SET. Pas de Deux. two actors in one play can cook up a hurricane!
1. ONDOY by remi velasco
2. HIGIT PA DITO by allan lopez
3. COLLECTOR'S ITEM by juliene mendoza

SET. Pariah Paraiso. don't we just love watching the dregs of society, the lumpen, the unclean
1. BALUNBALUNAN, BINGI-BINGIHAN by debbie ann tan
2. BAKIT WALA NANG NAGTATAGPO SA PHILCOA OBERPAS by carlo garcia
3. ISAGANI by alexis dorola

SET. Pecado Mortal. incest! abortion! revolution!
1. SA PACKAGE COUNTER by isa borlaza
2. MATYAG by u eliserio, maynard manansala and chuckberry pascual (collaboration)
3. SUOR CLARA by floy quintos

SET. Pink Pestibal. and of course, what's a festival without queers?
1. CARMI MARTIN by j. dennis teodosio
2. HULING HABILIN NG SIRENA by layeta bucoy
3. A FISTFUL OF SAND by arlo de guzman

VLF 5 REVISITED: watch them again here:
1. DOC RESSURRECCION, GAGAMUTIN ANG BAYAN by layeta bucoy
2. ISANG ARAW SA KARNABAL by nicolas pichay
3. BOY-GEL ANG GELPREN NI MOMMY by shielfa alojamiento


The three entries in VLF 5 Revisited happen to be my top choices as well from last year's Labfest:

Doc Resureccion, Gagamutin ang Bayan. Layeta Bucoy’s “Doc Resureccion, Gagamutin ang Bayan” [was] the Labfest standout, and, incidentally, the latest noteworthy collaboration between Bucoy as playwright and Tuxqs Rutaquio as director.

Bucoy’s template in the last two Labfests had been the dark domestic drama. Both “Ellas Inocentes” in 2007 (also that year’s finest entry) and “Las Mentiras de Gloria” in 2008 were about fetid secrets buried in middle-class sibling relationships.

In “Doc Resureccion,” that hermetic two-character set-up has been replaced by a five-member extended family set against a more panoramic social milieu.

Jonathan Tadioan, Crispin Pineda and Riki Benedicto in Layeta Bucoy's “Doc Resureccion, Gagamutin ang Bayan,” directed by Tuxqs Rutaquio

A well-off doctor is running for town mayor; his ne’er-do-well fisherman cousin, bearing the same surname, is paid by the incumbent in a cynical move to game the system by confusing voters and stealing votes away from the appealing upstart.

Now the doctor is back in the dump he had fled long ago, begging the cousin and his family to withdraw from the race. By implication, his starched good intentions, fancy catchphrases and improved station in life give him a greater right to the town’s seat of power than his cousin’s more dubious motivations.

That, in any case, appeared to be the scheme. Until the play, with its increasingly savage dialogue, took a shocking turn near the end, involving a fish hook and a ripped-out eyeball.

It was a blindsiding, nightmarish punctuation to Bucoy’s incrementally constructed image of a body politic corroded to the core by lifelong class inequalities and hatreds, stoked in turn for Machiavellian ends by shadowy puppeteers.

An unsparing vision, “Doc Resureccion” had the searing smell of truth—helped along by the strongest cast assembled for a Labfest entry this year, led by young actors Jonathan Tadioan and Riki Benedicto.

Isang Araw sa Karnabal. In “Isang Araw sa Karnabal,” expertly directed by Chris Millado and marvelously played by Skyzx Labastilla and Paolo O’Hara, Pichay sketched in precise, tragicomic strokes the dysfunctional interaction of two people scarred for good by their desaparecido experiences (the girl her father, the boy a brother).

General Palparan’s name was mentioned; he was never seen, but like a malevolent ghost, he and what he stood for was the inevitable ghoul at the end of the carnival tunnel, forever haunting the lives of these two characters.

Boy-Gel ang Gelpren ni Mommy. Politics of a different sort--the gender and cultural kind--made a welcome, thought-provoking appearance in Sheilfa Alojamiento’s play about lesbianism, “Boy-Gel ang Gelpren ni Mommy.” Alojamiento is a Davao-based writer, and this play, directed with assured quirky charm by Carlo Pacolor Garcia, was her debut in the Labfest.

Karenina Haniel, Che Ramos and Unika Zapata in Sheilfa Alojamiento’s “Boy-Gel ang Gelpren ni Mommy,” directed by Carlo Pacolor Garcia

Mom, long separated from Dad, is taking in a new lover who looks like a girl but dresses and moves like a boy and is named Jun (June, it turns out). The kids, a boy and a girl, are confused. Who’d be the man of the house?

“Si Mommy ang boy, siya ang mas matanda at naghahanap-buhay,” says the bossy elder kid--just one of the play’s telling lines.

In an inspired bit of casting, the boy was played by a girl--Karenina Haniel, who proved to be remarkably plausible in the role even as she remained evidently of the female species. At its best, her straight-faced gender-bending furthered the play’s point about the changing, malleable nature of common gender pegs.

Tuesday, May 18, 2010

What, exactly, is wisdom?

Says this study:

"Intelligence and spirituality share features with wisdom, but they are not the same thing. One can be intelligent, yet lack practical knowledge. Spirituality is often associated with age, like wisdom, but most researchers tend to define wisdom in secular terms, not spiritual."

To break that down:
  • It is uniquely human.
  • It is a form of advanced cognitive and emotional development that is experience-driven.
  • It is a personal quality, albeit rare.
  • It can be learned, increases with age and can be measured.
  • It is probably not enhanced by taking medication.
They had to do a study to find this out. Common sense, it appears, isn't the same as wisdom.

Emir, original Filipino movie musical, opens June 9



“Emir,” an original Filipino movie musical directed by Chito S. Roño and produced by the Film Development Council of the Philippines, in association with the Cultural Center of the Philippines (CCP), opens in theaters nationwide on June 9.

“Emir” tells the story of Amelia, a Filipina from Ilocos, who decides to work abroad to help her family. She takes care of the Sheik’s wife who is about to give birth, and later acts as nanny to the newborn Ahmed, the Sheik’s eldest son. Amelia sees Ahmed growing up and, in the process, introduces him to the culture, values and language of the Philippines. She becomes a second mother to the young prince and will sacrifice everything to protect him.

Inspired by true events--the Gulf war and an actual Middle Eastern crowned prince who speaks fluent Tagalog and Ilocano--the story of “Emir” is an inspirational one, revealing the triumphant and resilient side of OFWs.

In the artistic team, all handpicked by Roño, are Palanca award winner Jerry Gracio as writer; Neil Daza as director of photography; Gary Granada, Vin and Ebe Dancel and Diwa de Leon as composers; with musical direction and arrangements by Chino Toledo (with the Philippine Philharmonic Orchestra), lyrics by Granada, Gracio and Rody Vera; choreography by Douglas Nierras; production design by Digo Ricio and editing by Jerrold Tarog.

The cast is headed by “Who will be the Next Big Star?” winner Frencheska Farr in her film debut. Joining her are fresh new talents as well as TV, film and theater actors such as Sid Lucero, Julia Clarete, Jhong Hilario, Dulce, Bayang Barrios, Bodjie Pascua, Gigi Escalante, Beverly Salviejo, Liesl Batucan, Melanie Dujunco and Kalila Aguilos.

“Emir” was shot on location in Ilocos Norte, Ifugao Province and the Moroccan cities of Marrakech, Ourzazate and Essaouira. It is also the one of the first Filipino films to use the state-of-the-art RED camera, which finally ends the era of grainy picture quality and introduces high-definition cinema to the Philippine movie industry. The fully-orchestrated movie musical will also be in Dolby 5.1 Digital Surround Sound.

Visit the “Emir” website at www.emirthemovie.com


Monday, May 17, 2010

12 finalists to this year's Virgin Labfest bared

Rody Vera of the Writers' Bloc, co-organizer of the yearly experimental theater festival Virgin Labfest, has announced the 12 plays chosen for the sixth edition of the Labfest, which shall run from June 23-July 4, 2010 at the Cultural Center of the Philippines. The finalists are:

Bakit Wala Nang Nagtatagpo sa Philcoa Oberpas, by Carlo Garcia
Balunbalunan, by Debbie Ann L. Tan
Carmi Martin, by J. Dennis C. Teodosio
Collector's Item, by Juliene Mendoza
A Fistful of Sand, by Arlo de Guzman
Higit Pa Dito, by Allan B. Lopez
Huling Habilin ng Sirena, by Layeta P. Bucoy
Isagani, by Alexis Dorola
Matyag, by Gabriel Beato Francisco (pseudonym)
Ondoy, by Remi Velasco
Sa Package Counter, by Isa Borlaza
Suor Clara, by Floy Quintos

Congratulations to the chosen playwrights!

The 'Dude, tol, pare, tsong' fabcast, cont.

Enough of politics for now, tawa at chika muna! Here are the final two installments of our latest podcast. Parts 1-2 here. Enjoy, mga bro!

Part 3:
Download Part 3 (right click and save)

Part 4:
Download Part 4 (right click and save)

Friday, May 14, 2010

The miracle on paper

Swiping from the Facebook of our talented in-house artist Steph Bravo, because this is simply terrific [click to enlarge, dummy]. Wrote she: I didn't bring a camera to the precint dahil baka ma-confiscate. So dinaan ko na lang sa pagguhit. Nakakawindang na nakakatawa at nakakatuwa ang pagboto dahil ang Pinoy talaga kahit saan mo dalhin, puro biruan.


Auditions for TP's Banaag at Sikat, TA's Walang Sugat

1. Banaag at Sikat. Tanghalang Pilipino, CCP’s resident theater company, announces auditions for its upcoming 24th season opener, "Banaag at Sikat, Isang Rock Musical." The auditions will be held on Wednesday, May 19, at the CCP-Bulwagang Amado Hernandez (Conference Room), 2-7 p.m.

With book and lyrics by National Artist for Literature Bien Lumbera, music by Lucien Letaba, production design by National Artist for Theater Design Salvador Bernal and direction by Jose Estrella, "Banaag at Sikat, Isang Rock Musical" revisits Lope K. Santos’ groundbreaking literary work of the same title, about the breakup of the Filipino family and the rise of socialism in the country. It universalizes its socialist theme by juxtaposing central, turn-of-the century Philippines (1911) with music that's very much today--indie rock.

The musical will open at the Tanghalang Aurelio Tolentino (CCP-Little Theater) on August 6, 2010. This rock musical is a bold experimentation in its deployment of contemporary musical idioms such as pop, folk, blues, jazz, bass rhythms, brass riffs, melodic anthems to the overriding rock genre, while also employing traditional Filipino-Spanish rhythms (danza and tiempo de balitao) in modern orchestrations.

Needed are strong male and female actors who can sing and move, are 18 years old and above, and are comfortable with pop-rock, alternative rock and jazz-rock. For the leads, sopranos (not necessarily conservatory-trained), tenors and baritones will be auditioned. For the chorus, choir training is a plus.

Mature male and female actor/singers who are--or can look like they are--in their 50s-60s, are also needed.

Submit resume together with 2 pictures (a head shot and a full-body photo) and perform a song of your choice and a song from one of the following groups/singers: Bamboo, Rivermaya, True Faith, Mayonnaise, Sponge Cola, Kitchie Nadal, Barbie's Cradle, After Image, 6cyclemind, Sugarfree, Sandwich, Parokya ni Edgar, Orange and Lemons, MYMP, Itchyworms, Cueshe, Hale, South Border.

Also, prepare a 1-to 2 minute monologue in Filipino (classical piece, such as Balagtas or Shakespeare translation), and a 1-to-2 minute dance or movement piece (may be incorporated in the song).

Copies of the audition piece are available at the Tanghalang Pilipino office, 2/F Production Design Center Bldg., CCP Complex, Roxas Blvd., Pasay City.

Applicants must be available for the production schedule with rehearsals running for six weeks prior to the opening on August 6, 2010, and weekend performances at the CCP Little Theater until August 29, 2010.

For inquiries and other details, please call 8323661 or 8321125 local 1620/1621, or e-mail ccptanghalan@yahoo.com.

2. Walang Sugat. The Loyola Schools is currently searching for singers and actors interested in joining its restaging of Severino Reyes and Fulgencio Tolentino’s sarsuwela, "Walang Sugat."

Auditions will be held this coming May 17-19 at the Natividad Galang Fajardo Room, Dela Costa Building, Ateneo de Manila University from 4:30-7:30pm.

Those who audition are expected to sing a kundiman, church song or any song from "Walang Sugat" or other sarsuwelas, and to read lines from the play. They will also be asked to provide a 1x1 ID picture for their audition forms.

Still under the direction of Tanghalang Ateneo’s Artistic Director, Dr. Ricardo Abad, and the musical direction of Chino Toledo, "Walang Sugat" will be running on August of the current year, with rehearsals starting at the end of May.

"Walang Sugat" is a love story set at the peak of the Philippine Revolution, between the heroic Captain Tenyong and his childhood sweetheart Julia. The sarsuwela ran for seven full house performances early this year.

For inquiries and other concerns, call Julia Motoomull 0905-2216176.


Wednesday, May 12, 2010

The rise and fall of Manny Villar, cont.

So what happened? Some smart, insightful answers by readers here.

My take tracks closely with most of the reasons offered so far, and, if I may add, builds on the anecdotal support I managed to cull from talking to random people in the waning weeks and days of the campaign, when views had either hardened or had accommodated last-minute changes--the most exciting part of the race, in short. See, after I got assigned to write the Politics as Theater piece, I made it a point not only to watch all the candidates' ads and TV appearances, I also began to ask the proverbial man (and woman) on the street who they'd vote for, just to see how my perception of the candidates matched up with those of other people. The question was always neutral: Sino'ng iboboto mo, manong (or manang)?

Every time I rode a cab, I asked the cabbie (in some cases, they beat me to asking the question!). Whenever I bought something at 7-11 or Mini-stop, I'd ask the sales staff. I queried our janitors in the office, the utility guys in the condo, the pedicab drivers and their wives near our place, my suki barber and dibidi sellers, the manangs in the laundry shop, even the guys who fixed my DSL line.

I had a feeling Manny Villar would lose when I realized that nearly everyone I asked said they wouldn't vote for him. Actually--wait, let me rephrase that. More accurately, they said they would vote for so and so--and the name was almost always not Villar. Take note of the people responding to this informal survey: the masa--the one big chunk of society that Villar had most wanted to lure to his side with his tagline: Sugpuin ang kahirapan.

It was to the poor and the lower class that Villar had aimed his campaign firepower, first by identifying himself as one of them (or at least having come from their ranks), and then, by virtue of that identification, vowing to take up their cause by devoting his presidency to their upliftment. Villar defined himself as the true champion of the poor, and the flood of advertisements he unleashed would long be remembered for the images of poverty and garbage and deprivation that he employed to drive home his point.

So how come it didn't work? How come, based on the votes now, his target audience didn't buy his pitch?

In the beginning, it appeared they did--as nearly everyone else in the country. Even before the official start of the campaign period, Villar's so-called infomercials had had a beachhead on the airwaves. If their point was brand recall, they were immediately successful. The well-made ads were designed to impress, and they did. Before Cory Aquino's death upended the political landscape by suddenly making her son a viable candidate, Villar was riding high in the surveys. He had the resources--an enormous war chest--for a long, drawn-out campaign, and the way he carpetbombed all manner of media, from radio and TV to print and Facebook, with his sophisticated, well-packaged presence implied he was the candidate to beat.

Unfortunately, his enormous wealth--the linchpin of his sales pitch that if he could make it in life, others could, too--would eventually pose uncomfortable questions. A typical reaction from a cab driver: Sa sobrang ginastos niya, siguradong triple pa ang babawiin niya pag nakaupo na siya. The logic, alas, was also driven by a core Villar message. He was a businessman, one of the country's most brilliant and successful, or so his ads said. His astute management skills would surely translate to good governance. Then again, smart businessmen don't just throw away their money. They'd find a way to get it back. Even the poor know this; it's a concept so easy to grasp. How come Villar or his handlers never developed a credible answer to this challenge?

Instead, Villar offered a rote response to questions about his wealth: Pera ko naman ang ginagastos ko. Which, in the beginning, sounded like the right response. Oo nga naman, it's his own hard-earned money, at least he's not beholden to shadowy campaign contributors who'd come with one hand offering support while on the other demanding concessions or political accommodation. His wealth has freed Villar to be his own man, went the message. He couldn't be bought--he was richer than everybody else.

In time, though, as Villar leaned on it more and more, the line acquired the tone of a boast, a high-handed way to deflect criticism and unwanted attention without actually answering anything. Pera ko naman ang ginagastos ko became, with subtext coloring it, an expression of hubris: Pakialam ninyo, pera ko naman ang ginagastos ko.

Villar's subtle transformation in some voters' minds from self-made man to arrogant self-made man was, I think, a fatal turning point, something his campaign failed to anticipate or counter vigorously enough. The tactical display of and periodic reference to wealth, while dazzling initially--and most probably intimidating to other candidates and their supporters, surely an intended side effect--would prove to be a gross miscalculation. As my DVD suki put it, Ang yabang niya kasi, akala niya mabibili na niya ang buong Pilipinas.

Or perhaps it was just managed badly, the way Villar failed to address adequately and confidently the other charges leveled against him (the Villaroyo tag, for instance--which merited only wan, evasive denials)? Perhaps if he had evolved with every new criticism, or decided to answer them squarely instead of allowing his minions to coarsen the discourse by flinging back even more dirt at his opponents, he'd have grown in stature, become more presidential?

At any rate, that his pioneering business success became more a liability than an asset among the very set of voters he was trying to woo says something about us Filipinos, I think. We like self-made people. We admire them, and we wish to be like them. But we hate it the moment they flaunt their new-found wealth, or acquire a sense of entitlement.

Look at Mar Roxas--a textbook case in the perils of exuding self-entitlement. On my way home from Trinoma on the evening of Election Day--with about 38 percent of the votes already counted, as announced on TV--a young woman standing by my seat on the crowded bus told her companion, exasperation in her voice: Si Mar kasi, di ginalingan! To which the guy with her said, Naging kampante kasi siya! Indeed. Mar had been polling high, until he appeared to be savoring victory far too early, couching his public pronouncements as if he and Aquino were already sure winners.

Remember that uneasy period when Noynoy's numbers were down and Mar's handlers came out with stories about how his supporters were fretting that he shouldn't have slid to VP now that he was outpolling Noynoy? Ah, how fortunes are undone in the blink of an eye. Now, Mar Roxas is fighting for his political life, blindsided by Jojo Binay--because, in the eyes of many, he became kampante and was seen to be merely coasting along, acting as if the VP post had become his by right. That sense of entitlement doesn't go over well with people who expect you to earn your post, to work hard for it, and who demand that their preferences shouldn't be presumed, right up to the polls. Hey, the elections are the only time when ordinary citizens are paid attention to, wooed and promised the moon, and by God, they will not be taken for granted. They would want their candidates to sweat it out and never wing it.

While Mar's appearing to go slack turned off a large swath of voters, even more, I think, were thrown off-kilter by the flailing, incoherent actions of the Villar camp in the closing days of the campaign. When new polls showed Aquino breaking away from Villar by larger margins, panic mode set in, and the previously highly disciplined and professional Villar camp imploded. The release of the second fake psyschiatric report on Aquino boomeranged with even more impact, and raised questions about the stability of the Villar campaign itself. Its first attempt at smearing Aquino along the same lines had flopped; but at least it retained plausible deniability in the first case, with even ABS-CBN refusing to name its alleged Nacionalista Party source for the report.

This time, however, a known NP supporter took the lead in disseminating the second bogus document, and Villar himself was so cagey that, while saying he had no hand in the actions of his underling, the report should nevertheless be looked into, because, well, what if it were true? He was, in effect, trying to wring validation from a document already proven as fake with the most simple fact-checking--something his party had failed or refused to do, to its discredit. It was the chief irony of the campaign that the side raising a ruckus about another candidate's sanity was itself thrashing about in a way that could only be described as unhinged.

If that action smelled of fear and desperation, what Villar's party did next was the equivalent of jumping the shark: it put Villar's mom on TV to plead her son's case, and it wasn't a pretty sight. A laundrywoman I talked to got so heated up talking about it. Grabe naman si Villar, she said. Dapat di na niya ginamit ang nanay niya ng ganun, pinaiyak pa niya at pinakanta sa TV!

This is an interesting point, because the charge of using family members to win votes had not been taken as vociferously against, say, Aquino, whose sisters were in the thick of the campaign from the beginning. What made it different in Villar's case, I submit, are two things: One, Nanay Curing was never, before this, visible on TV. She was an unknown entity, she had never before involved herself publicly in her son's political activities. So her coming out on TV was a big surprise. And two, her appearance was simply handled badly. TV being a harsh medium for strong emotions--the unflattering light, the real-time ambient noise, the unforgiving close-ups--any display of anger and stridency, when left unchecked, tends to cast the subject in an unsympathetic light.

Villar's mom's agonized--and agonizing--appearance generated riveting television, but not the kind that was helpful to the candidate. There was pity for her, but only contempt for a son who, at the very least, should have had the good sense to make sure her mother's big moment on TV was handled well, in a way that would have shown her off in a gracious, appealing manner.

It was, as some have commented here, the final straw--the ultimate confirmation that Villar, in his quest for the presidency, was prepared to do anything to get what he wanted. He would throw away billions, engage in a pernicious campaign that ran the risk of blackening his name (as it did), invoke his brother's death for sympathy votes and allow his frail mother to fight his fight for him on TV--he would go through all these because he so badly wanted to be in power. Why? What was it about the presidency that made him so willing to give up so much? The thought has a scary, creepy element to it.

The tragedy of Manny Villar is that he started out as the man on the hill, so to speak, and will exit now a sorry shadow of the colossus he once was. Poorer by perhaps more than a billion pesos, his reputation in tatters, his vaunted managerial acumen put in doubt by a monumentally failed campaign, he limps into the political wilderness not only as a much diminished man, but as a cautionary tale on so many levels. Money can't buy everything. Inspiring life stories aren't enough. Highly-paid PR can only do so much.

His is a story that will be studied and dissected by this country's political watchers and election strategists for years to come. For now, none of us can really imagine the sense of personal devastation. In the dark hour of his defeat, we can only wish the man courage and strength of spirit--though, to go by his rousing rags-to-riches story, he's more than capable on his own to get up and move on. That classy concession speech is, dare I say, a good fresh start.

Monday, May 10, 2010

The rise and fall of Manny Villar

WHAT HAPPENED? How did he go from the candidate to beat a year ago to a measly third place now (as of 11 p.m., May 10), trailing behind even Erap Estrada? The count's not over yet, of course, but it looks more and more as if Manny Villar will lose. How did that happen? Care to share your thoughts? I have my own, but I'd like to hear yours first--because I believe that, more than the likelihood of Noynoy Aquino winning the presidency, the biggest story of this campaign will turn out to be how the candidate with the greatest advantage--a stirring life story, a sleekly packaged campaign, the biggest sum ever spent yet on a local presidential run--could still register this big a loss. How did he manage to squander the enormous headstart he had and lose all that in a matter of a few months? Where did he go wrong, and what does his defeat say--about his campaign, about us the electorate, about the man himself, or at least the persona he presented to voters? Manny Villar's is the more compelling story, because he had the biggest reason NOT to lose. Years from now, people will still be talking about how he dropped the ball--despite his billions. Or perhaps because of them? Well, what do you think?

Saturday, May 08, 2010

La Ronde reworked, part 2

A 2005 review of “Laro,” Floy Quintos and Miguel Castro's Pinoy gay adaptation of “La Ronde.” Tanghalang Ateneo is presenting the Arthur Schnitzler play until May 16. Backgrounder here.

BLACK HEARTS AT PLAY
(Published February 7, 2005)

AT the end of Laro, Floy Quintos and Miguel Castro's incendiary new play on twisted love among urban gay men, 10 actors engage in what must be the longest, most unsettling orgy scene in Philippine theater ever.

It's not particularly explicit, if by that is meant the amount of skin bared onstage. Nudity in this case takes a backseat to carefully choreographed blocking and movements, effective lighting and manufactured smoke to suggest the heights (or lows) of homosexual abandon.

At the end of the debauchery, the actors untangle themselves one by one and spread out across the stage. You would think they'd look blissful after the kinky fun they've just had, but there is no joy in their faces. Only exhaustion.

They search for hungry eyes in the audience and, in flat, lifeless voices, say over and over, “Tara, tena,” until the blood-red lights fade out.

Call it an invitation to hell.

The 10 characters are players locked in a fervid cycle of deceptive, dangerous games, each one more high-stakes than the last, every one a warped offspring of the human need to connect and find some semblance of affection--at any price, if necessary--in a world gone cold.

Bleak material
Laro's structure--10 interlocking stories, each vignette featuring two actors, one of whom moves on to become half of the next featured pair--is based on Arthur Schnitzler's 1900 play Der Reigen (more popularly known as La Ronde).

Set in fin-de-siecle Vienna, the play is a bleak romantic roundelay that traces the flings and flirtations of 10 prototypical individuals of that period--Prostitute, Soldier, Count, etc. The material has always been provocative for its stark view of love as a petri dish for all sorts of pestilential human behavior.

In Schnitzler's view (also reiterated in Eyes Wide Shut, Stanley Kubrick's adaptation of Schnitzler's novel Traumnovelle), the search for love and emotional security can often lead down squalid passageways where violence, abuse, power and brutality become the soul of human company and the currency of their transactions.

All that bloodletting can only result in bloodless facsimiles of lives, and, in Schnitzler's universe, it does with horrifying precision.

That sensibility has always resonated in works set in materially abundant eras with patrician societies grown dull and flaccid (Choderlos de Laclos' Les Liaisons Dangereuses for pre-Bastille France, for instance, or Bret Easton Ellis' novel Less Than Zero and David Rabe's play Hurlyburly for Reagan-era America).

But in Laro, Quintos and Castro's conceit is to situate that destructive anomie in present-day Manila, in its small but volcanically complex gay society where, for all its surface urban freedom, tribal passions still reign and the terrain of kindred connections often feels like a battlefield.

The conceit works, chiefly because the playwrights have apparently parked their inhibitions elsewhere to come up with dialogue that's remarkable for its clarity as for its casual, if bitter, truth.

Strong suit
The writers' familiarity with the milieu is the play's strongest suit. The lines have the ring of unforgiving certainty to them, and the work, directed by Quintos, acquires tremendous power from that honesty.

The audience may find itself wincing more than once at the brutal portraits drawn up in Laro. The dialogue that opens the play, between a policeman and a call boy, ends up in an unexpected act of violence. That gesture repeats itself in ever more painful guises as the cop moves on to a transvestite performer, the transvestite meets up with his lover, the lover goes on an eyeball with an anxious kid, and so on.

Along the way, Laro becomes a bracing meditation on identity, longing and survival, as the characters acquire new shadings to curtain their true selves. The brutish cop bottoms to the cross-dresser, the naive call boy dreams of finding love, an aging philanthropist mocks all notions of it, and an ideal” gay yuppie turns out to be a serial cruiser.

These characters are stereotypes, yet by the end of the play they have undergone revelatory transformations. They remain desperate creatures, but somehow some chink in their cold carapace has rendered them more vulnerable, more recognizably human.

Brave cast
This kind of quicksilver evolution (each vignette lasts for only about 15 minutes) is difficult without the right cast, but fortunately Laro is populated with talented actors who bravely go over the cliff with the material.

The sharpest episode, between the gay yuppie and his listless young lover, is played by Castro himself and Jomari Jose. Here, the playwrights' obvious experience with upper-middle-class, gentrified lives with all their soft linens, scented candles, Starbucks and Ikea furniture produces a hilariously crisp satire of gay bourgeoisie. Greenbelt denizens are welcome to sit through this segment without flinching.

Peter Serrano is excellent as the cross-dresser, and he is greatly aided by his character's tart one-liners. At the other end of the spectrum is Neil Ryan Sese, who brings feral force to his portrayal of an action star/underwear model who beds with the jaded philanthropist (Rolando Inocencio).

The dialogue between this pair is the play's most philosophical, touching as it does on the meaning of physical beauty and the limits of self-satisfaction to someone rich enough to buy everything he wants. But that moment is brought down to earth by a startlingly sexual, predatory twist.

The call boy, whose desire for simple affection makes him the play's “conscience,” if you will, is played by Lloyd Vincent Barredo (ably subbing for Marcus Madrigal). Barredo is a hunk with the face of a choirboy, and that combination makes him an ideal choice for the role.

John Dekster Santos, Julien Mendoza, Perry Esca¤o and Richard Signey round up the strong cast. We have no idea who's straight and who's gay among them, but all together, and without the slightest twitch of doubt or inhibition, these actors bring Laro to terrific life.

When they utter, “Tara, tena,” at the end of the play, think of it not only as a cautionary peek into lives marked by shadows and rot, but also as a potent finish to a work of theater that gleams darkly, like a black pearl.

Friday, May 07, 2010

La Ronde reworked, part 1

With Tanghalang Ateneo bringing back “La Ronde” to the Manila stage, I thought I'd share my reviews of the last two local productions that revisited the Arthur Schnitzler classic--coincidentally, both of them staged in 2005 and both a contemporary reworking of the material, though they couldn't have been more different from each other. Floy Quintos' “Laro,” mounted by Gantimpala Theater, transplanted the 10-character roundelay to the milieu of urban gay men, while the New Voice Company's Manila production of David Hare's “The Blue Room retained the dramatic transposition to latter-day London. The Inquirer online archives are down right now, so I'm posting the full reviews here. First up--“The Blue Room:”

THE BLUE ROOM IS RED-HOT
(Published February 28, 2005)

THE MOST PROMINENT elements in the otherwise minimalist stage design of New Voice Company's latest production, The Blue Room, are the wan bouquets of flowers suspended downwards from the ceiling, looking like oversized frozen raindrops in autumnal colors of faded green and purple.

Call it a heavy-handed symbolism, but in the context of The Blue Room, David Hare's adaptation of the 1920s Arthur Schnitzler literary perennial, La Ronde, the hanging bouquets make a piquant statement--an apt visual metaphor for a work that sees love as a state suspended between heaven and earth, the sacred and the carnal, the hellish and the sublime.

Hare's adaptation uses the bare bones of Schnitzler's play--10 interlocking stories forming a daisy chain of ruminations on sex, love and relationships among people of various social classes--and peoples it with contemporary London characters.

Thus, Schnitzler's original Vienna archetypes like the count, the chambermaid and the soldier have become, in Hare's version, an aristocrat, an au pair and a cab driver, respectively.

These characters--plus others like a young upper-class student, a rich matron, a politician, a coke-snorting model, an imperious actress, a hooker and a pretentious playwright--go through a frenetic roundelay of chummy talk and clumsy sex in search of love, or what passes for it in their world.

In The Blue Room, these characters are played by only two actors, a man and a woman. For all its earnest exploration of the state of human connection, then, the play is most immediately a vehicle for tour de force versatility and craft. To shift from one character to the next, the actors undress onstage, literally shedding off one identity and assuming another.

Nudity and carnality
When Sam Mendes first staged The Blue Room at the Donmar Warehouse in London, he caused a tizzy by casting Nicole Kidman as one of the two main performers, opposite Iain Glen.

The play featured scenes of nudity and carnality, and the sight of Kidman undressed was enough to throw the theater world on fire. As one critic put it, Kidman in The Blue Room was “sheer theatrical Viagra.”

In the local version that's being staged at the Republic of Malate, Jamie Wilson and Jenny Jamora play the shape-shifting pair, and if their displays of flesh are comparatively tamer (accounts of The Blue Room's Australian production took note of the extensive, prolonged nudity of its stars, which isn't the case here), they bring as much emotional nakedness and abandon to their characters as the play warrants.

Wilson, in particular, shines in a couple of vignettes--as the young, naive student barely making it with an older woman, and as a playwright given to narcissistic fits of clever if meaningless wordplay.

In the latter episode, he throws caution to the wind and does the full monty. The scene is dimly lit, but it is breathtaking nonetheless, because it illustrates graphically the divide between appearance and reality. The two characters--the playwright and the actress--are totally naked, yet in their contrived, unrevealing banter they remain closed off to each other.

Jamora, an excellent presence in past NVC productions, has the difficult task of navigating emotionally inhibited characters like the rich matron and the hooker, women who have learned to keep their motivations in check to survive hard lives. But she manages to lace humor and genuine ache into these bruised figures.

Indistinct dialogue
In a discretely structured drama like this, some vignettes don't work as well as the others. Parts of the dialogue also come out indistinct--a result of the actors rushing their lines and the venue's diffuse acoustics. It's a mortal sin in a play that derives gravity from the way the characters use words to puncture and peel off each other's defenses.

Still, The Blue Room, directed by 23-year-old Rabbi Ganaban, generates enough heat and acidity to keep itself from lapsing into long-windedness.

The sex the characters casually engage in may come quick and cheap, but their revelatory flirtations represent an erotically charged, diverting night at the theater. The Blue Room has substance to go with its flashes of flesh.

[Next: “Laro”--Black hearts at play]

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