GIBBS CADIZ

An open letter to Filipino gays, bisexuals and transgenders

noreply@blogger.com (gibbs cadiz) — Fri, 27 Jan 2012 23:16:00 +0000

From Jonas Bagas. Please take the time to read. This is important.

A growing HIV epidemic is threatening our community.

I do not intend to pit HIV against other equally legitimate LGBT issues, such as same sex marriage or CBCP’s bigotry. But the epidemic demands our urgent action and our immediate attention . We need to act because no one else will until we do; we need to care because our solidarity and compassion are most needed now.

HIV is largely a hidden epidemic, and its scope will remain invisible until people undergo voluntary HIV testing and counseling. But the numbers that we are seeing are enough to give us a picture of what’s happening: more and more Filipino gays, bisexuals, other males who have sex with males (MSM), and transgenders (TGs) are getting infected with HIV. The prevalence has already reached more than 2% for our community, according to a survey that was done early 2011, though it is much higher in NCR, Cebu and Davao. 205 out of the 268 new cases that were reported last December – the highest in history – were due to unprotected male-to-male sex. That’s 7 new HIV cases a day that could be attributed to unprotected male-to-male sex. One could crudely assume that at least 7 MSM and TGs get infected everyday. (Download the December 2011 HIV and AIDS Registry)

Cold facts, but it doesn’t become real until it becomes personal. 2011 for me started with a number of friends getting tested positive. 2012 began with a news that a friend died months earlier, the circumstances pointing to an illness that cannot be named. He was the sixth person that I know who died because of AIDS-related diseases last year, the third in his own barkada. His was yet another case of late diagnosis. Like his other friends, once he started getting sick he simply disappeared and hid in his province. Within the community you’d hear nervous murmurings of friends or friends of friends who succumbed to the illness, their deaths swallowed by stigma and silence.

Yet we know that this shouldn’t be the case. HIV is preventable. There is no cure, but it is not a death sentence. I know that some of us feel uncomfortable talking about it, afraid that this would further discrimination and stigma. But our community is already stigmatized, and silence would only fuel the fear that has made it easy for the epidemic to fester. Silence would neither cure the stigma nor stop the virus.

Our best defense against the epidemic is our own community. We are, in a sense, each other’s family. While the love of our own family is irreplaceable, when love or understanding is difficult to find in our own homes, we find comfort and joy in the company of gay, bisexual, and transgender friends, from people like us, from our lesbian friends, from wonderful women – and men- in our midst. We are fellow travelers, our kinship strengthened by the reality that the journeys that we take are oftentimes not understood by many.

We take pride in our own resilience and strength – how we’ve confronted bullying in schools by striving to excel, how we’ve used our wit and diversity for our unique creations. We are brothers and sisters in this regard. We are known to fight back, to keep our heads high even when we’re deeply wounded, even when we feel alone.

But now we need that strength to care for each other. We actually know how we can stop the virus. We know that most cases are due to unprotected sex, and thus we need to teach ourselves how to practice safer sex. We know that treatment can save lives, and therefore knowing your status is important before it’s too late. We know that when necessary – and it will reach that point – those who have tested positive should get into treatment and other services that they would need for their entire lifetime.

Fear, however, oftentimes trumps evidence. Fear has gripped the lives of those who suddenly found the virus in their midst – there are those who feel that they lost their lust for life after knowing their status, that dark denial of life. I can never approximate how hard and how life-changing it must be to be HIV positive, but I am constantly inspired by stories from poz friends who affirm that life goes on, that life actually gets better, and that there are ways to make it better.

There will always be those who’d peddle fear as the solution to HIV, and we must be one in rejecting their doctrine. They would blame us, point to our ‘lifestyle’, and deny our existence: they would claim that their religion of fear is the only way to stop HIV. But we know what works and what doesn’t, and fear would only create the climate that would make it easy for the epidemic to explode.

Fear undermines our capacity to fight back. It creates an illusion, a source of false comfort for some, that this is a battle between those who are positive and those who are negative when in truth this is between us and the epidemic. We are actually all living with HIV. The sooner we realize that, the sooner we’d discover that with our collective strength, with our imagination and vast capacity for laughter, we shall prevail.

PLUS: Scared to take the test? If it could be of any help--here's how I went through it.

'If La Sallites can't read, Ateneans can't count'

noreply@blogger.com (gibbs cadiz) — Thu, 26 Jan 2012 22:24:00 +0000

That's the joke the venerable Larry Henares lobbed at the post-show Q&A of Rivalry: Ateneo-La Salle The Musical, the new musical production (music by Ed Gatchalian, lyrics by Joel Trinidad, book and direction by Jaime del Mundo) on the long-standing girian between the two schools that had its press preview last night at the Meralco Theater. (They're now called La Sallians, said Ed Gatchalian, but in 1968, which is the setting of the musical, the guys from Taft were still called La Sallites. And the girls they ran after, in competition with the Ateneans, were usually from Maryknoll, now Miriam College.)

My own first impressions of the show? These two tweets for now: 1) fun and quite inspired, a cause for revelry and good old-fashioned cheering in the theater. Mamma Mia? try the new homegrown musical, RIVALRY. 2) dear god, please keep NOEL TRINIDAD spry, healthy and able to do theater for many, many more years. what a joy he is in it. The bonhomie achieved by the show carried over to the Q&A. Here, a peek at that aftermath:

"Rivalry" runs January 27-March 11 at the Meralco Theater, with 8 p.m. shows every Wednesday, Thursday, Friday and Saturday, and 3 p.m. shows on Saturdays and Sundays. Tickets are available from TicketWorld (8919999) or Meralco Theater.

Regine The Kraken 2

noreply@blogger.com (gibbs cadiz) — Wed, 25 Jan 2012 19:09:00 +0000

New! Light of a Million Mornings--by way of her mind-scrambling, nosebleed-inducing vocal calisthenics. Previous to this, another hurricane number, Go The Distance. Halimaw siya.

Spotlight Artists Centre to revive Katy!, holds auditions Jan. 29

noreply@blogger.com (gibbs cadiz) — Mon, 23 Jan 2012 22:39:00 +0000

From Oliver Oliveros:

Ryan Cayabyab (music) and Jose Javier Reyes’ (book and lyrics) hugely successful original Filipino musical, “Katy!”, a musical based on the life and times of the “Queen of Philippine Jazz” Katy dela Cruz (1907-2004), is making its way back to the stage this year.

Acclaimed theater and recording artists-cum-performance teachers Isay Alvarez, Robert Seña, and Tricia Amper Jimenez’s Spotlight Artists Centre is reviving the musical, which premiered at the now-defunct Rizal Theater in 1989, and later transferred to the Cultural Center of the Philippines. Originally produced by Celeste Legaspi and Girlie Rodis, “Katy!” starred Mitch Valdez, Legaspi, Bernardo Bernardo and Marco Sison, directed by Nestor Torre.

Auditions for major roles, like Katy (25-40 years old); male lead (25-40 years old); and young Katy’s father (45-55 years old) will be held on Sunday, January 29.

Auditionees should prepare a song from the musical like “Minsan Ang Minahal Ay Ako,” “Sari-Saring Babae,” “Balut,” etc. or a jazz song. Call Yssa at (632)899-8089 or (63)922-8986644 for more information and registration requirements.

Inquirer editor in chief Letty Jimenez Magsanoc, in 1989 still writing a column for the paper, said of Katy! that its makers had succeeded in creating “the prototype for the Filipino musical.”

Well, 23 years after it had its premiere, the legendary musical will be back this year, thanks to the triumvirate of Robert Sena, Isay Alvarez and Tricia Amper-Jimenez, who last year also revived another landmark Filipino musical, Magsimula Ka. This early, thank you to Robert, Isay and Tricia's Spotlight Artists Centre for the effort to bring back the musical that, among other things, launched Ryan Cayabyab on the hugely consequential musical-theater phase of his career; was the inaugural offering of Celeste Legaspi and Girlie Rodis' now shuttered theater company Musical Theater Philippines (Musicat--a unique undertaking in that it was the only local theater company exclusively dedicated to commissioning and mounting original Filipino musical material); enriched the Pinoy songbook with classics like Minsan ang Minahal Ay Ako; and paid due tribute to Katy dela Cruz and the long-lost bodabil era she embodied.

For a peek at the music, spunk and spirit of Katy! you can check out this fully orchestrated, handsomely mounted excerpt from the Ryan Cayabyab: Music Man at 50 concert, which I had uploaded previously...

Or the video below, debuting on YouTube with this post--a piano-accompanied (by Mr. C himself) medley of three songs from the musical: Pahiram Ng Kanta (performed by Tex Ordonex), Sari-Saring Babae (Isay Alvarez, Pinky Marquez, May Bayot and Roy Rolloda) and Minsan Ang Minahal Ay Ako (Celeste Legaspi and Mitch Valdes in a rare joint appearance, and the entire cast of Buhay!, the culminating concert of the 2004 National Theater Festival held at the main theater of the Cultural Center of the Philippines. Among the other performers: Robert Sena, Nonie Buencamino, Lou Veloso, Menchu Lauchengco-Yulo, Sam Concepcion, Cathy Azanza-Dy, Noel Rayos, Jon Joven, Eugene Villaluz, and, as part of the ensemble, Melanie Dujunco, Angeli Bayani, Nazer Salcedo, Bong Embile, et al.)

New year, new Fabcast!

noreply@blogger.com (gibbs cadiz) — Sun, 22 Jan 2012 19:46:00 +0000

All impromptu kuno, from the agreement to meet up on New Year's Day, to the prior invite on Twitter to send in questions or topics for discussion. Lots came in, so this is only part 1. Podcasting? Naman, it's more fun in da Philippines!

Download this fabcast (right click and save)

Music credits:
Firework by Katy Perry
Ask by The Smiths

Hit comedy Leading Ladies is Rep's next offering

noreply@blogger.com (gibbs cadiz) — Sun, 22 Jan 2012 19:34:00 +0000

Repertory Philippines presents its second offering for 2012--the hit comedy “Leading Ladies”, written by Ken Ludwig. The show runs February 10-March 4, 2012, with shows on Fridays and Saturdays, 8 p.m., and matinee shows on Saturdays and Sundays, 3:30 p.m., at Onstage, Greenbelt 1, Makati City.

Headlining “Leading Ladies” are James Stacey as Leo and Topper Fabregas as Jack. Supporting them are Cris Villonco as Meg, Giannina Ocampo as Audrey, Jamie Wilson as Duncan, Juno Henares as Florence, Hans Eckstein as Butch and Oliver Usison as Doc. Directing the show is Michael Williams.

“Leading Ladies” is about Leo and Jack, two British actors whose careers are so far on the skids that they’re performing “Scenes from Shakespeare” on the Moose Lodge circuit in Pennsylvania’s Amish country. They think their luck might change, however, when they hear about Florence, an old lady in a nearby town who is about to die and leave a considerable legacy to her nephews from England. Leo convinces Jack that they should impersonate the heirs. Their foolproof plan hits a snag, though, when they arrive on the scene and realize the woman’s long-lost relatives are nieces and not nephews.

Playwright Ken Ludwig has won numerous awards and several Tony nominations for his work. His musical “Crazy For You” ran for five years on Broadway and four years in the West End, winning Tony, Olivier, Drama Desk and Helen Hayes Awards as Best Musical of the Year.

“Lend Me A Tenor” (produced by Andrew Lloyd Webber) has proven to be one of the most popular comedies of the past 25 years, winning two Tony Awards. Ludwig's work has also been translated into 16 languages and performed in more than 30 countries.

The artistic and creative team is led by Baby Barredo (artistic director), Menchu Lauchengco-Yulo (associate artistic director), John Batalla (lighting designer) and Denis Lagdameo (set designer).

The production staff includes Gidget Tolentino (production manager), Ayam Barredo (company manager), Dingdong Rosales (stage manager), Pol Roxas (sound technician), Pablito Salvador (lighting technician) and Adul Lasin (set execution and scenic artist). The marketing, sales and publicity group is led by Toots Tolentino (PR & publicity) with Rem Zamora and Oliver Usison (PR & publicity/marketing), Marie Talay and Rose Silva (marketing/sales) and Dave Fabros (photography).

For tickets, inquiries and other information, call Repertory Philippines 5716926 or 5714941, or email info@repertory.ph. Tickets are also available at 8919999 or www.ticketworld.com.ph.

Visit www.repertory.ph, subscribe to youtube.com/repertoryphils, add “Rep Phils” in Facebook. “Leading Ladies” is presented by special arrangement with the Samuel French Agency.

Regine The Kraken

noreply@blogger.com (gibbs cadiz) — Wed, 18 Jan 2012 23:04:00 +0000

Singing Go the Distance, at the Ayala Foundation/ABS-CBN concert The Music of Dreams of many moons ago--The Songbird in all her vintage lung-busting glory. What follows this number is an even more insanely stratospheric Light of a Million Mornings--except my digitized copy of the original VHS recording has decided to go all glitchy right on that spot, so I'd have to have the tape transferred again to make sure the concert and that finale number are preserved. Enjoy this for now. Or rather, fasten your seatbelts...

From 9 Works Theatrical--You're a Good Man, Charlie Brown, opening Feb. 11

noreply@blogger.com (gibbs cadiz) — Wed, 18 Jan 2012 13:18:00 +0000

This coming February, 9 Works Theatrical brings to life the timeless characters from Charles M. Schulz’ popular comic strip “Peanuts” via the Tony award-winning musical, “You're a Good Man, Charlie Brown.” The musical runs February 11-March 3, 2012 at the Carlos P. Romulo Auditorium, RCBC Plaza Makati.

Based on the comic strip “Peanuts” by Charles M. Schulz, with book, music and lyrics by Charles Gesner, additional dialogue by Michael Mayer, additional music and lyrics by Andrew Lippa, original direction by Michael Mayer and originally produced in New York by Arthur Whitelaw and Gene Persson, “You're a Good Man, Charlie Brown” is a funny and heartwarming musical told through a series of recognizable vignettes that look into an average day in the life of Charlie Brown and draws from the richness and universality of their everyday situations--making it the perfect family musical that will surely resonate with audiences young and old.

Playing the role of Charlie Brown is 9 Works Theatrical’s Artistic Director Robbie Guevara who is currently being seen onstage as Uncle Max in Resorts World Manila's “The Sound of Music.” He is also an established director for the stage.

One of the country’s most versatile performing artists, Carla Guevara-Laforteza will be playing the role of the bossy and crabby Lucy. Carla was recently seen as Maureen Johnson in 9 Works Theatrical’s production of “Rent” and as the Sour Kangaroo in Repertory Philippines “Seussical.” In the ongoing “The Sound of Music” she plays Sister Berthe. She is currently under the management of Johnny Manahan of Star Magic.

Playing the role of Charlie Brown’s lovable dog Snoopy will be Lorenz Martinez, whose last appearance onstage was as Benjamin Coffin III in 9 Works Theatrical’s Rent.” He also plays Herr Zeller in “The Sound of Music.” He was the youngest to perform the role of the Engineer, in the Netherlands production of “Miss Saigon.”

Appearing in his first 9 Works Theatrical musical is singer-actor and TV personality Franco Laurel, who will play the blanket-toting Linus. His theater credits now include starring roles in “Rama at Sita,” Trumpets’ “Honk, The Ugly Duckling,” Dulaang UP's “St. Louis Loves Dem Filipinos: The Musical” and “Isang Panaginip na Fili,” Stages' “Joseph The Dreamer” and Rep's “Sweeney Todd.”

Alternating with Laurel as Linus in certain performances is Toff de Venecia, 9 Works Theatrical’s Marketing and PR Director, who was last seen in Rep’s “Mulan Jr.” His other acting credits include the “Emperor's New Clothes” and Disney’s “Aladdin Jr.”; and for Ateneo Blue Repertory--“Hope for the Flowers,” Bat Boy” and “High School Musical.”

Touted as GMA 7’s resident “Kuya” and foodie, Tonipet Gaba, is a three-time Star Awards winner for Best Children’s show host. His stage credits include essaying lead roles in “Kiss of the Spider Woman,” “Blood Brothers,” “Oliver,” “Jesus Christ Superstar” and “The Little Mermaid”. For this production, he will be playing the sensitive piano-playing Schroeder.

Playing Charlie Brown’s younger sister Sally is Sweet Plantado, who was the musical director for Vocals for 9 Works Theatrical’s “Sweet Charity”. Sweet is a performing-recording artist who is part of the Philippine premier vocal group The CompanY.

PLUS: Klasik--Kristin Chenoweth as Sally performing My New Philosophy, at the 1999 Tony awards.

Veteran actor Michael Williams is directing the show, with Toff de Venecia as assistant director, Joseph Tolentino as musical director-instrumentation), Sweet Plantado as musical director-vocals), Mio Infante as scenographer, Martin Esteva as lighting designer, Mio Infante and Twinkle Zamora to do the costumes, Richard Lazaro as photographer, Larry Palma as graphic designer and Deana Aquino in charge of choreography.

The production team is led by Santi Santamaria (executive producer), Anna Santamaria (company manager), Toff de Venecia (marketing and PR director), Jonjon Martin (PR manager), Pamela Imperial (production manager) and Jojo Amboy (stage manager).

“You're a Good Man, Charlie Brown” runs February 11-March 3, 2012 at the Carlos P. Romulo Auditorium, RCBC Plaza Makati. Friday shows at 8 p.m., Saturday at 3:30 p.m. and 8 p.m., and Sunday at 3:30 p.m.

A limited number of performances are now available for fundraising and block-buying. For tickets and other inquiries, call 5575860, 5867105 or 0917-5545560, or email info@9workstheatrical.com.

“You're a Good Man, Charlie Brown” is produced by arrangement with, and the music and dialogue material furnished by TAMS-WITMARK MUSIC LIBRARY, INC., 560 Lexington Avenue, New York, NY 10022.

Lea Salonga's The Broadway Concert--outtake #1. Loverly!

noreply@blogger.com (gibbs cadiz) — Sun, 15 Jan 2012 15:43:00 +0000

Finally, I got around to having my VHS copy of Lea Salonga: The Broadway Concert digitized. Why bother, since the concert is also on DVD? Because my VHS copy is a recording of the TV broadcast, which had a more complete line-up of songs. Specifically, three tracks--or make that two-and-a-half, since one song was more like a snippet--were left out in the DVD release. Here's the first one that didn't make the cut--Lea singing an enchanting Wouldn't It Be Loverly (from My Fair Lady), with Calvin Millado, Carlo Orosa and Michael De Mesa. May I brag? Until a few minutes ago, this wasn't on YouTube; you're seeing it here first. Loverly, eh?

Ariel Rivera, Leo Martinez lead new cast members of The Sound of Music, extended until Feb. 12

noreply@blogger.com (gibbs cadiz) — Sun, 15 Jan 2012 15:11:00 +0000

Resorts World Manila’s sophomore production, Rodgers and Hammerstein’s "The Sound of Music," opened in October 2011 at the Newport Performing Arts Theater and was originally slated to end its run in December, but, due to insistent public demand, the musical has been extended to February 12, 2012.

For the extension, fresh new faces will put their own spin to the successful production. Stepping up to give life to Captain Von Trapp is award-winning singer, songwriter and actor Ariel Rivera. Ariel will serve as alternate for the role along with Audie Gemora and Jon Joven. Max Detweiller will be interpreted by veteran actor and comedian Leo Martinez, who alternates with Miguel Faustmann and Robbie Guevarra.

Other new faces include: Shiela Valderrama as Baroness Elsa Schraeder, alternating with Pinky Amador; Jenny Villegas in the role of the Mother Abbess, along with Pinky Marquez and Sheila Francisco; Michaela Bradshaw as the alternate Liesl to Tanya Manalang; and Fred Lo as Liesl’s love interest, Rolf, with Marvin Ong.

Jeremy Domingo will alternate the role of Herr Zeller with Lorenz Martinez. Katie Bradshaw will play Gretl, with Alexa Villaroel. For the nuns, Apple Chiu will alternate in the role of Sister Berthe with Carla Guevara and Jenny Villegas; Marielle Mamaclay plays Sister Margaretta with Pamela Imperial; and Arya Herrera is Sister Sophie with Maxine Sian and Jillian Pena. Lastly, sisters Rachel and Rebecca Coates will alternate Louisa.

Showdates are Friday (8 p.m.), Saturday (2 p.m. and 7 p.m.), and Sunday (2 p.m. and 7 p.m.). Tickets are available at the RWM Box Office, or at any Ticketworld outlets. For more information, visit www.rwmanila.com or call the RWM Tourist Hotline 632+8366333 or Ticketworld 632+8919999.

Cris Villonco, Joanna Ampil, Ariel Rivera, Leo Martinez, Audie Gemora and Jon Joven

Tanghalang Pilipino's four-play Eyeball: New Visions in Philippine Theater opens this weekend

noreply@blogger.com (gibbs cadiz) — Fri, 13 Jan 2012 15:16:00 +0000

Tanghalang Pilipino, the resident drama company of the Cultural Center of the Philippines (CCP), concludes its 25th Theater Season with “Eyeball: New Visions in Philippine Theater,” which opens today and runs for four weekends until Feb. 12, 2012 at the CCP Tanghalang Aurelio Tolentino (Little Theater).

This production features four of the best plays from the Virgin Labfest, the yearly festival of new works for the theater. The select plays deal with the theme, “Searching” and tackle people's search for love, for lost family bonds, for noble ideals, for closure, and for missing loved ones.

The plays will be shown as two sets of twinbills. Set A includes Carlo Pacolor Garcia’s hilarious “Bakit Wala Nang Nagtatagpo sa Philcoa Oberpas,” directed by Riki Benedicto, and starring TP Actors Company members Jonathan Tadioan, Jelson Bay, Martha Comia, Marco Viaña and Gino Ramirez; and guest artists Pam Hundana and Carmina Capile.

In “Doc Resureccion: Gagamutin ang Bayan”, by Layeta Bucoy (directed by Tuxqs Rutaquio), features the performances of Riki Benedicto, Jonathan Tadioan, Rayna Reyes and Sherry Lara.

Set B is composed of plays directed by the exceptional director Chris Millado. In Reuel Molina Aguila’s bittersweet “Maliw,” showcases brilliant acting by Sherry Lara, Spanky Manikan and TP Actors Company scholar Regina de Vera.

“Isang Araw sa Karnabal” is Nick Pichay’s funny but poignant play about two former activists attempting to mend broken ties, played by Sheenly Gener and Yul Servo.

The creative team includes Eric Cruz for the new set designs, Katsch Catoy for the lighting design, and TJ Ramos for the soundscape.

Regular ticket price is P600, with student and senior citizen discounts. For ticket reservation, booking of special performances and other information, call the TP office 8323661, 0920-9535381 or 0928-5518645. Contact the CCP Box Office at 8323704 and Ticketworld at 8919999 for ticket inquiries.

PLUS: What I thought of three of the four plays during their original Virgin Labfest runs--

Jonathan Tadioan, Crispin Pineda and Riki Benedicto in the 2009 VL production of Layeta Bucoy's “Doc Resureccion, Gagamutin ang Bayan,” directed by Tuxqs Rutaquio

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...

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.

Skyzx Labastilla and Paolo O'Hara in “Isang Araw sa Karnabal,” directed by Chris Millado

Isang Araw sa Karnabal. Another festering political flashpoint, the unresolved disappearances of activists, got a sympathetic ear in two plays, Nicolas Pichay’s superb “Isang Araw sa Karnabal” and Reuel Molina Aguila’s affecting if talky “Maliw.”

Like “Doc Resureccion,” these plays were a reproach—subtle but unmistakable—of the poisonous political air that has seeped into and warped many lives and families in this country. There were no speeches to that effect, though. Only anguish, pained laughter, choked-back memories.

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.

Bembol Roco and Gigi Escalante in the 2009 VL production of Reuel Molina Aguila’s “Maliw,”

directed by Edna Vida Froilan

Maliw. A similar spectral presence spooked the otherwise placid household in “Maliw,” directed by Edna Vida Froilan. In the aftermath of a lost daughter’s 30th birthday, a husband and wife (Bembol Roco and Gigi Escalante) would finally confront, through tears and bitter hand-wringing, the void left by their daughter’s abduction years ago.

“Araw-araw may darating na sirena,” rued the mother, refusing to forget. By the play’s cathartic end, she would take the first tentative steps toward letting go and rejoining the land of the living.

Love, Loss, and What I Wore back for one weekend only, Jan. 20-22

noreply@blogger.com (gibbs cadiz) — Fri, 13 Jan 2012 14:25:00 +0000

After the very successful July 2011 Asian premiere in Manila of "Love, Loss, and What I Wore," CTE Productions brings back the acclaimed off-Broadway hit, still with some of the best female artists in the scene today. The show January 20, 21 and 22 at the Carlos P. Romulo Auditorium, 4th Floor, RCBC Plaza, Ayala Avenue corner Sen. Gil Puyat Avenue, Makati City.

The January 2012 cast of "Love, Loss, and What I Wore" includes theater luminary and current Associate Artistic Director of Repertory Philippines Menchu Lauchengco-Yulo; veteran theater actress, writer and emerging director, Cathy Azaza-Dy; multi-talented actress, businesswoman and current treasurer of Repertory Philippines Liza Infante-Robinson; thespian and music sensation Bituin Escalante; and acclaimed classical vocalist and theater performer Jay Valencia-Glorioso.

The show is directed by the same tandem behind the hit show "Defending The Caveman," Michael Williams and Cathy Azanza-Dy.

The sensational Off-Broadway show "Love, Loss, and What I Wore," written by Nora Ephron ("When Harry Met Sally," "Sleepless in Seattle") and Delia Ephron ("The Sisterhood of the Traveling Pants," "Hanging Up"), vividly recounts a selection of comic and heartwarming stories from different women who remember key moments in their lives through the clothes they wore.

The show is based on the bestselling book by Ilene Beckerman, and has featured notable actresses such as Jane Lynch, Rosie O'Donell, Brooke Shields, Betty White, Rita Wilson, Nikki Blonsky, Alexis Bledel, Fran Drescher, Alicia Silverstone, Jamie Lynn Siegler, to name just a few. The show has since then been staged in Los Angeles, Toronto, Buenos Aires, Mexico, Australia and Paris.

Shows are at 8 p.m. on Friday and Saturday, with Saturday and Sunday matinees at 3:30 p.m.

Tickets are available at Ticketworld 8919999, www.ticketworld.com.ph. Or call 2150788 or 0917-5378313, or email cteshows@gmail.com. P1,200 for orchestra center, P1,000 for orchestra side and loge, P500 for balcony. Like 'CTE Productions' on Facebook and follow @cteshows on twitter for more updates.

Severino Reyes' R.I.P. from Ateneo Entablado, until Jan. 21

noreply@blogger.com (gibbs cadiz) — Fri, 13 Jan 2012 14:06:00 +0000

For its season finale, the Ateneo theater group ENTABLADO (ENterteynment para sa TAo, Bayan, LAnsangan at DiyOs) is staging Severino Reyes' “R.I.P.” with an “intermedio” from Francisco Balagtas' “La India Elegante y el Negrito Amante,” under the direction of Dr. Alvin Yapan, current chair of Ateneo De Manila’s Filipino department and also the director of the acclaimed films “Ang Panggagahasa Kay Fe” and “Ang Sayaw ng Dalawang Kaliwang Paa”.

The show, which opened Jan. 10, runs until 21 at the Rizal Mini Theater, Loyola Schools, Ateneo de Manila University.

Reyes is also the writer of “Mga Kuwento ni Lola Basyang,” while Francisco Baltazar aka Balagtas is the writer of the Philippine literature classic, “Florante at Laura”.

ENTABLADO reinterprets “R.I.P.” as a satire that tackles the transformation of the Philippine performing arts--about a theater group rehearsing for a performance while struggling against the rise of another art form. This story is framed by an “intermedio” that features the courtship of two clowns.

Music and sound design by Jema Pamintuan, Mike Coroza, Maynard De Guzman; set design by Richard De Guzman; costumes by Jean Pierre Reniva; lights design by Miyo Sta. Maria; and movement/choreography by Sergio Gahol.

Remaining show schedules: January 17, 18, 19, 20 (7:30 p.m.); January 14, 21 (2:30 p.m. and 7:30 p.m.); January 21 (10:30 a.m.)

Ticket price P250. For tickets and inquiries, call Eric Estolatan 0906-4413838.

Ululations. More fun if they're Grace Nono's.

noreply@blogger.com (gibbs cadiz) — Tue, 10 Jan 2012 19:34:00 +0000

Nagbabalik on YouTube--this (better-quality) clip, from the 2004 concert Ryan Cayabyab: Music Man at 50, held at the Main Theater of the Cultural Center of the Philippines. "Of an altogether different caliber was Grace Nono, who gave a spectacular rendition of 'Iduyan Mo.' Laced with strange, wondrous wails and ululations, the song became a priestess' clarion call to the elements--and further evidence of the elasticity and sophistication of Cayabyab's best material." [My words]

Fil-Canadian dancer Alvin Tolentino returns to Philippines with new work

noreply@blogger.com (gibbs cadiz) — Tue, 10 Jan 2012 19:05:00 +0000

Filipino-Canadian choreographer and dance artist Alvin Erasga Tolentino is returning to the Philippines to tour his critically-acclaimed solo dance piece “Paradis/Paraiso.”

This multimedia dance performance was conceived and created in 2008 by Tolentino in collaboration with media artist Donna Szoke (Vancouver) and musician-composer Emmanuel Mailly (France).

Since then, “Paradis/Paraiso” has been performed in indoor, outdoor and unconventional spaces across Canada, France and Italy.

The production is open for showbuyers and can be used as a fundraising activity for individual showbuyers or groups and organizations.

Academic institutions are also invited to host the show in order to expose students to the performing arts and to use the show’s content and execution as a springboard for discussion about the arts, history and culture.

Tolentino’s most recent visit to the country was back in 2007 when he toured the solo-piece “Field: Rice is the belly of man” across the Philippines. He has also choreographed for Ballet Philippines.

For “Paradis/Paraiso,” Tolentino began with an attempt to explore the “idea of paradise as an environment, or as a utopian place.”

“But then, as the research progressed, I kept asking myself what the project was really about, and I decided to live the idea of paradise through my body, the idea of being able to see, to hear, to touch, and to taste all of these different paradises. And of being really aware of my perception, my own feelings. I guess paradise lives inside of me. It’s in my own body.”

“I think that there is a sense of nostalgia in this piece—a sense of nostalgia and longing that’s kind of sitting in the body. We don’t really literally speak about it, but I think it sits in the body; it’s centered in the body. And for me as a dancer, finding a way to express that is a dance.”

Born in the Philippines and raised in Canada, Tolentino founded Co.Erasga Dance Company in 2000 in Vancouver.

The company has a distinguished international reputation of a singular vision of hybrid dance, diversity and collaborations of other artistic practice and multimedia.

Co.Erasga’s works address themes of identity and ethnicity in a global context through contemporary dance. The company has presented work across Canada and in festivals and venues as far as Scotland, France, Italy, Belgium, Singapore, Venezuela and most recently in Germany and Uruguay.

“Paradis/Paraiso” will tour the Philippines July 28-Aug. 11, 2012 and is open for showbuyers. Contact 0906-2943895 or thelemoncircle@yahoo.com. Visit www.companyerasgadance.ca.

Out of many--many more

noreply@blogger.com (gibbs cadiz) — Sun, 08 Jan 2012 15:53:00 +0000

For me, what's truly great about the Department of Tourism's newly-launched tourism campaign isn't so much its tagline--nope, I don't believe it's a copy of the 1951 Swiss ad; have you seen the Swiss ad?--as the agency's decision to crowd-source the campaign, or let others contribute ideas to it, using only the tagline as jump-off point and inspiration.

True to form, and completely validating the tagline's celebration of the Pinoy's ebullient nature, netizens have responded with an avalanche of proposed campaign images, many of striking creativity and polish. With the DOT's initial studies as cue (e.g., “Getting upstairs. More fun in the Philippines”--against a stunning backdrop of the rice terraces), and using either the contributor's own photos or sourced from elsewhere, the best entries so far have been those that get--partake in--the unconventional, lighthearted way the tagline is used. Literal is out, literate is in--the fun kind, thus offering the world not just a plain catalogue of hardsell picturesque images, but a witty, tantalizing taste of the many quirks and attractions of Pinoy culture.

After this heartening burst of mass creative frenzy [some of my favorite images below], is there any lingering doubt that, yes, at the very least, we own that F word?

The beginning: image from the Department of Tourism

By Roland Benzon, photo by John Albert Cadag

By Roland Benzon, photo by Jay Jallorina

By Roland Benzon, photo from http://bit.ly/zrnIdV

By Roland Benzon, photo by Mon Corpuz

By Carlo Vergara, image from The Food Pirate and Ovah Coffee

By Jayvee Fernandez

By Stanley Cabigas, photo-editing by Amihan Ruiz

By Andrei Martin Diamante

By Vincent Paul Evangelista

The following images are from this aggregation site by Anton Diaz (individual photo credits not clear, please holler so I can do proper attributions here):

PLUS: More images here and here; how the posters might look when deployed abroad, courtesy of advertising creative director Dennis Garcia-- here; Jayvee Fernandez's tutorial on How to make your own “It’s More Fun in the Philippines” meme here. Have fun!

Rep's Next Fall, directed by Audie Gemora, opens this Friday, Jan. 13

noreply@blogger.com (gibbs cadiz) — Sun, 08 Jan 2012 14:26:00 +0000

Repertory Philippines ushers its 45th year this 2012 with its first production, “Next Fall,” a play that paints a beautiful and funny portrait of modern romance, asking some hard questions about commitment and faith and the transformative power of love. Veteran actor-director Audie Gemora directs.

“Next Fall” runs January 13-February 5, 2012, with shows on Fridays and Saturdays at 8 p.m. and matinee shows on Saturdays and Sundays at 3:30 p.m. All performances are at Onstage, Greenbelt 1, Makati City.

The cast features Bart Guingona as Adam, a committed cynic, atheist and hypochondriac, while David Bianco plays the role of Luke, Adam’s boyfriend, a born-again Christian and aspiring actor. David hails from Michigan and this is his first foray into the local theater scene.

Written by playwright Geoffrey Nauffts, “Next Fall” tells the moving story of Luke and Adam, a gay couple agonizing over differences in their religious faiths. The play portrays the ups and downs of this unlikely couple’s five-year relationship with sharp humor and unflinching honesty.

The play won the 2010 John Gassner Award for Geoffrey Nauffts. In the same year, the play was also nominated for the Drama Desk Awards for Outstanding Play; at the Tony Awards, for Best Play; and the Outer Critics Circle Awards, for Outstanding New Broadway Play.

Other cast members include Liesl Batucan, who essays the role of Holly, Adam’s fag hag best friend and owner of the candle shop where both Adam and Luke work; Niccolo Manahan as Brandon, Luke’s friend, a property manager, and like Luke, both gay and a born-again Christian; Juno Henares as Arlene, Luke’s mother, a former wild child who has since settled in to middle aged eccentricity; and Miguel Faustmann as Butch, Luke’s father and Arlene’s ex-husband, a deeply religious man.

The artistic and creative team of “Next Fall” is led by Baby Barredo (Artistic Director), Menchu Lauchengco-Yulo (Associate Artistic Director), John Batalla (Lighting Designer) and Denis Lagdameo (Set Designer).

For tickets, inquiries and other information, call Repertory Philippines at 571-6926 or 571-4941 or email info@repertory.ph. Tickets are also available thru Ticketworld at 891-9999 or www.ticketworld.com.ph.

Visit www.repertory.ph, subscribe to youtube.com/repertoryphils, and add “Rep Phils” in Facebook.

“Next Fall” is presented by special arrangement with Creative Artists Agency.

Why it's really more fun in the Philippines

noreply@blogger.com (gibbs cadiz) — Fri, 06 Jan 2012 14:52:00 +0000

Si Junjun, si Jack-Jack, si Bingbing, si Mack-Mack...--Let The CompanY tell you some of the reasons why:

From Hinabing Gunita, the 2006 Philippine Independence Day asalto-concert organized by the Department of Tourism and held at the Main Theater of the Cultural Center of the Philippines. Music by Moy Ortiz, lyrics by Edith Gallardo.

First Filipino adaptation of King Lear is PETA's opener for 2012

noreply@blogger.com (gibbs cadiz) — Fri, 06 Jan 2012 14:20:00 +0000

After the back-to-back success of Philippine Educational Theater Association’s Shakespeare rap musical "William" and its box office comedy-drama "Care Divas", PETA opens 2012 with the first-ever Filipino adaptation of William Shakespeare’s "King Lear".

This "King Lear" has been translated into Filipino by National Artist for Literature Bienvenido Lumbera, while retaining the rhythm, texture and elegant brutality of Shakespeare’s tragedy. Nonon Padilla directs the modern-dress adaptation, with World Stage Design awardee Gino Gonzales supplying the set design and costumes.

"Haring Lear" features a traditional Shakespeare all-male cast led by theater stalwart Teroy Guzman, who plays Lear. Also in the cast are: Gary Lim (Regan), Nor Domingo (Goneril), Abner Delina (Cordelia), Jay Gonzaga (Edmundo), Myke Salomon (Edgardo), Jack Yabut (Gloster), Josel Reyes (Kent), George De Jesus (Oswaldo), Jeff Hernandez (Duke ng Cornualles), Renante Bustamante (Duke ng Albanya), Fredyl Hernandez (Duke ng Burgonia), Angel Moratilla (Hari ng Francia) and Ernie Cloma (Matandang Lalaki).

"Haring Lear" runs every Friday, Saturday and Sunday, January 27-March 4, 2012 at The PETA Theater Center. For tickets, contact 7256244, 4100821-22, 0917-5765400, petatheater@gmail.com or visit www.petatheater.com.

Musical on long-running Ateneo-La Salle basketball rivalry opens Jan. 27

noreply@blogger.com (gibbs cadiz) — Thu, 05 Jan 2012 13:08:00 +0000

Since I haven't gotten hold of any formal press announcement about this, I'm cribbing the text below from ABS-CBNnews.com. There, attribution maliwanag:

"Rivalry," a musical about the decades-old Ateneo-La Salle feud, will be staged at the Meralco Theater starting January 27.

It will run until March 11, with 8 p.m. shows every Wednesday, Thursday, Friday and Saturday, and 3 p.m. shows on Saturdays and Sundays.

Jamie del Mundo is the overall artistic director of the musical, while Ed Gatchalian serves as the executive producer, composer, arranger and orchestrator. Lyrics were written by Joel Trinidad, while Nancy Crowe choreographs.

Cast members include Felix Rivera, Red Concepcion, Jeremy Aguado, Mako Alonzo, Raymund Concepcion, Juliene Mendoza, OJ Mariano, Sheila Francisco, Jenny Nuida-Tatlonghari, Raul Montesa, Chino Veguillas, Meynard Peñalosa, Athena Tibi, Ashley Immler and Noel Trinidad.

Set in 1968, "Rivalry" revolves around two families -- the blue-blooded Valencias and the green-blooded Basilios. The sons in the families, Paco and Tommy, are in the Ateneo and De La Salle senior basketball teams, respectively. Both are hoping to win the heart of Reena, a girl from Maryknoll (now called Miriam College).

Gatchalian said in a press conference last year that he hopes to "make theater-going a regular habit in the country" through his musical.

The Ateneo-La Salle rivalry began as early as the 1930s. The cut-throat school-to-school basketball competition has evolved into a national phenomenon, followed even by those who do not belong to either schools.

Kay Ganda Ng Ating Musika--salamat sa kanya

noreply@blogger.com (gibbs cadiz) — Tue, 03 Jan 2012 18:16:00 +0000

Not only him, of course, as our roster of essential musical artists is a long and glittering one. But it's also inarguable at this point that Ryan Cayabyab, or Mr. C as he's often called these days, has become one of the greatest enrichers of Pinoy culture and entertainment with his vast, prolific output over the years, from pop ditties, theater scores, operas and TV specials to ballet music, film soundtracks, church hymns and orchestral pieces.

Certainly, where would our days of wooing, loving, laughing, bickering, dreaming, regretting and accepting be without, oh, to name just a few of the Cayabyab melodies our lives have been graced with: Paraisong Parisukat, Tunay na Ligaya, Tuwing Umuulan at Kapiling Ka, How Can I?, Nais Ko, Kailan, Can This Be Love, Paraiso, Liman-Dipang Tao, Araw Gabi, Iduyan Mo, Once Upon a Life, Sometime Somewhere, Mamang Kutsero, Magbalik Ka Na Mahal, Minsan ang Minahal ay Ako... The list goes on.

In 2004, on his 50th birthday, ABS-CBN honored Mr. C with a lavish concert tribute at the Cultural Center of the Philippines, of which I wrote: If anything, the purest value of "Music Man at 50" lies not so much in its star-studded lineup and greatest-hits cavalcade, but in its ability to resurrect, if only for two nights, some of the touchstone sights and sounds that defined Original Pilipino Music during its heyday in the '70s and '80s.

There was Hajji Alejandro, still dapper and honey-voiced after all these years, opening the show with "Kay Ganda ng Ating Musika," the song that bagged top honors at the first Metropop Music Festival and formally launched Cayabyab on a remarkably prolific career in Philippine music. Young theater actors JM Rodriguez, Topper Fabregas and Sam Concepcion joined Alejandro for this number, but the original "Kilabot ng mga Kolehiyala" had no problem gaining command of the stage.

Memories of that concert came flooding back last Sunday when I had the unexpected privilege, along with ABS-CBN Global's Mickey Munoz and Hong Kong Disneyland Musical Director Rony Fortich, to be invited to an intimate dinner with Mr. C and his family (wife Emmy, daughter Krina and son Toma) at their lovely home somewhere in Quezon City. I had no idea why I was included in the invitation, but I took it as a chance to get to know and touch base with one of the country's towering creative forces. Mickey also promised he'd goad Mr. C to let us take a peek at his sanctum sanctorum, the basement space where he cocoons for work with his piano (and/or keyboard with Mac) and where he keeps his precious library of musical material--a must-see, I was told.

True enough, after the hearty dinner cooked by Mrs. C herself, Mr. C brought us downstairs, opened a side room in his den--and there we beheld a treasure trove of over three decades' worth of notes, papers, lyrics, recordings, musical scores and areglos organized by folders on wall-to-wall shelves. Here, practically, is a collective document of some of the high points and key moments in the evolution of contemporary Pinoy popular music and entertainment.

His arrangements for the albums and concerts of the likes of Celeste Legaspi, Basil Valdez, Lea Salonga, Regine Velasquez, Martin Nievera, from the time they first started working with him? They're there. The original handwritten Katy score? All intact, in bulky sheets. (Look, said Mr. C, Abababa Boogie!) Ditto with the sheets for the musicals Noli and Fili, the hybrid ballet-musical Rama, Hari, the opera Spoliarium, the oratorio Magnificat, the pop Smokey Mountain and 14K phases--nearly everything arranged alphabetically.

And this, he said, excitedly pulling out an envelope, is the original draft of Kay Ganda ng Ating Musika. Wow. A song, of course, that holds pride of place in the Cayabyab canon, having put its composer on the Philippine musical map with a splashy win in the first-ever Metropop contest in 1978. Was Hajji your first choice to sing it? I asked. Yes, he said. "It helped that we were on the same record label--Jem--so it was easy to ask him. Before Metropop, I had joined another songwriting competition where ako din ang kumanta ng kanta ko. E natalo ako [laughter], so I thought for Metropop I should really get a professional singer."

Kay Ganda ng Ating Musika didn't just launch Mr. C on his now much-garlanded career. With its distinctive, symphonic opening fanfare, its sense of surging pride and modern energy, it seemed to herald, too, the flowering of Original Pilipino Music in the '70s, such that the song became, in time, the unofficial anthem of OPM. Anyone who knows local music will not mistake Mr. C's signature hit for any other; those grand, crashing notes in the beginning, announcing the arrival of a bold new voice in the Philippine creative firmament, should now also stand for the indispensable imprint and legacy Mr. C has wrought on his country's musical soul.

Here, from Music Man at 50--a reworked Kay Ganda ng Ating Musika, performed by Sam Concepcion (yes, that's him), Topper Fabregas, JM Rodriguez, 92 AD and Hajji Alejandro himself. First time ever on YouTube--enjoy.

Powerhouse cast for Dulaang UP's upcoming The Forsaken House, directed by Tony Mabesa

noreply@blogger.com (gibbs cadiz) — Tue, 03 Jan 2012 14:22:00 +0000

In celebration of National Artist for Theater Wilfrido Ma. Guerrero’s birth centennial and to cap its 36th Season, Dulaang UP presents one of Guerrero's most celebrated works, "The Forsaken House," to be directed by Tony Mabesa.

The play stars theater luminaries Irma Adlawan, Tess Dumpit, Leo Rialp, Ces Quesada, Espie Tinio-Garcellano, Menggie Cobarrubias and Joel Lamangan, together with the Dulaang UP ensemble and some of today’s most promising young theater actors.

Early 1940s. The Philippines is starting to gain more independence and power. It is opening its doors to new ideas. Its culture and tradition are diversifying.

But not in Don Ramon’s household. While many Filipino families of the time embrace change, Don Ramon maintains a severe hold on his family, especially his children. He forbids them from going out with friends, yet does not welcome the idea of entertaining visitors at home. He distrusts their peers and dictates what they can and cannot do in life.

Though having only his children’s best interests at heart, his unyielding will to wield control over their lives spur a series of events that leads him and his family spiraling towards an ominous fate, in unexpected and heartbreaking ways.

"The Forsaken House" runs February 15-March 4, 2012, at the Wilfrido Ma. Guerrero Theater, UP Diliman. For inquiries, contact Cherry Bong Edralin 0917-7500107 or the DUP Office 9261349.

A plea, a challenge, a pledge

noreply@blogger.com (gibbs cadiz) — Thu, 29 Dec 2011 22:21:00 +0000

“Nasaan ang kabataang naglalaan ng magagandang sandali, ng kanilang mga pangarap at kasiglahan alang-alang sa ikabubuti ng kanilang bayan? Saan naroon ang handang magpakamatay upang hugasan ng dugo ang napakaraming pagkakasala? Upang karapatdapat ang pagpapakasakit ito’y kailangang malinis at busilak. Nasaan ang kabataang may lakas na tumanan na sa aming mga ugat, ng kalinisan ng diwa na narumihan na sa amin, ng apoy ng sigla na patay na sa aming puso? O kabataan, kayo’y aming hinihintay!” -- Padre Florentino, in Jose Rizal's El Filibusterismo

On Rizal Day, and for the coming New Year, two songs we ought to hear more often--and sing, with every word a stab in the heart.

Tanghalang Pilipino restages four Virgin Labfest plays in Eyeball: New Visions in Philippine Theater

noreply@blogger.com (gibbs cadiz) — Tue, 27 Dec 2011 11:23:00 +0000

Jonathan Tadioan, Crispin Pineda and Riki Benedicto in in the 2009 VL production of Layeta Bucoy's “Doc Resureccion, Gagamutin ang Bayan,” directed by Tuxqs Rutaquio

Set B is composed of plays directed by the exceptional director Chris Millado. In Reuel Molina Aguila’s “Maliw,” five years after the forced disappearance of her eldest daughter, a mother confronts the question: How does one close a chapter still to be written? The play is set after her family celebrates her eldest daughter’s 30th birthday. This bittersweet play showcases brilliant acting by Sherry Lara, Spanky Manikan and TP Actors Company scholar Regina de Vera.

Bembol Roco and Gigi Escalante in the 2009 VL production of Reuel Molina Aguila’s “Maliw,”
directed by Edna Vida Froilan

“Isang Araw sa Karnabal” is Nick Pichay’s funny but poignant play about two former activists, both with missing loved ones, meeting again after a long time and attempting to mend broken ties. Sheenly Gener leads the cast, which includes Marco Viaña and Martha Comia.

The creative team includes Eric Cruz for the new set designs, Katsch Catoy for the lighting design, and TJ Ramos for the soundscape.

Regular ticket price is P600, with student and senior citizen discounts. For ticket reservation, booking of special performances and other information, call the TP office 8323661, 0920-9535381 or 0928-5518645. Contact the CCP Box Office at 8323704 and Ticketworld at 8919999 for ticket inquiries.

Defending the Caveman returns, part of proceeds to go to Sendong relief

noreply@blogger.com (gibbs cadiz) — Tue, 27 Dec 2011 11:00:00 +0000

"Defending The Caveman" will have a fourth rerun on Jan. 6, 7, 8, 13, 14, and 15, 2012, Fridays and Saturdays, 8 p.m., with Saturday and Sunday matinees at 3:30 p.m., at the Carlos P. Romulo Auditorium, fourth floor, RCBC Plaza, Sen. Gil Puyat Avenue cor. Ayala Avenue, Makati.

Joel Trinidad is glad to be back for this, his first foray into solo comedy. "Defending the Caveman," written by American standup comedian Rob Becker, is the longest running solo one-man show in Broadway history. It is a hilariously insightful play about the ways men and women relate, with couples said to roar with laughter and nudge each other as they recognize themselves being described in the play.

Directed by the tandem of Michael Williams and Cathy Azanza-Dy, "Defending the Caveman" is presented by CTE Productions and Theater Mogul, in cooperation with the San Miguel 632-BEER (2337) Home Delivery Service, with the special participation of Upstart Productions.

Part of the proceeds of the show will go to Typhoon Sendong relief efforts.

Tickets are at P1,200 for orchestra center, P1,000 for orchestra side and lodge, and P500 for balcony. Call Ticketworld at 8919999 or visit www.ticketworld.com.ph. SMS 0917-5378313, call 2150788, or e-mail cteshows@gmail.com to order tickets.

Visit CTE Productions on Facebook and follow @cteshows on twitter for updates.