Journey of Eros

Inception: Dream-within-a-dream-within-a-dream

noreply@blogger.com (Mach) — Wed, 21 Jul 2010 21:37:00 +0000

Mind-boggling and visually arresting, Christopher Nolan's Inception deals with the complexity of dreams and the subconscious. It centers on Cobbs (Leonardo de Caprio), a specialist in industrial espionage, who penetrates other people's dreams. Together with his cool gang of dream-walkers known as 'extractors', they try to persuade a young business tycoon (Cillian Murphy) to break up his father's wide conglomerate for the sake of global peace. Cobb's personal issues, however, put a crimp in their plan as her wife (Marion Cotillard) keeps on appearing in his dreams.

With its breathtaking cinematography, "Inception" is supposedly mind-blowing. But I was hardly blown away, if truth be told. Yes, it features fights that literally defy gravity and effects that are completely enthralling - that Parisian neighborhood ascending like a drawbridge is simply spellbinding. I find the film's take on dreams too literal and scientific. Maybe, I expected a Lynchian approach.

Keeping track of all the simultaneous realities intersecting and converging with dreams seems to be an impossible task. The film demands second viewing if you're intent on understanding its complicated subplots. It's intellectually provocative, no doubt about that, though it doesn't answer all the riddles. Not that it has to, but somehow it makes the film look like it's created mainly to be admired. I could imagine Nolan smirking while audience wrack their brains to solve a riddle that doesn't even exist.

Cinemalaya 2010 - A Cinematic Dialogue

noreply@blogger.com (Mach) — Wed, 07 Jul 2010 16:53:00 +0000

It's the time of the year when film enthusiasts flock the Cultural Center of the Philippines to witness new breed of films that mostly promise interesting and insightful stories. Now on its sixth year, the Cinemalaya Awards seeks to discover, encourage and honor cinematic works of Filipino filmmakers that boldly articulate and freely interpret the Filipino experience with fresh insight and artistic integrity. Let's take part in this exciting event and see for ourselves what these film auteurs have to offer.

REKRUT BY DANNY AÑONUEVO

What is the measure of true friendship? Jamir, a devout Muslim from Tawi-tawi, and Lando, a Christian raised in urban Cebu, are among an elite group of young recruits formed by military officers for a classified operation. These impressionable young men undergo intense and grueling training that will test their strength of character. Amidst the hardships, Jamir and Lando set aside their differences and become friends. But what happens when the institution they have sworn to protect becomes the wedge that will tear their brotherhood apart?

SI TECHIE, SI TEKNOBOY AT SI JUANAB by ARTHUR KATIPUNAN

Techie and Jay, both OFWs from Qatar, decide to come home for two weeks to get married. Unknown to Jay, Techie is nurturing a plan to meet her virtual lover, Teknoboy, before her wedding day. The story unfolds when Techie connives with her high school best friend, Juana, a TV writer turned struggling indie filmmaker, to be with Teknoboy. The two women journey through Pinoy cyber culture and its many facets — online romance, PSP addiction, Facebook reunion, hi-tech baptismal party, 3G doctor, digital wedding, cyber sex — in the process discovering many things about their lives, dreams and the society they live in. The evolution of cyber Pinoys and how relationships unfold in the middle of a hi-tech society form the core of this film.

VOX POPULI (SIYA ANG MAYOR KO) by DENNIS N. MARASIGAN follows a woman candidate for mayor in a small town on the last day of campaign. To ensure her win, she will need to secure the support of voters and financiers who may have varying, and even conflicting, desires and agendas.

SAMPAGUITA NATIONAL FLOWER by FRANCIS PASION is a film that chronicles the journey of the sampaguita flower from the time the buds are plucked in the province to the time they are sold in the city. The story is told by the children who are involved in the different stages of the journey.

MAGKAKAPATID by KIM HOMER GARCIA is a story about a family that drifted apart due to socio-economic differences. Three siblings, three narratives, one tragedy, wherein a brother kills his own brother, a father struggles to accept a daughter’s marriage, and a daughter who could not mourn. In a situation where even traditions can’t pull them together, a tragedy drags them together.

MAYOHAN by DAN VILLEGAS AND PAUL STA. ANA is set in Infanta, Quezon, where locals turn each of the 31 days of May into a charming honor not only to celebrate good harvest in their agricultural area, but also to pay tribute to the virginal virtues of Mary, mother of Christ.

LEAVING by IAN-DEAN S. LOREÑOS

Everything is changing, leaving, and returning. There is always a constant transience in this world. This is the premise of “THE LEAVING (離別)”, a raw representation of the social, moral, and cultural scenario of the new generation of “Tsinoys”. THE LEAVING (離別) sets in a neo-Chinatown in Manila where the “Tsinoys” (Filipino-Chinese) struggle with the diminishing of their culture. We follow three intertwining stories (MARTIN, The LOVER, WIFE) that leave elements on the other stories such that they are all connected.

LIMBUNAN by GUTIERREZ “TENG” MANGANSAKAN II captures the ritual motions of the women in a family preparing for the wedding of seventeen-year-old Ayesah who is betrothed to a man she barely knows.

HALAW by SHERON DAYOC centers on an illiterate Badjao, Jahid and his 9-year-old daughter Daying as they illegally cross the border of the Philippines and Malaysia through the southern backdoor. Determined to reunite with his wife, he leaves behind everything they have in Jolo to search for his lost wife in Sabah where an uncertain future awaits him. He meets Hernand, who poses as a war photographer as he is drawn into the world of white slavery across the sea border. The two meet as they board the pump boat to the nearest Island of Sabah.

For schedules, go to: http://cinemalaya.org/competition.htm

Wake Me Up When October Ends

noreply@blogger.com (Mach) — Wed, 07 Jul 2010 16:29:00 +0000

It's an agony to wait for the first part of the last installment of "Harry Potter and the Deathly Hallows." Five more months to go.

My personal review of the novel here.

Fully Booked's Book Grab Contest

noreply@blogger.com (Mach) — Wed, 07 Jul 2010 15:27:00 +0000

Are you a book grabber? Then Fully Booked's Book Grab Contest must be for you. Five lucky contestants will be given a chance to race inside the store and grab as many books as they want!

For more details about this exciting activity, click HERE

God Knows Hudas Not Pay

noreply@blogger.com (Mach) — Wed, 07 Jul 2010 14:24:00 +0000

It's 3am and the city's beginning to stir. I glanced at my wristwatch almost impatiently. The jeepney's barely occupied. Tapping my fingers, I tried my best to convey my message to the driver who was busy calling out for passengers - we should get going, it's getting late. Predictably, he looked unperturbed. I made some clucking noise while shaking my head in frustration. After what felt like eternity, he finally decided to start up the engine. People began to hand out their fare.

If there's one thing jeepney drivers are really good at, it's multitasking. Sometimes I imagine myself in their stead, taking charge of the wheels while attending the passengers' fares, watching out for traffic lights and potential passengers along the way at the same time. That's just too confusing. I guess we really should take it easy if they sometimes give us incorrect change, or drop us at the wrong street corner or if they play their music too loud or charge passengers fees much higher than the usual fare - oh wait, maybe the latter's just unforgivable.

It's just wrong and unfair. I've been paying 12.00 from Guadalupe to Angel Linao along Quirino Avenue so when this burly driver told me it's one peso short, I went ballistic - well almost. I gave out my spiel - Manong, araw-araw akong sumasakay, dose lang binabayad ko. But of course, he wouldn't listen. A man his size will not cower down obviously. Kulang ng piso. My first instinct was to get off from his effing jeepney but I've waited almost half an hour already and there were no other vehicles that passed by with the same route. So I indignantly shoved the one peso coin at his stubby hand, muttering "There's really something wrong with you" under my breath.

I shouldn't make it a big deal. Piso lang naman yun. But it's the driver's dishonestly that got into my nerves. I wasn't the only victim of his exorbitant fare (oh yeah, that sounds like a slogan in a school rally). Some lady had the same sentiment but unlike me, she was brave enough to stand up for her right, took her money back and got off the jeepney.

Eclipsed

noreply@blogger.com (Mach) — Wed, 07 Jul 2010 13:38:00 +0000

1. As with the previous installment, "Eclipse" is teeming with dialogues that are cringe-worthy and that might have only worked on paper, but not at all when people actually speak them. Especially if recited by Bella.

2. Apart from the cinematography, there's another improvement worth mentioning: the vampires no longer look like human espasol. Their skins are now devoid of talc. The make-up artists have done an excellent job. But then again, it could also be because we're used to seeing them so white that we no longer notice their abnormally powdery white faces.

3. I almost cheered when I saw Anna Kendrick early in the movie. I expected George Clooney to appear somewhere.

4. I actually enjoyed some lines. The most funny one for me is Jacob's "Face it, (talking to Edward) I’m much hotter than you.”

5. I'll trade Bella and Edward's high harlequin romance for the interesting love triangle of Elena, Damon and Stefan any day.

6. I'm no expert when it comes to vampires but don't they hide from the daylight? In Sookie Stackhouse series (and even in the defunct "Moonlight"), they still sleep during daytime. In "The Vampire Diaries", they wear rings that protect them from sunlight. In Stephenie Meyer's, they just glow. Weh?

7. I didn't know that you could easily break a vampire's head which turns into an icy rock. The Cullen-Wolves team should have thrown stones at them. Makes their job a lot easier.

8. But I learned something in the film: Don't be scared to make mistakes (or something to that effect) - as spoken by Jessica (Anna Kendrick) in her graduation speech. And no one makes a career by studying Philosophy.

Poseur Daw ang Blog na Ito

noreply@blogger.com (Mach) — Sat, 03 Jul 2010 17:26:00 +0000

Nagpanting ang tenga ko nang mabasa ko ang komento sa shoutbox ng blog ko. Poseur daw ang blog ko. Ilang minuto rin akong hindi naka-imik. "ang poseur lang ng blog. kala sigur, pandisplay lang ang cultural capital. feeling cool. wala namang laman." Pinag-isipan ko kung bakit nasabi ng nag-iwan ng komento ang masakit na paratang na iyon. Ano ang ibig niyang sabihin ng "pandisplay lang ang cultural capital"? Nakakatawang isipin na puwede kang maapektuhan nang bonggang-bongga sa isang anonymous na komento. Baka isang kakilala lang na nangti-trip. Hindi rin. Sabi ng kaibigan ko, inggit lang daw 'yun. Or iba lang ang depinisyon niya ng laman. Baka naghahanap lang ng academe-type of depth. Nag-e-expect ng -isms. Baka nga. Siguro.

Ako naman itong mahina ang EQ na kaagad na nagmuni-muni. Talaga bang poseur itong blog ko? Sabi sa dictionary.com, "poseur" refers to "a person who habitually pretends to be something he is not." Ano naman ang pini-pretend ko? Eh talaga namang gusto ko ang mga pelikulang naka-plaster sa blog page ko. Eh yung mga post ko naman, rebyu lang ng mga dula, libro at pelikulang nabasa ko. At iyong ibang entries ay updates at announcements ng mga art scenes sa Maynila, para na rin sa sarili kong reperensya. Ganito naman ang pakahulugan ng 'poseur' sa wikipedia - "a person who adopts the dress, speech, and/or mannerisms of a group or subculture, generally for attaining acceptability within the group, yet who is deemed to not share or understand the values or philosophy of the subculture."

Wala naman ang akong ina-adopt na kahit ano. Personal na rebyu ko lang naman ang mga naka-post rito. Ni hindi rin ako nakikiusap sa ibang blog na i-link itong blog ko sa blog nila. At hindi ko intensyon na makisali sa anumang grupo. Mahilig akong manood ng teatro, at hangga't may pagkakataon, iniimbitahan ko ang mga kakilala ko na manood. Kahit papaano'y may alam rin ako sa kultura dahil ito ang undergrad ko sa UP.

Bakit ko ba ito ginagawa? Bakit ko kailangang i-explain ang sarili ko sa isang duwag na komentong walang balls na ipakilala ang identity niya? Patuloy akong magsusulat ng mga rebyu ng dulang napanood ko dahil gusto kong gawin ito. Tama ang kaibigan ko, minsan talaga di nating maiwasan na malubog sa trip ng iba. Pero ang dapat lang isaisip, yung trip ba ng iba trip mo talaga in the first place, o nakikitrip ka lang. Ke trip ba nila o hindi, trip mo pa rin ba? Self-identity lang siguro.

Trip kong gawin ito, at malaya kong magagawa at gawin ang gusto ko.

Virgin Labfest Theater Review 2010: Mga Dulang Makasalanan

noreply@blogger.com (Mach) — Sat, 03 Jul 2010 16:34:00 +0000

Dalawang dahilan kung bakit paborito ko ang set ng Pecado Mortal sa Virgin Labfest - mapapaisip ka sa mga dula, (thought-provoking sa ibang sabi) at maayos at masinop ang karamihan sa produksyon. May pagkaselan ang temang tinatalakay ng lahat ng dula pero dahil sa swabeng pag-atake ng mandudula, walang lugar ang panghuhusga. Isa marahil sa pinakamabuting epekto ng mga dula sa manonood ay ang kakayahan nitong magpresenta ng ideyang pag-iisipan mo pagkatapos. Dito'y nagtagumpay ang pangtatanghal, dahil ang teatro'y medyum ng realisasyon at pagkamulat.

Sa SUOR CLARA ni Floy Quintos, na kanya ring idinerehe, nagpe-presenta ng interesanteng tanong ang mandudula: ano kaya ang nangyari kay Maria Clara bente taon pagkatapos silang maghiwalay ni Ibarra? Isang mapaghamong posibilidad ang nalikha ni G. Quintos na halaw sa tanyag na nobela ni Jose Rizal. Matagumpay na nailahad ang panahon at lunan ng dula sa pamamagitan ng diyalogo ng dalawang tauhan: sina Padre Salvi (Ronan Capinding) at Suor Clara (Frances Makil Ignacio). Parang sekretong unti-unting nababalatan. Muling pinatunayan ni Quintos na gamay niya ang naratibo pagdating sa dula. Noong nakaraang taon, nahumaling rin tayo sa dula niyang "Ang Kalungkutan ng Reyna."

Gayunpaman, may ilang matingkad na kahinaan ang mapapansin sa produksyon. Una ay ang set design. Hindi ito teatrikal at tila wala sa ayos. Random ang pagkaayos ng mga props. Kumbaga sa painting ay kulang sa volume, o kaya nama'y hindi nagtutugma ang bigat ng pagkakaayos ng mga gamit. Hindi mo rin gaanong mararamdaman na sila'y nasa loob ng kumbento. Tago ang relasyon nina Padre Salvi at Maria Clara, na maaaring ma-emphasize sa paggamit ng ilaw, pero hindi nagamit sa disenyong pang-ilaw ang aspektong ito. Maituturing rin na kahinaan ang performance ni Capinding bilang Padre Salvi. Sa kasamaang palad, hindi niya nai-transform ang karakter sa intensity na hinihingi nito. Sa mga eksenang nagdi-demand ng authority at vulnerability, na-reduce ang performance ni Capinding sa exaperation at pagsigaw.

Istorya rin at script ang kalakasan ng ikalawang dula - ang PACKAGE COUNTER ni Iza Borlaza sa direksyon ni Hazel Gutierez. Tinatanong nito ang moral na posibilidad sa isang tila payak na sitwasyon. Ang sitwasyon ay ang pagkakadiskubre sa isang bag (na naglalaman ng fetus) ng dalawang crew workers sa isang department store. Pero hindi naka-pokus ang dula sa aborsyon. Pinagtatalunan nina Don at Lito kung ano ang gagawin sa bag. Ang suhestiyon ng isa sa kanila ay iwanan ang bag, na siya ngang ginawa nila pagkatapos ng mahaba-habng pagtatalo. Gayunpaman, bago maglamlam ang ilaw sa entablado, makikita nating palihim na binalikan ni Lito ang bag. Maiintindihan natin kung bakit niya ito ginawa, dahil sa bandang gitnang bahagi ng dula, kapansin-pansin ang uneasiness ni Lito, na para bang may direkta siyang koneksyon sa fetus.

Kagaya ng naunang dula, may ilan ring kapuna-puna sa "Package Counter." Tila hindi na-sustain ang epekto ng umaalingasaw na amoy ng bag. Nawala ang pagtatakip nila ng ilong. Sa isang banda, maaari ring isipin na hindi na talaga nila ito mapapansin dahil pre-occupied na ang kanila utak kung ano ang gagawin sa fetus. Isa pang puna: pagkatapos 'maduguan' ang kamay ni Don, nagtatatakbo siya't nagmumura pero parang nakalimutan niyang maghugas ng kamay. Ang unang reaksyon marahil ng kahit sinong tao sa ganoong sitwasyon ay ang maghugas ng kamay. Hindi na siguro esenyal ang mga nabanggit na puna, kaya lang bahagi pa rin ito ng skrip, na kapag may lohikang nasagi, naku-kompromiso rin ang kabuuan ng dula.

Sa tatlo, pinakapaborito ko ang MATYAG nina Maynard Manansala, UZ Eliserio at Chuckberry Pascual. Tunay kang mapapaisip sa dula. Pag-iisipan mo't titimbangin ang moralidad. Justified ba ang ginagawa ng tatay sa anak nitong babae? May pagka-sensitibo ang temang tinatalakay sa dulang "Matyag" - tungkol sa sekswal na relasyon ng magtatay. Incest.

Nagre-record ang tatay (Randy Villarama) at ang anak niyang babae (Isab Martinez) ng video na ipapadala nila sa nanay na nagtatrabaho sa ibang bansa. Habang ginagawa nila ito, unti-unti nating malalaman na sexually attracted ang tatay sa anak nito. Pero pagdaka'y mare-realize rin natin na tila hindi niya ito kasalanan dahil wala ang asawa niya, at nade-demonyohan ang utak niya ng alkohol. Kaya't nang dumating ang sexual outlet niya, si Jenjen (Mayen Estanero), napahinga ng maluwag si Daddy (tayo na rin), hindi natin masisisi ang tatay kung bakit siya nambababae. At pagkatapos itong paalisin ng anak dahil sa selos, muli tayong ginupo ng pangamba sa kung ano'ng posibleng mangyari.

Dalawang lebel ng pagseselos ng anak ang maaari nating ma-extract sa dula - selos sa atensyon ng ama bilang anak, at selos dahil may kaagaw siya sa ama sa kanilang ipinagbabawal na laro. Walang takot na ginampanan ni Isab Martinez ang papel ng batang babae. Nakakabilib at nakakatakot ang kainosentehan at tantrums niya. Sa huling eksena ng dula, habang iginigiya ng anak ang tatay niya patungong kuwarto nila para 'maglaro', natakot tayo para sa tatay sa posibleng mangyari.

Virgin Labfest 2010 Theater Review: Pas de Deux

noreply@blogger.com (Mach) — Tue, 29 Jun 2010 08:58:00 +0000

Ganito ko ilalarawan ang ikalawang set (Pas de Deux) ng Virgin Labfest: kapos na pagtatalik. Hindi akmang metapora dahil walang kinalaman sa seks ang alinman sa mga dulang kasali sa set

pero ito ang pinakamalapit na paghahambing na naisip ko kaagad. Ayos naman talaga ang foreplay. Suwabe ang mga haplos. Kaya lang pagdating na sa sukdulan, parang bombilyang nawalan ng ilaw ang bawat dula. Nangapa ako sa dilim: tuliro at disappointed.

Katulad na lang ng HIGIT PA DITO ni Allan Lopez sa direksyon ni Tuxqs Rutaquio - nakakaantig ang dula, walang duda, lalo na't epektibo ang pagsasabuhay sa dalawang karakter na ginampanan nina Mailes Kanapi at Cris Pasturan, subalit sa huling eksena nang tumugtog ng piano si Bing at namatay ang ilaw, nagblack-out rin ang utak ko. Gusto kong sabihing "Teka muna, sandali lang. Hindi ko gets, pwedeng pakiulit?" Nai-imagine ko ang mga reaksyon nina G. Lopez at Rutaquio. Sasabihin nila sa 'kin: "Excuse me, problema mo na 'yan."

Ang totoo'y madali lang naman talagang sundan ang dula. Ang kwento'y tungkol sa inang nagdesisyong bumukod sa mga anak niya pero mayroong pag-aalinlangan. Sa gabi ng kanyang paglipat, tinulungan siya ng kanyang anak para mag-ayos ng gamit at para ayusin na rin ang sarili niya.

Maituturing na 'departure from old tradition' ang script ni Allan Lopez. Dati kasi, ang mga dula niya'y hindi pangkaraniwan at may pagka-experimental na nagreresulta madalas sa negatibong pagtanggap ng manonood. May pagka-literary, intelektuwal at hindi mainstream ang istorya ng HIGIT PA DITO pero pamilyar. Melancholic. Pamilyar rin ang mga karakter lalo na ang ina - quirky at suicidal na para bang nagmula sa nobela ni Haruki Murakami. Ang pamilyaridad na ito ay nakatulong nang malaki para epektibong kumonekta sa manonood ang emosyon ng dalawang tauhan. Sa palitan nila ng dialogue, sa pagitan ng katahimikan, mararamdaman mo ang bigat ng kanilang dinadala. Kung emosyonal ka, hindi na nakapagtatakang maantig ka't maluluha.

Malayo naman sa pagiging melodramatic ang COLLECTOR'S ITEM ni Juliene Mendoza sa ilalim

ng direksyon ni Roobak Valle. Sa katunaya'y nakakatawa ang ikalawang dula. Nakakatawang nakakatakot. Ang nakakatakot na aspekto ng dula ay kaagad na nailahad sa simula ng produksyon, na para bang senyal sa manonood na may hindi magandang mangyayari.

Nakakatawa ang huntahan ng dalawang tauhan: dalawang magkaibigang nagkita pagkatapos ng mahaba-habang panahon. Isang nerdy toy collector (Santiago na ginampanan ni Lorenz Martinez) at ang kaibigan niyang chickboy (Carlos, George de Jesus) noong college. Pinagtatawan ng chickboy ang nerd na kaibigan sa kakaiba nitong fascination sa mga toys. Klaro ang karakterisasyon ng dalawa - maliwanag ang tunggalian na sanhi ng magkasalungat nilang katangian. Si Chickboy, hitik sa mura kung magsalita, samantalang si toy collector, may pagka-uptight at anti-social. Gayunpaman, may isang common denominator na nag-uugnay sa kanila - si Lana. May mga rebelasyong lumantad at mga damdaming napukaw. Mapanganib na paglalakbay sa nakaraan ang larong pinagsasaluhan ng dalawa.

Sa tatlong dula, pinakapaborito ko ang set design ng COLLECTOR'S ITEM. Malinis, pino, relevant at functional. Pakiramdam mo'y nasa isa kang magarang condo. Na-inhabit na rin ni Lorenz Martinez ang condo pad, tila pag-aari niya talaga ang lugar. Kung kaya't nang ilipat ni chickboy ang isa sa mga furniture niya, naintindihan natin kung bakit siya nagwala.

Nawawala ang anak ng mag-asawang Obet (Jojit Lorenzo) at Mercy (Cai Cortez) sa dulang ONDOY ni Remi Velasco. Nasa bubungan sila ng kanilang bahay, naghihintay na may sumagip sa kanila mula sa baha. Naiwan sa kung saang bahay ang anak nilang si JanJan. Tanging ang magagawa ng dalawa ay mag-alala kung ano ang kalagayan ni JanJan.

Walang dudang epektibo at magaling ang performance ng parehong aktor. Kapani-paniwala si Jojit Lorenzo bilang mapasensyosong asawa, gayundin si Cai Cortez bilang Mercy - ang asawang buntis na panay ang bulyaw at sisi kay Obet. Kapani-paniwala rin ang ayos nila na mukhang basang-basa ng ulan (salamat sa langis). Gamit lamang ang rooftop bilang setting, napaniwala ng set design na nasa bubungan nga sila, at sa ibaba ay ang nakakatakot na baha. Maging ang sound design (tunog ng ulan, kulog at kidlat, helicopter) ay akma rin at nakatulong para lalong maging kapani-paniwala ang setting.

Mahusay sa kung mahusay ang dula, pero may kung anong kulang sa script nito. Sa madaling sabi'y mahirap mabatid kung ano ba talaga ang puntong ibig iparating ng manunulat: ang kalunos-lunos na kaganapang dulot ng bagyong Ondoy o ang tipikal na kalagayan ng mga Pilipino (kahirapan, ang pagpupunyaging maiahon ang pamilya sa pamamagitan ng pangingibang bansa) ? Anu't-ano pa man, tila kasing kulimlim ng panahon ang aspektong ito. Hindi tuloy maiwasang isipin ng manonood at ikumpara ang karanasan nila noong bagyo. Dito hindi nagtagumpay ang dula. Dahil kung tutuusin, hindi naman significant ang away-mag-asawa ng dalawang tauhan. Nagmumukha tuloy oblique ang pag-atake nito sa temang ibig ipahayag.

Umuwi akong basa ng ulan pero hindi luhaan. Naisip ko rin na kapag may pagkakataon, muli kong panonoorin ang set na ito dahil baka sa susunod, hindi na kapos ang karanasan ko.

Mapapanood pa ang Pas de Deux sa JULY 3 (SAT): 8PM; JULY 4 (SUN): 3PM

Virgin Labfest 2010 Theater Review: Pirasong Paraiso

noreply@blogger.com (Mach) — Mon, 28 Jun 2010 12:40:00 +0000

Bertdey ng kasamahan ko sa trabaho noong isang araw, Hunyo 22. Naisip kong ilibre siya ng isang tiket sa Virgin Labfest, bilang regalo kahit hindi kami masyadong close. Magandang oportunidad para ma-divirginized siya sa teatro. Mahilig raw kasi sa arts itong office mate ko. Nang ikuwento ko sa kanya ang tungkol sa Virgin Labfest at ipinakita ang line-up ng mga kasaling dula, nagpakita siya ng interes. Lalo na sa Pink Pestibal set! Natuwa ako dahil mukhang may mare-recruit na naman ako sa panonood ngayong taon. Bihira kasi ang mga taong nakakasalamuha ko na may interes sa teatro.

Kaya lang nang i-remind ko siya tungkol sa Labfest, aba, biglang nag-iba ang ihip ng hangin. Madaming excuses. In short, magba-back out. Pero gusto pa rin daw niya panoorin ang Equus dahil mahilig raw talaga siya sa teatro.

Ako nama'y may tendency maging patola paminsan-minsan. Pabiro ko siyang tinanong nang "Ano nang play ang napanood mo?" nang may kasamang ngiti. Yung beatific at kunyari'y sincere. Sumagot naman si officemate. "Uhm..."

Ayos lang naman sa akin kahit hindi manood si officemate. Masaya pa rin ako kahit papaano na may interes siya sa teatro. Sa katunayan nga eh nilibre ko pa siya sa TokyoTokyo. Sabi niya'y gusto niyang panoorin ang Pink Pestibal. Okay, sure.

Pero sana, inilibre ko na lang siya. Nalaman niya marahil kung BAKIT WALA NANG NAGTATAGPO SA PHILCOA OBERPAS o kung ano ang koneksyon ng BALUNBALUNAN sa BINGIBINGIHAN o kung ang lalaki at si ISAGANI ay iisa lamang.

Sa isang banda, may palagay ako na hindi niya magugustuhan ang unang set na pinamagatang PARIAH PARAISO. May pagka-boring kasi ang karamihan sa mga dula. Feeling ko'y aantukin si office mate unang dula pa lang - yung ISAGANI. Carry lang siguro sa kanya ang mga naunang eksena lalo na nang pumasok ang bida pagkatapos ng murahan at sigawan sa background. Matutuwa rin siya marahil sa pagpapatawa nito. Sasabihin ko sa kanya na "Mas magaling ka pang manggaya kesa sa kanya." Siyempre, matutuwa siya't matatawa.

Totoo iyon. Na mas magaling pa si officemate manggaya ng persona kesa kay John San Antonio na gumanap bilang Isagani sa dulang isinulat ni Alex Yasuda. Ewan ko ba, hindi pumatok sa 'kin yung pagpapatawa ni Isagani sa panggagaya sa mga pulitiko. Hindi ko lang siguro nakuha kung sino ang ginagaya niya. Konti lang din ang tumawa kaya napahinga ako nang maluwag, dahil hindi ako ang me problema.

Ang problema sa dulang Isagani ay may pagka-melodramatic ito. Ang mga linya at litanya'y

katunog ng napapanood sa teleserye sa TV. Eh allergic pa naman ang karamihan dito. Kaya pakiramdam ko eh nanonood ako ng TV. Mahirap ding sundan ang takbo ng naratibo. Ang totoo'y hindi ko alam kung paano'ng nagtapos ang dula. Gaano man kasi kasaklap ang nangyari kay Isagani, mahirap maka-connect sa pinagdaanan niya, kaya kahit na ngumawa pa siya nang malakas, nanatiling bingi ang kamalayan ko.

Bingi-bingihan. Iyan naman ang laro ni Gilbeys sa ikalawang dula na isinulat ni Debbie Tan at idinerehe ni Issa Lopez - BALUNBALUNAN, BINGIBINGIHAN. Madalas, nagkukunwa siyang walang naririnig kapag kinakausap siya ng kinakasama niya sa bahay, si Brandy, na mas bata sa kanya nang halos 20 taon. Gabi-gabi, inuuwian siya ng balunbalunan dahil ito lang ang kayang sikmurahin ng tiyan niya.

Kumpara sa naunang dula, medyo magulo ang set ng BALUNBALUNAN, na bumagay naman sa kabuuang atmospera ng entablado. Sa may looban o squatters' area nakatira sina Gilbeys at Brandy kung kaya't maliit at masikip ang lungga nila. Nagkalat rin ang iba't-ibang klase ng costumes - mga gamit ni Brandy sa kumplikado nitong trabaho. Halos minu-minuto siya nagpapalit at walang pag-aalinlangan si Missy Maramara sa aspektong ito na para bang kampanteng-kampante siya sa kanyang katawan. Kahit batikang aktor ang kasama niya (si Bembol Roco bilang Gilbeys), hindi siya kakakitaan ng timidity o pagkailang. Patok rin ang mga punchlines niya.

Gayong nagampanan naman ni PJ Paule bilang Whiskey ang papel niya, hindi pa rin iyon sapat para lumibel kina Maramara at Roco. Sa ibang sabi'y tila miscast siya sa dula. Hindi ko maiwasang maisip si Ryan Neil Sesse sa Orfeo sa Impyerno kapag nasa eksena si Whiskey. Bagay kasi kay Sesse ang role, at halos katulad rin ng Orfeo ang pagsali niya sa buhay ng mag-asawa.

Alam nating hindi matitinag ang dalawa sa pangingialam at panunukso ni Whiskey kay Brandy dahil, sabi sa synopsis (na kababasa ko lang bago magsimula ang dula), malalim ang pinagsamahan ng magkapareha. (Masyadong madetalye ang mga synopsis sa programme, nawawala ang misteryo ng ilang dula) Sa huli'y hindi na ako nagtaka nang lulamlam ang ilaw ng tanghalan habang sila'y mahigpit na magyakap.

Maliwanag ang ilaw sa produksyon ng BAKIT WALA NANG NAGTATAGPO SA PHILCOA OBERPAS mula sa panulat ni Carlo Garcia sa ilalim ng direksyon ni Riki Benedicto. Hindi ko tuloy maiwasang i-imagine ang Philcoa overpass kung gabi. Ganoon ba kaliwanag sa bahaging iyon ng lungsod?

Madaling sundan ang kaganapan sa dula. Mukhang simple lang naman kasi ang nangyayari. May magkasintahang nagka-debelopan sa chat at text ang mag-a-eyeball sa oberpas. Muli, hindi mo maiiwasang magtanong. Posible pa kaya ang ganitong set-up sa kasalukuyan? Nasagot naman ito ng script ni Garcia. Si Lalaki ay adventurous, at mukhang game naman si Babae.

Nang ma-resolve ang conflict, muli ka ring magtatanong - Yun na yun? Kasunod niyon ay panghihinayang. At least, sa kaso ko. Pakiramdam ko kasi'y pinangakuan ako ng bonggang-bongga tapos iyon lang pala iyon? Pero in fairness, bibo ang direksyon ni Benedicto. Kung pamilyar ka sa Philcoa oberpas, hindi ka mag-aalinlangang tanggapin na doon nga ang lokasyon ng dula. Ang hindi ko lang maintidihan ay ang mga song-and-dance number na tila ambong pabugso-bugso sa pagitan ng mga eksena. Pasulpot-sulpot rin ang ilang ekstra. Pero ewan ko, hindi ako masyadong natuwa sa kanila. Para kasing naglalaro lang sila sa set.

Kapag ikukuwento ko ang lahat ng ito kay office mate, sana'y tumindi ang interes niya na manood. Pero hindi ko isasali ang mga reaksyon ko, dahil may karapatan siya sa sarili niyang opinyon.

Mammoth - The Family That Doesn't Pray Together

noreply@blogger.com (Mach) — Fri, 27 Nov 2009 01:58:00 +0000

Mammoth, which stars Michelle Williams (Brokeback Mountain) and Gael Garcia Bernal (Y Tu Mama Tambien), is about connection and disconnection. Its clean, pleasing and panoramic cinematography is deceiving - it hides the characters' guilt, fear and desire.

Leo (Bernal) goes to Thailand for a business trip, which sets off a chain of events that impact the rest of the family, including Gloria (Marife Necesito) - a Filipino nanny who left her own children in the Philippines. Her boys plead - Nanay, umuwi na kayo... but Gloria explains that she must make money so they can go to school.

Meanwhile, the kid she feeds, dresses and tenderly cuddles gets much closer to her, which fears the mother (Williams). So she advises Gloria to somehow keep some distance, which of course, hurts the nanny. In Thailand, Leo keeps himself distant from temptation but eventually gives in to a prostitute. The prostitute, in turns out, has also left her own child.

In the end, the families get reunited but nothing will never be the same again.

Adventureland, Not a Usual Coming-of-Age Film

noreply@blogger.com (Mach) — Mon, 23 Nov 2009 00:24:00 +0000

Adventureland is tender, sweet and more importantly intelligent. Not because its hero, the gangly and nerdy James played with sensitivity by James Eisenberg, is an intellectual with a literary bent, or his pal has a certain fondness for Gogol.

Greg Motolla, who also directed Superbad, treats his characters with much respect and maturity. Most of Jame's friends are considerably weird but they're charming and very human - they're not just there as props for silly antics or cheap humor.

I have to say that after watching the film, I've high respect now for Kristen Stewart, who plays Em here, a moody NYU student secretly involved with Connel (Ryan Reynolds), married maintenance guy in Adventureland, a small, sad amusement park. Stewart (yes, the famous Bella in Twilight and New Moon) knows how to act, her facial expression and delivery provide just the right moods and response.

Did I mention that the movie's sweet, charming and intelligent? One of the best movies I've seen this year.

Haruki Murakami at ang mga Nagsasalitang Pusa

noreply@blogger.com (Mach) — Mon, 23 Nov 2009 00:22:00 +0000

Brown-out noong Linggo ng matapos kong basahin ang "Kafka on the Shore" ni Haruki Murakami. Matagal-tagal na rin akong hindi nakakapagbasa ng libro. Kapag gusto kong magbasa, kahit anong volume ng Harry Potter ang binabasa ko, o kaya Fudge series ni Judy Blume. Minsan, kapag mabigat ang librong binabasa ko, sumasama ang tiyan ko. Ang labo, di ba? Di ko alam kung bakit. Hindi ko mahanapan ng koneksyon.

Iyan ang hinanap ko sa "Kafka on the Shore" ni Murakami. Koneksyon. Medyo disjunct kasi ang exposition ng nobela. Isang tin-edyer na lalaki, si Kafka Tamura, na naglayas sa kanila para hanapin ang nawawalang kapatid at ina. Sa pagitan ng first-person-point-of-view niya, me nangyari dati sa World War 2 Japan kung saan ay isang grupo na mga bata ang nag-field trip sa bundok at biglang nawalan ng malay. Pagkatapos, ipinakilala si Nakata, isang matandang lalaking may kahinaan ang utak pero nakakapag-usap sa mga pusa. May katagalan rin bago mo makikita ang koneksyon ng dalawang karakter na ito.

Siguro sanay lang talaga tayo, o ako, na palaging naghahanap ng koneksyon, ng relevance, ng importance kasi madalas, ito ang nagbibigay ng kahulugan sa isang bagay o pangyayari.

Noon ko pa gustong subukan si Murakami pero feeling ko dati, di pa ako ready sa style niya.

Kung di ka pamilyar sa magic-realism, matatawa ka sa nobelang ito. Pero magaling si Murakami, swabe ang paghandle niya ng naratibo. Mapapaniwala ka na nakakapagsalita ang mga pusa at normal lang ang pagbagsak ng sangkaterbang isda mula sa langit. Unusual ang mga tauhan, pero madali silang kagaanan ng loob. Si Nakata halimbawa ay mahina ang pag-iisip, pero masarap siyang kausap. Inosente at kapares nina Gollum at Dobby kung magsalita. "I'm sorry, but Nakata is hungry. I need to eat."

Ang kaibahan marahil ni Murakami sa mga nobela ni Gabriel Garcia Marquez, pinakakilalang writer ng magic realism, ay moderno ang setting niya. Pero hindi rin ako sure dito, kasi eto pa lang ang nababasa kong libro niya. Produkto ng kasalukuyang panahon si Kafka, mahilig sa emo music at conscious sa katawan (laging nag-gi-gym). Ang kaibahan niya sa ibang kabataan, kahanga-hanga ang fascination niya sa libro. Gusto niya laging magbasa. Hindi Kafka ang totoo niyang pangalan. Gawa-gawa lang niya ito dahil paborito niya si Franz Kafka.

Maraming references ang libro sa mga classic novels at musical compositions gayon din sa film. Nabanggit rito ang 400 Blows ni Trauffaut: "It's very quiet right? But it has persistent, inward moving spirit that's filled with a pliant, youthful sort of curiousity." At ang pinaka-prominent na tema ay ang Oedipal complex. Spoiler alert: Pinatay niya ang tatay niya at nakipag-sex siya sa nanay niya. Kaya naman masasabing modern Greek tragedy ang "Kafka on the Shore."

Medyo may pagka-meta-physical ang atake ng nobela. Dahil pinaghandaan ito ni Murakami simula pa lang ng naratibo, hindi mahirap lunukin ang inihahain niya sa bandang dulo. Nasa sa 'yo pa rin kung paano mo ito tatanggapin. Hindi ko pa masyadong gamay si Murakami, at palagay ko, kailangan ko pang magbasa ng iba pa niyang mga libro para lubos ko siyang maa-appreciate.

Kaya pag me pagkakataon, babasahin ko ang "Blind Willow, Sleeping Woman"

PAGKAMULAT SA PANAHON NG TAGSIBOL: Isang Rebyu ng "Spring Awakening"

noreply@blogger.com (Mach) — Mon, 19 Oct 2009 08:30:00 +0000

HINDI AKO PALATANONG na tao. Isang katotohanang minsan ding nagpakaba sa 'kin. Sabi kasi nila, senyales daw ng pagiging matalino ang palagiang pagtatanong. Hindi totoo 'yan dahil first honor naman ako mula grade one hanggang grade six, depensa ko sa sarili ko. Masyado akong mahiyain kahit noong bata pa lamang ako - na marahil ay produkto ng palagi kong pag-iisa. Ang madalas kong kasama ay mga pocketbook at komiks at mga lumang diyaryo na inuuwi ng mga pinsan ko galing Maynila. Ang mga tanong ko'y nakaimbak lang sa utak ko. Dito'y nagsisiksikan ang hindi mabilang na tandang pananong. Bukod sa nahihiya akong magtanong, wala akong maisip na taong maaaring sumagot sa mga bagay at pangyayari na hindi abot ng aking kamalayan. Ang mga tao sa nayong kinalakhan ko ay abala sa pagpapabuti ng kanilang mga buhay. Wala silang panahon para pag-isipan at pagnilayan ang mga bagay na hindi naman makakatulong sa pag-unlad.

Ang mga guro ay abala rin sa kani-kanilang buhay at palagay ko'y hindi nila masasagot ang mga tanong ko: Bakit hindi namin kasama si Tatay? Paano nila nasabing hindi ko nanay ang taong tinatawag kong mama? Bakit umiiba ang timbre ng boses ko? Bakit hindi ako mapalagay kapag nakakapanood ako ng mga eksenang senswal sa betamax? Bakit nakikiliti ako kapag nababasa ko ang mga vandalism sa pader ng boy's CR na nagpapatungkol sa sex?

Ang mga kaklase ko'y hindi ko rin magawang tanungin. Iniisip ko pa lang ang mga tanong na ito'y pinamumulahan na ako ng mukha! Ano na lamang ang iisipin nila? Parang hindi yata akma sa kagaya kong tahimik ang mag-isip ng mga ganoong bagay. Ni hindi ako sumasali sa kanila kapag pinag-uusapan na nila ang pagtutuli at ang unti-unting pagtubo ng mumunting buhok sa maselang bahagi ng kanilang katawan. Nakikinig lamang ako, at pagdating ko sa bahay ay inuusisa ko ang aking sarili. Bakit meron ding buhok na tumutubo rito?

Dahil hindi pa itinuturo sa elementarya o kaya sa unang taon sa hayskul ang tungkol sa reproductive system. Estranghero para sa mga kagaya kong kulang sa kaalaman ang mga pagbabago sa katawan na maagang nangyari. Mabuti na lamang, mas straightforward ang mga kaklase kong lalaki sa high school pagdating sa sex. Alam na nila kung ano ang bed-wetting, nakapanood na sila ng porn, marunong na silang magbate. At ang ilan sa kanila ay meron nang karanasan sa sex.

Noong simula'y nakakamangha ang ganitong rebelasyon pero sa huli'y mare-realize mo na bahagi lamang ito ng pagpapasikat ng mga kabataang lalaki na nasa estado ng pagbabago. Ang mga tanong ay nasasagot rin pala kahit hindi mo itinanong.

SI WENDLA AY HINDI ko kagaya. Bukod sa siya ay babae at isinilang sa panahong ang lipunan ay regulated ng moralidad, naipapahayag niya ang mga bagay na bumabagabag sa kanya. Paano nabubuntis ang tao? Isang simpleng tanong, kung tutuusin, pero big deal sa matatanda na para bang napakadelikado sa isang menor de edad ang magkaroon ng kaalaman tungkol sa sex. Kaya nang tanungin ni Wendla ang nanay niya kung paano nabuntis ang pinsan niya, wala itong maisagot na diretso sa kanya. Nang malaman ni Wendla na siyang nagdadalang tao, sinisi niya ang kanyang ina dahil hindi nito itinuro sa kanya kung paano nagagawa ang sanggol. At sinisisi natin sa tagpong ito ang nanay ni Wendla dahil kung sakaling naging totoo siya sa anak, hindi mabubuntis si Wendla.

Si Melchior ba ang dapat sisihin? Palagay ko'y hindi. Si Melchior ay katulad din ng ibang nagbibinata. Mapusok at may pagka-adventurous pagdating sa sex. Bukod sa malakas ang kanyang loob (at appeal), wala rin siyang pakialam sa social norms at kung ano ang iniisip ng tao sa kanya. Pero ang kaalaman niya sa sex ay mapanganib na ikinadulot ng kasawian ng pinakamalapit niyang kaibigang si Moritz at ang kasintahang si Wendla.

Marahil ay tama ang mga matatanda na ipagbawal ang sex sa mga kabataan dahil ito'y nakamamatay? Sa kabilang banda, kung maaga namang naipinamulat sa mga kabataang ito ang tungkol sa sex, maaaring hindi mauuwi sa trahedya ang lahat.

Hindi klaro sa aspektong ito ang Spring Awakening ni Frank Wedekind. Dalawang magkaibang ideya ang gusto niyang sabihin pero wala siyang eksaktong testamento kung alin ang higit na matimbang. Bilang indibidwal na nagdaan din sa pagkabata, peligroso ang sex. Nararapat lamang bang ipagbawal ang sex sa mga menor de edad?

Kung ano man ang politikang nais ipabatid ni Wedekind sa kanyang dula, nagtagumpay siya. Pero higit na nagtagumpay ang adaptasyon nina Duncan Sheik at Steven Sater. Naiangat nito ang dula sa mas mataas na artistic level na walang detalye o aspektong nakukompromiso. Kung nabubuhay pa ngayon si Wedekind, malamang ay hindi niya ikakahiya ang obra nina Sheik at Sater.

DALAWANG SOLIDONG DAHILAN kung bakit malakas ang appeal sa manonood ng Spring Awakening: una, tungkol ito sa sex. Itinuturing na overrated ang sex pero kapag ito na ang usapan, siguradong bebenta. Ikalawa, makapangyarihan ang musika - lahat ay pamilyar sa uring ito ng sining. At kung kaayaaya sa pandinig ang musika, kahit sino ay mapupukaw nito.

Ang musika sa Spring Awakening ay iyong tipo ng tunog na pamilyar, madaling sabayan at tandaan. Sabi sa "Six Degrees of Separation", "The imagination is not our escape, on the contrary, it is the place we are all trying to get to." Sa Spring Awakening, musika ang nagiging kaganapan ng saloobin at hinanakit ng mga kabataan. Sa pamamagitan ng awitin at tugtugin, naipapahayag nila ang kanilang mga sarili. Dito'y waring pinag-iisa ang kanilang mga hinaing. Dito'y nagkakaunawaan sila. Nakakapagmura sila nang walang pangamba dahil dito ay mistulang "Room of Requirement" sa Harry Potter - isang kuwarto na walang sinuman ang maaaring makapasok kundi sila-sila lamang. Off-limit ang mga matatanda. Sa musikal na ito, nagmukhang caricature at tableaux ang mga matatanda kapag tumutugtog na ang banda at inilalabas na ng mga kabataan ang kanilang mikropono. Sa totoong mundo, repressed sila ng lipunan pero dito para silang mga hayop na nakawala sa hawla - mabagsik at punong-puno ng enerhiya.

Naging mahalagang instrumento rin ang musika upang mapausad ang banghay ng dula - na isa sa pinakamainam na naiambag nina Sheik at Skater. Maging ang mga linya sa bawat kanta ay hindi tumiwalag sa istorya na nagpapatunay lamang ng respeto at pagpapahalaga nila sa awtor na si Wedekind.

SAFE MARAHIL ISIPIN na naging tapat rin ang direksyon ni Chari Arespacochaga sa Broadway version. Maaari ring isipin na ang pangunahing layunin ng produksyon ay upang dalhin sa Pilipinas ang musikal na nagtamasa ng maraming pangaral sa Tony, sekondaryo lamang siguro ang pagpapatunay na kaya ring makipagsabayan ng lokal na mga artista sa musikal.

Nang malaman ko noong nakaraang taon na magkakaroon ng lokal na produksyon ang Spring Awakening, labis-labis ang aking pasasalamat. Ilang taon na rin akong sumusubaybay sa mga Broadway shows sa pamamagitan ng pagbabasa ng reviews sa New York Times sa Internet at nang mabasa ko ang mga papuri ng mga kritiko sa musical, pinangarap ko na sana ay magkaroon din ng adaptation nito sa Maynila. Ang produksyong nakikinita ko dati ay lokal ang sensibilidad at oryentasyon. Marahil ay nasanay akong manood ng mga foreign plays na in-adapt sa Filipino. Gustong-gusto ko, halimbawa, ang "Orfeo sa Impiyerno" na halaw sa "Orpheus Descending" ni Tennessee Williams. Matagumpay na naisalin sa lokal na setting at sensibilidad. Ito ang lagi kong hinahanap kapag nanonood ako ng foreign play - ang Filipino sensibility na hindi ko makita, kahit na anong trace, sa Spring Awakening.

Irrelevant marahil para sa iba ang ganitong pagtingin pero sa palagay ko, mahalaga ang relevance ng isang ang dula (o musikal) sa pakikibagay nito sa Filipino experience dahil kung wala nito'y nanganganib na mahusgahan ang produksyon na isang payak na pagsasalin lamang. Sa isang banda, hindi rin fair ang ganitong uri ng kritisismo dahil disente ang adaptasyon ng Spring Awakening. Isang malaking ambag sa dulaang Pilipino ang pagpo-produce ng ganitong uri ng palabas na hindi accessible sa karamihan.

HINDI GAANONG ACCESSIBLE sa masa ang RCBC Theater, kung saan ipinalabas ang Spring Awakening. Kakaiba ang aura na naipo-project nito kaya't hindi rin masisisi ang mga nagsasabi na elitista ang teatro lalo na ang musical. Bukod sa mas mataas kesa sa karaniwan ang tiket, may kung anong pakiramdam sa loob ng Carlos P. Romulo theater na iba sa ibang teatro. Hindi mo iyon mararamdaman sa CCP o sa Wilfredo Ma. Guerrero Theater sa UP Diliman. Pero nang dumilim ang entablado, unti-unting naglalaho ang kakaibang pakiramdam. Tinutunaw ng musika ang anumang alinsangan at bago mo pa man mamalayan, tuluyan ka nang hinubaran ng matitingkad na ilaw. Patunay lamang ito na may kapangyarihan ang teatro na magbuklod ng isipan ng mga manonood anumang ang lahi at estado nila sa lipunan.

Sakto at napakasinop ng light design. Epektibo rin ito sa pagpapakita ng emosyon ng bawat eksena. Kapag "nagwawala" ang mga performers, nakikisabay rin sa paghuhurumentado ang mga ilaw. Nagsasalimbayan ang mga kulay pero hindi ito magulo - tila memoryado nito ang bawat galaw at anggulo. Sa solo performance, halimbawa, ni Moritz, maapoy na puting liwanag ang umuusok sa kanyang likuran na waring bahagi ng kaluluwa na tumatangis at nagpapahiwatig ng kamatayan.

Maging ang choreography ay kalkulado. Walang mga awkward movements na nagpapakita ng mastery ng mga aktor. Kaya lang, ang ibang bahagi ay paulit-ulit lamang, tuloy halos kalkulado mo na rin kung saan sila pupunta o kung ano ang kanilang gagawin.

SA MGA HINDI NAKAPANOOD ng produksyon o nakabasa ng dula ni Wedekind, may shock value pa rin ang ilang mga eksena kagaya ng halikan ng dalawang tin-edyer na lalaki, ang pagsasalsal ni Hernst suot ang puting nightgown at ang butt exposure ni Melchior habang nakikipagniig kay Wendla. Kung tutuusin nga lang, mahinang klase ang mga eksenang ito dahil hindi na ito kaiba sa panahon natin. Pero relevant pa rin ang mga ito dahil magmula pa noong panahon ni Wedekind hanggang sa kasalukyan, iisa lang ang mukha ng sex. At sa palagay ko'y hindi intensyon ng musical na manggulat sa pamamagitan ng hubaran. Mas nakatuon ang pansin nito sa pagpapakita ng kaguluhan ng isipan ng mga kabataan sa panahon ng tagsibol.

Upbeat Gen: Howling on the Road

noreply@blogger.com (Mach) — Mon, 24 Aug 2009 17:01:00 +0000

(Note: Kerouac and Ginsberg are not Jack and Allen. They're more like Calvin and Hobbes, without the comic art, of course. I met them a few years ago in a short story by Bobby Flores Villasis entitled "Elegies from Another Book" then I stumbled upon Kerouac's "On the Road" a couple of years back and Ginsberg's "Howling" thus my title. They are, by the way, among the writers who introduced the beat generation. But then again, these vignettes/conversations are not about them. I wish I knew how to draw. )

Bulilit
Kerouac: Gins...
Ginsberg: Hmm?
Kerouac: I don't get it.
Ginsberg: Don't get what?
Kerouac: This Bulilit song playing right now inside a crowded train.
Ginsberg: Simple. It's cute and it catches everyone's attention.
Kerouac: It's completely annoying when it's crowded though. A salt in the wound if you ask me.
Ginsberg: Kerouac, it's an effective ad. Gives people a real deal how uncomfortable it is to be in a cramped space.
Kerouac: I don't believe you Gins. You're actually saying that it's okay to taunt people in their unfortunate and miserable condition? This ad doesn't only stab you with a pointed knife, it also minces your flesh into pieces.
Ginsberg: Sheesh, it's just an ad.
Kerouac: But you feel my sentiment eh?
Ginsberg: Uhm...

**********************************************

And I Love You So
Kerouac: Gins...
Ginsberg: Hmm?
Kerouac: I'm disappointed with Star Cinema.
Ginsberg: It's not about their latest movie "And I Love You So", is it?
Kerouac: You've seen it?
Ginsberg: No. What about it?
Kerouac: I couldn't stomach the script. Terrible. Just terrible.
Ginsberg: Care to expound?
Kerouac: There's this scene in which Bea Alonzo is teaching the kids the alphabet. She asks what words start with the letter G. Candy Pangilinan comes in, and she says "G is for Gwapo," obviously referring to Sam Milby.
Ginsberg: And that's a bad script?
Kerouac: Yes, it is! Candy's line should have been "G is for Gay."

********************************************

National Artist Award
Kerouac: Gins...
Ginsberg: Hmm?
Kerouac: Have you ever dreamed of becoming a National Artist?
Ginsberg: Not really. Maybe.
Kerouac: It's been my dream, you know, to be in the league of Lino Brocka, Napoleon Abueva, Nick Joaquin, et al, it is. But now it's gone. Kaput. Like a bubble that popped out in thin air. (Sad face)
Ginsberg: "Like a bubble that popped out in thin air." You're not, by any chance, dreaming of getting the National Artist award for literature, are you? Because honestly, with lines like that, you barely have a chance.
Kerouac: Not entirely true. Just think about Carlo J Caparas' films.

********************************************

Nobody

Kerouac: Gins...
Ginsberg: Hmm?
Kerouac: I'm hearing that cursed song again. It makes me go crazy.
Ginsberg: What song?
Kerouac: You know what song. That stupid song that's played everywhere. It's stuck in my head.
Ginsberg: There are several stupid songs around, Kerouac. Tell me what song.
Kerouac: I can't. It's cursed. The moment I sing it, it gets stuck in my head.
Ginsberg: Well, at least tell me who sung it.
Kerouac: No! Their image will get stuck in my head too.
Ginsberg: Too bad. Look at the bright side though. At least, you won't think about other grim thoughts like poverty, or the massacre of the National Artist award.

Kerouac pondering about what Ginsberg has said.

Kerouac: Maybe you're right. But this song is just too powerful. It's playing in my head again. I can't even control it. Nobody, nobody but you...
Ginsberg: Shame. I guess I'm cursed too.
Kerouac: See what I mean?

**************************************

Facebook

Kerouac: Gins...
Ginsberg: Hmm?
Kerouac: You haven't opened your Friendster account in a long time.
Ginsberg: So?
Kerouac: You've barely checked your Multiply too.
Ginsberg: ---
Kerouac: And you're terribly obsessed with this Facebook thing.
Ginsberg: I'm not obsessed, Kerouac. Besides, it's the IN-thing now.
Kerouac: Can you imagine how would Friendster feel if it were a human being? Like an abandoned lover, I guess. I bet, your Multiply account has got a feeling that you're leaving her soon. Sooner or later, once a new, more hip social networking site comes up, you'll ditch Facebook just like what you did with the others.
Ginsberg: Your point is?
Kerouac: You're being unfaithful! You'd need to end your relationship with them first before you start another. That's how it should work.
Ginsberg: You really feel sorry for those networking sites that couldn't keep up with Facebook?
Kerouac: No, I'm more concerned with people's habit of moving from one relationship to another very easily. I wish people just stick to one.
Kerouac: Oh I get it. Someone broke you heart again. Sorry about that.
Ginsberg: I hate it when you assume.

****************************************

The Unfairness of Life

Kerouac: Gins...
Ginsberg: Hmm?
Kerouac: I've just realized that life is unfair.
Ginsberg: Shame. You should have realized that a long time ago.
Kerouac: You know me. I hate cliches. "Life is unfair" is one of those. But boy, it's one of those little things that we take for granted because we think it's overrated and trite and yet, there's some big, glaring truth in it.
Ginsberg: (Thinks it over. Subtly impressed).
Kerouac: For instance, a girl who shows deep interest in bastketball or wresting and all other guy stuff isn't in for some negative labelling. But if a guy tells his mates that he likes watching Gossip Girls, well, you know what happens to the poor guy.
Ginsberg: You've been watching "Gossip Girl"?
Kerouac: What? No. It's just an example.
Ginsberg: (Not entirely convinced) Okay.
Kerouac: Now, that's what I'm trying to say. People judge you so easily.
Ginsberg: (Grinning) You're watching "Gossip Girls." That's nice.

Lulu, an Emotionally-Draining Play: A Theater Review

noreply@blogger.com (Mach) — Mon, 17 Aug 2009 20:03:00 +0000

I had no idea who Frank Wedekind was. I didn't know he was a playwright. So when Jacqui, a college friend and a theater buddy, and I went to watch Dulaang UP's "Lulu" last Sunday, we weren't expecting anything. But she was excited to see Tuxs Rutaquio, who was simply amazing in ZsaZsa Zaturnah as Ada, play a different role. And I - I just hoped I'd enjoy the play.

“Lulu” is a story of a person who has no qualms about her body and her sexual needs, which means she able to explore and express her desires without compromise or guilt. She is highly adored and lusted by men and she takes them on a dance of bodily freedom and utter ecstasy. She, in other words, is a whore. But in this adaptation, directed by Dexter Santos with Joel Saracho's Filipino translation, she becomes a he, a transvestite (wait, we're not too clear whether he's a transsexual or a transvestite) who can easily transform men into hungry beasts.

The play has an English version, which I think is more advisable to watch, if you're a Wedekind newbie but I felt like seeing the Filipino version for the main reason that I barely enjoy plays in English. It was, as I think about it now, a big mistake. You see, Wedekind is a hard play to watch and the harder it is to understand if you are unfamiliar with the original play. For one thing, Lulu is a woman in the original version; here, she's a transvestite. If you think about the social milieu in the play, you can hardly get why those men go mad about Lulu. It's simply odd for those upright and honorable men to die for a transvestite Lulu. And the play's not too successful in this aspect. Lulu's desirability doesn't radiate off Mr. Rutaquio's portrayal and the men that desire him are not too convincing in their delivery.

Dulaang UP's "Lulu" doesn't have what I personally call a 'Filipino experience' which was present in other plays I've seen from a few plays. In Jose Estrella's "Orfeo sa Impiyerno," adapted from Tennessee Williams' "Orpheus Descending" for example, you could feel that the play was set locally not just because Shamaine Buencamino was speaking in Bisaya with believable twang and inflection or that her father was part of the Guerilla movement. It's very Pinoy. The same can be said in Tanghalang Pilipino's adaptation of Samuel Beckett's "Godot Wer is U?" in which Didi and Gogo were waiting for Godo in the slum area, very reminiscent of a squatter's area in Tondo. Or Luigi Perandello's "Yun Na Nga Kung Yun Na Nga."

Even though some of the characters in "Lulu" interact with the audience, asking them questions, i.e., if they want the protagonist live or die or instructing them to shout, there's very little to engage. If anything, the audience participation is distracting and quite a mess. The dialogues are long, the kind that would make you yawn. Worse, they rather tell than show. Mr. Rutaquio's blocking creates a feeling of restlessness but it's tiring. All the hallmarks of Lulu’s character — her implacable cruelty, her seductive power, and the wily manipulation — are not well present in his performance. His set design works well however. Another thing that I don't understand is the costume design. Alva, for instance, one of Lulu's lovers, looks like a modern student studying in Ivy League. And oh, there are cowboys and a Dora balloon too.

In the end, the play fails to give a raw, wrenching and eye-opening evocations of human sexuality, which I suppose is the central theme in Wedekind's provocative masterpiece. But there's no doubt that the play is brave and shocking, which, sadly, can be attributed to the nudity toward the end.

Nevertheless, it's an emotionally draining play that made Jacqui and I crave for something sweet. So off we went to Red Ribbon after.

*“Lulu” runs until Aug 23 at the Wilfrido Ma. Guerrero Theater, UP Diliman.

Cinemalaya Cinco Goes To

noreply@blogger.com (Mach) — Wed, 29 Jul 2009 07:43:00 +0000

Veronica Velasco and Jinky Laurel’s “Last Supper No. 3’’ for Best Film in the full-length feature category “for its treatment of comedy as an accessible and artistic form, its satirical depictions of individual naivete and the social fabric, and its ability to give us something to laugh and think about at the same time…”
Special Jury Prize — Colorum by Jon Steffan Ballesteros, "for portraying the moral differences between being idealistic and having principles in a captivating road movie about a young rookie and an aging ex-convict…” and Ang Panggahasa Kay Fe’’ by Alvin Yapan “for its mediations on the plight of Filipino women in a provocative tale that blurs the boundaries between the mundane and the mysterious, the real and the fantastic…”
Best Actor award - Lou Veloso for his role as an aging ex-convict Pedro in “Colorum.’’
Best Direction - GB Sampedro for “Astig’’ which also won the Best Supporting Actor (Arnold Reyes), Best Sound (Ditoy Aguila and Junnel Valencia), and Best Editing (Charliebebs Gohetia).
Best Actress - Ina Feleo for “Sanglaan’’
Best Screenplay - Vic Acedillo for “Nerseri’’
Best Supporting Actress - Tessie Tomas for “Sanglaan’’
Best Cinematography - Pao Orendain for “24K’’
Best Production Design -Benjamin Padero for “Mangatyanan’’
Best Original Musical Score - Francisbrew Reyes for “Dinig Sana Kita’’
Short feature category - Best Film, “Bonsai’’ by Borgy K. Torre; Special Jury Prize, “Blogog’’ by Milo Tolentino; Best Direction, Dexter B. Cayanes for “Musa;’’ and Best Screenplay, Mark Philipp Espina for “Behind Closed Doors.’’
“Baseko Bakal Boys’’ by Ralston Jover won the 1st Cinemalaya Network for the Promotion of Asian Cinema (Netpac) prize, a new section of the Cinemalaya.
Michael Sandejas’ “Dinig Sana Kita’’ was winner of the National Council for Children’s Television Award which is given to the film that promotes family values. The award hopes to encourage young filmmakers to create quality content for children. “Dinig Sana Kita’’ also won the Audience Choice Award in the full-length category and as such won a P50,000 cash award.

Catch Cinemalaya as it moved over to UP Film Institute in UP Diliman from July 28 to Aug. 4.

Cinemalaya 2009 Fearless Forecast

noreply@blogger.com (Mach) — Sat, 25 Jul 2009 21:44:00 +0000

I was able to watch 9 out 10 films in the competition category. Not bad. Last year, I was only able to watch 7 out of 10. My top 3 favorite: Mangatyanan, Nerseri and Colorum.

Best Picture: Mangatyanan, directed by Jerrold Tarog
Special Jury Prize: Nerseri, directed by Vic Asedillo Jr.
Best Director: Jerrold Tarog, Mangatyanan
Best Screenplay: Sanglaan

Best Supporting Actress: Glaiza de Castro, Astig
Best Supporting Actor: Alwyn Uytingco, Nerseri
Best Actress: Che Ramos, Mangatyanan
Best Actor: Sid Lucero, Astig

Best Production Design: Mangatyanan
Best Editing: Mangatyanan, Nerseri
Best Musical Score: Mangatyanan
Best Sound Design: Mangatyanan
Best Cinematography: Ang Panggagahasa kay Fe

Audience Choice Award: Astig

Cinemalaya 2009 # 2 : Astig, Not Very Cool

noreply@blogger.com (Mach) — Sat, 25 Jul 2009 21:17:00 +0000

GB Sampedro's “Astig” (Mga Batang Kalye), which tells the story of four tough guys trying to make ends meet in the slum areas of the city of Manila, feels like a remake of a Brocka film. Unlike Brocka, however, Sampedro's cinematography doesn't capture the rancid smell of the city.

Its cinematic style reminiscent of Inarritu's "Amores Perros" and "Babel" isn't entirely fresh and you'd somehow begin to doubt the film's originality. The cameos of several movie personalities are irritatingly distracting. If anything, they never help in the development of the plot and only compromise the film's believability. Imagine Mariel Rodriguez clad in a nurse attire working in Fabella hospital. You can't help to think, of course, that the main reason of these stars' inclusion is for market viability.

Mr. Sampedro's narrative, however, provides a good acting venue for its ensemble who fortunately delivers a decent performance. Special mention to Sid Lucero whose depiction of an overprotective brother juggling between school and household responsibility is hearfelt. I have a feeling that he'll bring home the award for Best Actor. Dennis Trillo equally delivers an earnest performance as a con-man responsible for the suicide of a young girl he used. He speaks in a believable street tounge, his dialogues always bursting with vulgar expressions. Edgar Allan de Guzman shares the drama as a young father trying to build a family who is forced to take desperate measures when his wife gives birth. The characters these actors play are mostly too sketchy and their connections somehow contrived, especially Arnold Reyes' part, to crystallize into an incisive piece.

Cinemalaya 2009 # 1: Mangatyanan, Impressive

noreply@blogger.com (Mach) — Sat, 25 Jul 2009 21:10:00 +0000

Jerrold Tarog's "Mangatyanan" is the most impressive entry in this year's Cinemalaya Film Festival. It is a tour de force of mood and emotion, its techniques and sensibility feel very organic, evoked from the scene at hand and its plot so tight that I won't be surprised if it wins the Best Film award.

We first see Laya (Che Ramos) gasping for air as she emerges from the sea. From a distance, she sees a mirage of a man, its distorted figure reaching out to her. She wakes up. It's 3:30 in the morning. She has been dreaming the same thing since she was 12. Something always bothers her sleep. That something turned out to be her father, a famous photographer (Pen Medina) whose constant sexual abuse of Laya tore her family apart. Now at 27, working as a travel photographer, she is tasked to cover a dying harvest ritual called Mangatyanan in Isabela. What she finds there is a strong connection between the tribe's predicament and her own troubled life. Eventually, Laya is forced to face the ghost of her past.

That, in a nutshell, is the dramatic arc of this impressive film that is both enjoyable and gripping to watch. Mangatyanan is part of Mr. Tarog's Camera trilogy which features people with camera. Here, the camera doesn't function as part of the technical aspect of the film. It doesn't click and shoot. There are no still shots. It's just a mere gadget which is dear to the protagonist. This, among other things, is a clear indication that Mr. Tarog doesn't rely on technical cliches but creates his own technique and style. His shots never judge - they simply observe and follow with unclouded and sincere concentration. Best of all, they're hardly boring.

Everything in the film works - from editing to musical scoring. Except perhaps for its attempt to resolve all problems, you can consider it a flawless cinematic work - in an 'indie' level, of course. But you shouldn't trust me with such statement - I'm just probably drunk and too impressed with "Mangatyanan." I can assure you however that you'll get your time and money's worth watching the film. It's too beautiful beyond words. What makes it more impressive is the powerful performance of its main protagonist, Laya played by Ms. Ramos (who was remarkable in her role as a mother of two who's in relationship with the same sex in Virgin Labfest's "Boy/Gel ang Boypren ni Mommy".) In "Mangatyanan," she possesses a cold facade that hides torrents of pain. With her strong frame and evocative portrayal, she is able to hold the film together.

I can bet my bottom dollar that she'll bag the best actress trophy.

Harry Potter and the Half-Baked Prince

noreply@blogger.com (Mach) — Mon, 20 Jul 2009 14:06:00 +0000

1. There is a peculiar similarity between the Harry Potter films and the Philippine government. Once a new leader replaces the other, the agenda on how to run the country ultimately change. The producers could have stuck to one director - I'm not saying it should be Mr. Columbus - for continuity and consistency in terms of vision and perspective. Case in point: Peter Jackson's Lord of The Rings. Ms. Rowling's series has so many plants and pay-offs to miss, which every director seemed to have disregarded. While it's true that everything in the book couldn't be translated on film, it doesn't mean that they have to leave out so many essential details and worse, include scenes that were plucked from nowhere.

2. The latest installment has some impressive imagery and David Yates knows how to move the camera: his shots whoosh and sweep. Sadly, there is little to engage. The scenes and angles hardly create a cinematic surprise and amazement. They're just satisfactory.

3. Love is in the air and plenty of snogging going on but this is not "Skins." Lavander and Ron succeed in showing that some people falling in love act funny and stupid. The film obviously gives more focus on the brewing romance between the teenage characters notably Harry-Ginny/ Ron-Hermione, which could have created a satisfying balance if the plot delved deeper on the transformation of Voldemort into a dark wizard and the importance of Dumbledore-Harry relationship.

4. Hogwarts is no longer safe in this penultimate installment and yet, we can hardly feel the foreboding inside and outside the castle. It's not entirely upsetting to notice the color washout in the film, it's the same as the last one - black and blue - however the novel is brimming in green (memories in the pensieve, and Slytherine's color). Yates doesn't seem to reckon that green is dark and eerie.

5. With the absence of so many, again important, details, are we safe to guess that they're planning to inject them in the last installment? I'm hopeful but I'm not expecting anything. I would have loved to see the Dursleys, the gaunt family and Voldemort being rejected by Dumbledore.

6. Dumbledore's death is the most devastating event that happened in the entire series, far more devastating that Sirius' demise in "Order of the Phoenix." The film failed to create an emotional blow needed to feel the pain and impact of the headmaster's loss. Mr. Radcliffe's dry acting doesn't help as well in showing Harry Potter how devastated he is to see his mentor lifeless.

7. Michael Gambon is still stony, stoic, cold and agitated. He still doesn't have the warmth and humor of Dumbledore. Of course, there's no point wishing that his role be offered to Sir Ian McKellan because that's never going to happen in this lifetime but still, you can't blame fans, including me, wanting a much better actor than Mr. Gambon who could breathe a more believable and convincing performance as Dumbledore. Good riddance to Mr. Gambon having his role killed off? Blimey, no. He still has an important role to play in "Deathly Hallows" unless Mr. Yates decides to leave out the King Cross scene again.

8. The actor who plays Professor Slughorn easily slides into the character so it doesn't matter if the potions master is not round and large-bellied. He is witty and passionate. One of the highlights of the film is the scene in which Harry makes the professor guilty and eventually forces him to give the memory Dumbledore needed. It's also a perfect moment for Mr. Radcliffe to prove his depth unfortunately he doesn't have much to show.

9. Casting is one thing that the Harry Potter films can truly be proud of. It's like "Tayong Dalawa" in which supporting cast fill the ineptness of its lead characters (Oh, no, I didn't mean to sound like Snape heavily criticizing Potter). That's a bad comparison, I know but I'm sure you get my drift.

10. "Prisoner of Azkaban" remains my favorite Harry Potter film.

Virgin Labfest 5 Review: It's Complicated

noreply@blogger.com (Mach) — Mon, 29 Jun 2009 06:22:00 +0000

The plays that comprise the set "Buhol-Buhol Trilogy" which opened Wednesday at the CCP Huseng Batute live up to its theme: convoluted like your average telenovela and complicated like your status on Friendster. The bulk of these plays involves sketching the complexity of human relationship and we come to see that perhaps we truly need to let go of someone we love to show that we really care.

If that sounds a little bit cheesy - all right, mushy then - don't blame it on "Ang Mamanugangin ni Rex" because this one-act play written by Clarissa Estuar is hardly cheesy. It's boring, yes, but not cheesy. The atmosphere is boring, that is - not the production. (You will soon realize that this review is getting complicated) Pinay, who manages the shoe repair stall (Mrs. Squeekie), looks bored. And we easily see why. She flips through some work-related documents while waiting for customers that hardly come by. Mayen Estanero who plays Pinay slides comfortably into the role and delivers a witty impersonation of an average sales girl. She's ill-tempered and secretly in love with her co-worker, Dan (Jerald Napoles) who is in turn infatuated with a pretty sales girl (Virgie) in an adjacent mall. It should have been a hell of a meeting when the three meet face to face but Ms. Estuar's script doesn't provide room for melodrama.

Ms. Estanero isn't required to do anything intense in the acting department (she's required to translate her feelings through Salbakuta's hit song though) but has a natural, laid-back presence that invites you to root for her character. As Dan's pregnant wife arrives (Eula Valdez - a sheer delight and surprise) and notices Virgie in the corner, we understand why Pinay covers up for him. It's a manifestation of love and martyrdom.

Paolo O'Hara's direction is fine and the play is handled with the right dosage of restraint. While the set design and performances are sufficient, they never really provide much impact.

The title of Rogelio Braga's play, "So Sangibo A Ranon na Piyatay O Satima A Tadman" (one member of the audience referred to it as "Whatever"), is already complicated to begin with and we don't really get what it means despite Mr. Rody Vera's promise, during his usual introduction, that we'll eventually understand it as we watch the play. If you have seen Mr. Braga's offering last year, the smash hit "Ang Bayot, And Meranao, at and Habal-habal sa Isang Nakababagot na Paghihintay sa Kanto ng Lanao del Norte" (all right, you can breathe now), you're in for a different maratabat ride. There's no Habal-habal nor a Radio Active Sago Project upbeat melody this time. But there is still maratabat. "So Sangibo" is a story of how ordinary people struggle for love, self-respect, freedom and maratabat amid a nation that harbors a dark past and an invitation to a journey in one of the sordid histories of Filipino nationalism against the Bangsa Moro people.

We rarely see plays about the plight of the minority in Mindanao so Mr. Braga deserves a pat on the back for his contribution to the contemporaty theater. Especially for introducing us to the maratabat concept. If you have no idea what that word means, don't look it up in the Filipino dictionary, instead watch "Ang Bayot.." which is part of the Virgin Labfest 4 Revisited. In his new play, Mr. Braga once again delves into the same idea through Abdul Rahman, a Ranao native who left home to pursue a dream in Manila which includes reuniting with Stella, a hooker from the university belt during the Martial law years. Together, they engage in a dangerous trip down memory lane.

The script is far more interested in the drama that ties the characters together but Riki Benedicto's direction doesn't draw it out too well so we hardly feel their pain.

"Salise" (by Dennis Teodosio), the last play in the set, is bitingly painful and highly engaging. Brought to life in an adept naturalistic performance by JV Canta, Sugus Legaspi and Roence Santos and abetted by Roobak Valle's tidy direction, it's a life story that is stranger and juicier than a soap opera. Matt Manzo's staging establishes a sleek, effective style that both emphasizes and integrates the play’s jarring shifts between Dory's apartment and Rocky's abode.

In some ways, "Salise" could be called a flawless play: the characters speak in precise sentences and they deliver a convincing portrayal, their arguments are soundly constructed and believable, their entrances and exits are impeccably timed and perfect. There's just one major loophole though: how did the stolen laptop come into Mimi's possession? But every scene in the play is so full of infectious energy that when, in the end, the plot threatens to run ragged, such a detail hardly matters anymore. No performer strikes a false note, even when making a topical joke. They are fun to watch especially Mr. Legaspi and Ms. Santos, who play Rocky's parents and they achieve the necessary emotional connection and believability to make the play coherent.

Dennis Teodosio's script proves to be a master of language and dramatic construction. The dialogues are witty and incisive. Needless to say, Mr. Teodosio easily begins to become one of the most prolific and effective playwrights in contemporary drama.

Catch "It's Complicated" next week, July 3 Friday, 8:00 PM at the CCP Huseng Batute. CCP Box Office 8323704 www.culturalcenter.gov.ph

Photos courtesy of Amado (http://straycatinthecity.blogspot.com)

Virgin Labfest Rebyu: Set A - Mga Dulang Walang Pinag-aralan

noreply@blogger.com (Mach) — Sat, 27 Jun 2009 08:17:00 +0000

Kung susumahin, pawang iisa ang leksyong ibig ipabatid ng mga dulang kasali sa unang kalipunan ng Virgin Labfest - ang "Dulang Walang Pinag-aralan" : na mayroong mali sa sistema ng edukasyon ng ating bansa.

Kung iisipin, may kabigatan ang isyung ito kung kaya't hindi na nakakapagtaka kung ang dulang "Isang Mukha ng Pandaraya" ni Oggie Arcenas ay seryoso ang pagkaatake. Ganunpaman, hindi nangangahulugang wala ng lugar ang komedya at katatawanan. Ang madramang eksena, halimbawa, sa loob ng CR sa pagitan nina Isadora at Amor, ay nakakatawa. Hindi nga lang gaanong epektibo. Pamilyar na sa atin ang sabunutan ng dalawang babae bilang paraan ng tunggalian. Napanood na natin ito nang ilang beses sa pelikula nina Vilma at Sharon, at sa mga telenobela. Para sa karamihan, nakakatawa na ang ganitong klaseng away. Sa ibang sabi, cliche na.

Malaking challenge para sa direktor kung paano gawing interesante ang dula sa kabila ng mabigat na isyung tinatalakay nito. Ipinagdidiinan ni Isadora, ang estudyanteng nasasakdal dahil sa pangongodigo sa exam, na mayroong "great divide" sa UP pero hindi natin halos maramdaman sa stage design ang 'divide' na ito. Ang pinakamatingkad ay ang pagpapabor ng hustisya sa maykaya. Pero alam na natin ito dati pa, at kung ang layunin ng dula ay para ipabatid sa manonood na patuloy na nakakapanlamang ang mayaman sa mahirap, nagtagumpay ito. Gayunpaman, kung ang pangunahing layunin nito ay upang pukawin ang emosyon at pakikisangkot kasama na ang simpatiya, sa palagay ko, hindi halos nagtagumpay ang dula sa aspetong ito.

Sa huling bahagi ng dula, magbibigay ng suhestiyon (sekswal na pabor) ang judge kay Amor kung paano mapapagaan ang kasong kinakaharap niya. Alam na natin ang ibig niyang mangyari. Isang paraan ng panghuhusga kung tutusuin dahil alam ng lahat na mababang uri ng babae si Amor (dahil sa uri ng trabaho nito). Habang magdidilim ang ilaw sa entablado, maririnig natin ang sigaw ng judge, matatawa tayo sa nangyari sa kanya pero mapapaisip tayo kung sapat na iyon bilang paraan ng paghihiganti.

May pagka-subtle ang paghihiganti ni Misis Reyes sa ikalawang dula: "Ang Huling Lektyur ni Misis Reyes." Hindi siya histerikal pero panay ang emote niya. Nang sabihin sa kanya ng prinsipal na hindi puwedeng ituro sa mga estudyante ang kanyang graduate tesis tungkol sa seks na matagal niyang pinag-aralan, hindi siya sumigaw nang pagalit pero alam nating masama ang loob niya. At nakisimpatiya tayo nang buong-buo sa kanya dahil si Misis Reyes ay ang klase ng karakter na napakadaling mahalin. Natawa rin tayo nang ibalandra niya sa harap ng madreng prinsipal ang ilustrasyon ng ari ng lalaki (na nakatayo!) pero ramdam natin ang frustration at exasperation ni Ma'am. At alam nating paraan niya iyon ng paghihiganti.

Mabigat ang problemang dinadala ng bidang guro sa ikalawang dula pero hindi natin ito halos maramdaman dahil punong-puno ito ng katatawanan. Overrated ang sex bilang topic, hindi ang plot ni Tim Dacanay. Napakainteresante ang posibilidad na magle-lektyur tungkol sa sex ang isang music teacher sa eskuwelahang pinapatakbo ng mga madre. Kasing di-pangkaraniwan ng inosenteng musmos na biglang magmumura. Sa epektibong direksyon ni Hazel Gutierrez, sa kabutihang palad, ay napanatili ang interes na ito. Gayunpaman, kung pagtutuunan ng pansin ang set design at kabuuang produksyon, masasabing hindi pino ang dula. May pagka-haphazard ang ilang punch-line, gayundin ang ilang mga galaw, at mga props sa entablado. May mga pagkakataon rin na tila nawawala sa pokus si Marjorie Lorico (gumanap na Misis Reyes) na kaagad naman niyang naibabalik sa tamang direksyon, patunay ng kagalingan niya sa pag-arte.

Napakapino naman ng panghuling produksyon - ang "MPC" o "Mababang Paaralan ng Caniogan" ni Job Pagsibigan. Sukat at tila aral ang bawat galaw ng mga tauhan mula sa habulan at hampasan hanggang sa special production ng "Who Are The People In The Neighborhood." Pero parang may kulang at mali. Isang malaking bentahe, kung iisipin, na binubuo ng Sipat Lawin Ensemble ang MPC gayunpaman, mukhang hindi naingat ng grupo ang script ni Ginoong Pagsibigan tungkol sa pagbabalik tanaw sa kabataan ni Felix Bakat. Maliban kina Nar Cabico at Sheenly Vener, kapansin-pansin ang alanganing pag-arte ng mga aktor na gumaganap kina Felix Bakat, Diday at Erwin. Maging ang pagpapatawa nila ay alanganin at bihirang pumatok.

Ang kahinaan ng produksyon ay maaari ring dahil sa script ni G. Pagsibigan. Ilan sa mga linya at diyalogo ay hindi gumagana, lalo na sa pagpapatawa. Pero may kakaibang kalungkutang (melancholy) ipinapahatid ang dula na hindi maaaring palampasin. Kung sensitibo ang manonood, hindi maaaring hindi tayuan ng balahibo. Nangangahulugan lamang ito na may kakaibang sensibilidad ang mandudula para pukawin ang matamis na alaala ng kabataan sa isang payak na paraan.

Lihis and Kuwentong Bata

noreply@blogger.com (Mach) — Wed, 20 May 2009 10:36:00 +0000

Sipat Lawin Ensemble

in cooperation with the UP Film Institute

presents

Wo(e)men

It is 1934. In an all girls’ boarding school, a rumour spreads like a plague about two headmistresses having a lesbian affair. Meanwhile in Berlin, in a struggle to keep themselves sane, male homosexuals make love through words in a concentration camp under the watchful eye of the Nazis.

The woe of men, the woe of women, the woe of mankind. This summer, with two plays set in 1934, the Sipat Lawin Ensemble looks back on age-old taboos and examines the woe of men and women as they struggle in the midst of our sexually challenged and sexually changing world.

Acclaimed director, actor and production designer Tuxqs Rutaquio leads the theatre alumni of the Philippine High School for the Arts in breathing life to Joel Saracho’s Kwentong Bata (an adaptation of Lillian Hellman’s Children’s Hour) and Martin Sherman’s Lihis (Emmanuel Canteras’ translation of Bent).

Children’s Hour was adapted to film in 1961 by William Wyler starring Audrey Hepburn, Shirley MacLaine and James Garner, while Bent was filmed in 1997 by Sean Matthias starring Mick Jagger, Ian McKellen and Jude Law.

Wo(e)men is co-presented by the University of the Philippines Film Institute (UPFI). The show runs on May 20 to 23, Wednesday to Saturday, at 3pm and 8pm at the UPFI Cine Adarna, UP Diliman.

KWENTONG BATA

May 20 / Wed / 3pm , 8pm

May 21 / Thurs / 8pm

May 22 / Fri / 8pm

May 23 / Sat / 3pm , 8pm

LIHIS

May 21 / Thurs / 3pm

May 22 / Fri / 3pm

For inquiries contact any of the following numbers: 09175600726 (Alison Segarra), 09159046721 (Mara Marasigan) and 09212859099 (JK Anicoche). Or call the UP Film Institute at 926 3640, 9818500 loc 4286 telefax 9262722.

Between the Three of Us

noreply@blogger.com (Mach) — Thu, 09 Apr 2009 03:53:00 +0000

“I miss you both,” Carlos butts in, beaming. His face is all red, like his favorite ham Mamang used to prepare during breakfast. The cold weather in Sweden seems to suit his skin.

Jenny and I go silent for a moment. Elephant room, I remember Papang saying once. Our old man was big on metaphors. Used them a lot in his novels. Is Papang a good writer? I asked Mamang once, I was eight, flipping the dusty pages of Romblon Maiden, one of Papa's unfinished novels. Of course he is. She must have been Papang’s number one fan. But I don’t find his novels interesting. They’re horrendous. Mamang laughed beside herself. Where are you getting these big words? Maybe, you’re a better writer than Papang so why don’t you make your own novels then I can compare which of you are a better novelist. That’s how I began my writing stint. Jenny and Carlos became my first literary critics. Awful critics. You’re an idiot; fishes don’t talk. Neither do trees. Carlos wouldn’t say anything bad. I like Mister Bangus, that’s all.

“What?” Carlos asks, puzzled and bemused with our expressions. I look at Jenny and blurt out with an utmost disgust I can muster, “What’s wrong with him?” The truth is I also miss Carlos but there’s no way I will tell that openly the way he does. He’s always been away from us. Left the country after college to pursue his master’s degree in Sweden. Rarely comes home since then. I bet he loves Swedish meat balls. He writes me long letters which I stuff in my cabinet, unread. Old fashioned, that’s him. Refuses to use email as form of communication. Part of me hates him for leaving us. We’re supposed to be always together. Because that’s what brothers and sisters should be. Together. Always.

Excerpt from "Between the Three of Us", one of my unfinished short stories.