Jude Buot - Page 2

With a creative vision accompanied by an infectious musical score and punctuated by powerful and authentic performances, 'Mula sa Buwan,' no wonder, is shaping up to be a musical that will be well-remembered long after its final bow. Now in its third and (as they promoted it) last run, I saw the show three times to make up for the missed opportunity of seeing it the previous years. My fondness for this musical just keeps on growing each time I see it and I feel very strongly that a show of this nature is not meant to disappear forever.

The good news is that 'Eto Na! Musikal nAPO!,' an original Filipino play set into music by APO Hiking Society's hit songs, is like no other OPM jukebox musical we have seen in recent memory. Most of the jukebox musicals staged in Manila have an entirely fictional story (e.g. 'Ako si Josephine,' '3 Stars and a Sun' ) or have a plot that's leaning towards social commentary (e.g 'Rak of Aegis'), and, more often than not, try to repackage the sound of the original versions of the songs to make them more current and theatrical (e.g 'Ang Huling El Bimbo,' 'I Remember a Boy'). In their first foray into producing an original material, 9 Works Theatrical and Globe Live go for a more sentimental story, an ultimate throwback to the mid-1970s, with a plot that's loosely based on the early years of the original members of the APO Hiking Society.

We Filipinos love to sing and, not only that, some even create theme songs to commemorate special memories with friends and loved ones. At the center of Artist Playground's latest offering is a barkada (clique) of six teenagers forced to have a get-together at their favorite bar as requested by one of their members. This meetup eventually stimulated them to recall their fondest memories of one another, from the time they first gathered together at that bar until that moment when they began to go their separate ways.

Just when we thought a restaging of the musical adaptation of a highly-acclaimed Filipino film could never do wonders, we caught ourselves absolutely in awe of what was offered to us on the February 18 matinee of The Sandbox Collective's comeback musical, 'Himala: Isang Musikal' (its last one was 'Dani Girl' in 2014). Restaging may not even be the most appropriate word for this production. This version is more like a reimagination of what initially came to fruition 15 years ago.

Uso kaayo karon, labi na sa mga kabatan-onan, ang kining ginatawag nga mga pamalandong bahin sa gugma. Mao nga kining myusikal nga Gugmang Giatay, nga ang dungog namo kay sikat kaayo sa dakbayan sa Sugbu, dali ra kaayo nakapahimuot sa amoa. Kuha kaayo nila ang mga kinaiya sa mga kabatan-onan karong mga panahuna, nga dali ra kaayo magmaoy unya usahay alingugngog kaayo kung mabikil.

It makes perfect sense that Repertory Philippines (REP) chose to end its 50th-anniversary celebrations with the staging of a big musical like Hair. First, the said musical is also commemorating the 50th anniversary of its first staging Off-Broadway. Second, as the musical talks about the dawning of a new era or the age of Aquarius, REP as a theater company is ushering in new milestones in its next 50 years. Hair also promotes a sense of community and togetherness, in line with REP's 50th-anniversary slogan Come Home to REP.

Do not let your unfamiliarity with the 1968 movie stop you from watching Resorts World Manila's newest production, Ian Flemming's Chitty Chitty Bang Bang. In fact, in this case, having very limited knowledge prior to watching the show (we are, of course, aware of the flying car since it is being used in the show's promotional advertisements) made the experience more thrilling and enjoyable. Thus, in this review, we shall afford you with the same courtesy and not give too many details about the story. If you happen to know the movie, trust us, this production can still dazzle you with enough charm, making it a satisfying time at the theatre.

When the film adaptation of Edgardo Reyes's novel Maynila, sa Mga Kuko ng Liwanag, helmed by acclaimed director Lino Brocka, was first released, it was praised by critics for its brave and honest depiction of the quality (or lack thereof) of urban life during the Marcos administration. Surprisingly, even for someone who was not born yet in the '70s, this stage musical adaptation of the four-decade-old novel did not feel like a dated social commentary. It strangely (or sadly) still represents a familiar story of the Filipino poor hoping for a better life in urban Manila.

Singkuwenta (which means 50 in Filipino), Philippine Educational Theater Association's (PETA) 50th-anniversary concert (April 7, 8) proves that this theater company is showing no signs of aging, and still is as relevant and viable as ever. For a two-night anniversary concert, the creative team crafted an efficient way to look back at 50 years' worth of stories of struggles and triumphs, yet not falling into the predictable route of showcasing just about every song they have in their catalog. Yes, it was a bit of a history lesson, except it was told through a dynamic staging of cleverly chosen repertoire.

60 years after its original run in Manila, 'Noli Me Tangere, the Opera' is back for a limited engagement at the Cultural Center of the Philippines (CCP) Main Hall. The show's producers, Jerry Sibal (also the show's director) and Edwin Josue, Filipinos both based in the United States, are going all out in making this production worth their trip back to the Philippines. Read to see what our critic thinks.

Almost everyone loves Christmas. Almost, since there is The Grinch and an old fellow named Ebenezer Scrooge. The latter is the main character in Charles Dickens' novel titled 'A Christmas Carol.' His story is quite popular, not just among literature fans, because it served as inspiration to some TV shows, movies, and, of course, musicals. Scrooge is the grumpy, greedy old man who had a change of heart during Christmas day, after being visited by three Ghosts of Christmas.

15 years after it closed on Broadway and after the box-office success of the recent West End revival, MISS SAIGON is finally making a comeback early next year. Producer Cameron Mackintosh is bringing back this legendary musical to the Great White Way together with an exciting new cast led by Jon Jon Briones (The Engineer), Alistair Brammer (Chris), Rachelle Ann Go (Gigi), Devin Ilaw (Thuy), Katie Rose Clarke (Ellen), Nicholas Christopher (John), and Eva Noblezada (Kim).

'I'm Martial Law ready.' This was one of the Facebook posts that prompted Vincent Tañada to write 'Katips: Ang Mga Bagong Katipunero.' In a speech he gave right after the curtain call last October 16, Tañada (who also directs the show and is one of the lead actors) confessed that this musical is intended to enlighten those millennials who seem to have been bombarded by 'myths' about the state of the country during the Martial Law era.