Fil-Am singers, orchestra shine in salute to Broadway

LOS ANGELES—What happens when the first and only Filipino symphony orchestra outside of the Philippines taps Filipino-American singers of varying ages (the youngest, 6) and experience for a show saluting some of the most beloved Broadway tunes? The audience is treated to one brilliant number after another in a uniformly excellent concert despite the guest performers’ disparate credentials. The packed house responded with vigorous cheers and applause to each piece.

The 57-member strong Filipino-American Symphony Orchestra (FASO), only six years old (a baby, by orchestra standards), under the masterful baton of Kawit, Cavite-born musical conductor and director Robert “Bob” Shroder, drew out the best in its featured vocalists for “FASO Goes Broadway,” staged on April 25 at the historic Alex Theatre in Glendale, California.

FASO itself, an amalgam of volunteer musicians, also of diverse ages and experience—from teenage students, homemakers to conservatory-trained orchestra veterans—exhibited continuing growth in its own numbers. The orchestra, which debuted in May 2009 at the Saban Theatre in Beverly Hills, began the evening with a medley of tunes from “My Fair Lady” that set the show’s charming, entertaining tone.

Chestnuts like “I Could Have Danced All Night,” “On the Street Where You Live” and “I’ve Grown Accustomed to Her Face,” put the audience in the mood for an entertaining night of musical theater’s gems. Later, the ensemble sounded at its best in a medley of “The Phantom of the Opera” tunes.

Thoroughly engaging

 

Ninette Tenza, whose band vocalist credits include Hotdog and Henry Katindig’s jazz band, seemed shy at rehearsals but metamorphosed into a thoroughly engaging performer with her version of “ ’S Wonderful” from “Funny Face.”

Now a piano and voice teacher based in LA (as all the featured singers are), Ninette later returned to the stage with a fresh take on “I Don’t Know How to Love Him.” Ninette’s version

made us appreciate again this Tim Rice and Andrew Lloyd Webber ballad which, for some time, became a stock number in singers’ repertoires.

But thanks to Ninette’s unschmaltzy delivery and arrangements by Louie Ramos, FASO’s arranger-in-residence, and Naldy Rodriguez, it was good to hear once more Mary Magdalene’s plaintive song of unrequited love in the rock opera “Jesus Christ Superstar.”

Singing career

 

Djhoanna Garcia continues to reestablish her singing career with this second gig with FASO (she first performed with the orchestra in “Swing the Night Away” in October last year). One of those performers blessed with the ability to clearly deliver and illuminate lyrics, Djhoanna revved up the night with “New York, New York” as FASO’s ode to the city that’s home to the Great White Way.

She came back (most of the featured vocalists had two numbers) in a shimmering gown from an LA shop that was embellished by Manila-based designer Fernando de Manila. Djhoanna then launched into “Don’t Cry for Me Argentina” from “Evita” that reinforced our belief that the former actress in Manila has matured into one of the best Filipino vocalists today.

Avoiding a grandstanding, look-at-me-belt-this-song approach and instead opting for a nuanced interpretation of Eva Perón’s anthem of regret and defiance, Djhoanna brought out the beauty and quiet power of Rice and Webber’s musical theater classic.

Emotional force

 

Only eight years old, Joshua Kai-Dawson reminded us of the emotional force of an orphan character’s dilemma in “Where is Love?” from “Oliver!”

Emily Ferrolino and Isabella Ramos, two young ladies who should reign on Broadway someday, blended their beautiful voices in the memorable “For Good” farewell duet of Elphaba and Glinda in “Wicked.”

Isabella later returned, pretty in a gown by Alexis Bong Monsanto (an LA-based Fil-Am designer who outfitted most of the featured vocalists), to deliver a compelling version of “Love, Look Away” from “Flower Drum Song.”

Award-winning

 

Then the tribute to “The Sound of Music” on its 50th anniversary began with “Sixteen Going on Seventeen” by Ian Luna (as Rolf) and Samantha Isidro (Liesl von Trapp). Ian, already an award-winning vocalist at such a young age and who began with the Los Angeles Children’s Choir (he toured Europe with the group), has the solid voice and charisma of another potential Broadway performer.

Samantha was joined by other Fil-Ams as the von Trapp children: Christian Avendaño (Friedrich), Tia Enroth (Louisa), Micah Angelo Luna (Kurt), Christina Blay (Brigitta), Sabrina

Evangelista (Marta) and Maggi Avant (Gretl), all of whom easily won the hearts of the audience members with “Do-Re-Mi.”

Joan Almedilla, in her first of several numbers that introduced this talented Cebu native to folks in the audience who did not know her, made for a lovely Maria Rainer as she performed “Do-Re-Mi” with the kids.

Edwin Raquel, one of the leading supporters of Fil-Am arts and culture, made his surprise stage debut with his polished rendition of “Edelweiss” as Captain von Trapp. Then the kids further endeared themselves to the capacity crowd with “So Long, Farewell.”

Kids ensemble

Micah Angelo (Ian’s brother—these siblings will go places) earned applause midway through the song with his soaring voice; Maggi, at six years old, the youngest in the cast, is already a charismatic and confident performer.

Kids ensemble

Chelsea Chiu, 10, brought the house down with her big powerful voice as she belted “Tomorrow” from “Annie.” Chelsea, who has performed before thousands of cheering Lakers and Kings fans, has a bright future in musical theater if she pursues this direction.

As if this parade of talented Fil-Am kids were not enough, the orchestra introduced the FASO Broadway kids ensemble who were also picked from auditions to be part of the show: Darlene Capistrano, Adam Enroth, Michael Keith, Casteen Legaspi, Andreas Makiling, Jordan Pagkalinawan, Marcus Panahon and Mika Panahon. They sang “Happiness” from “You’re a Good Man, Charlie Brown.”

Stirring rendition

 

Thanks to this show, we got to watch Bonifacio “Bones” Deoso Jr. for the first time. A University of the Philippines Concert Chorus alumnus who played Thuy in “Miss Saigon” on Broadway, Bones’ majestic tenor filled the Alex Theatre in his two songs.

Bones delivered a stirring rendition of “Bring Him Home,” Valjean’s fervent plea to God to save the life of Marius in “Les Miserables” (hauntingly sung by Hugh Jackman in the movie adaptation). Bones switched gears to powerfully deliver “This is the Moment,” the soaring pièce de résistance in “Jekyll & Hyde.”

Claiming the stage

Joan deservingly claimed the stage with pieces she sang on Broadway—anguished Fantine’s song of lament, “I Dreamed a Dream” from “Les Mis” and Kim’s duet with Chris (an equally

good Cliffton Hall who played the part in various productions), “Sun and Moon” in “Miss Saigon.”

Emily and the orchestra ended the show on a high note by returning to “My Fair Lady.” In her clear, beautiful soprano voice, Emily sang “I Could Have Danced All Night.”

The audience, which could have listened to FASO and its vocalists all night, rose in a standing ovation during the curtain call.

Privilege, opportunity

 

It’s rare in the United States that Filipino artists and musicians are showcased in a formal concert and full orchestra setting. Given this privilege and opportunity as in “FASO Goes Broadway,” the Fil-Am performers, blessed with immense talent to begin with, realized that it was “the moment” indeed to give their all. They did, and the audience, which included Sylvia La Torre, grand dame of Philippine entertainment, and her singer-actress granddaughter, Anna Maria Perez de Tagle, reciprocated with resounding cheers and applause at each of the numbers that echoed through the Alex Theatre.

FASO, earning a reputation for presenting topnotch productions, has already set a date for its next show. “FASO Goes Pop!” will go onstage on Nov. 21.

(E-mail the columnist at [email protected]. Follow him at https://twitter.com/nepalesruben.)

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TAGS: Broadway, FASO, Filipino American Symphony Orchestra, Music, Orchestra, performance