Forbidden pleasures
OJ MARIANO was The Phantom in “Forbidden Broadway.” photo:Jude Bautista
Last week I did insert a “more on that later” when I mentioned my brief appearance in “Forbidden Broadway” a couple of weekends ago … however, I had run on and on with the rest of the article that I neglected to slip “more” in. Allow me now to make up for my egregious oversight.
The invitation came many weeks before the actual performance night. Bernice Aspillaga (a jack of all trades whose skills range from road manager for The Dawn to stage manager for many Atlantis productions to “Voice of God” announcer for many Manila theater performances) asked on behalf of director Joel Trinidad if I’d be interested in doing one song for the show.
Legend in NYC
You must understand … “Forbidden Broadway” is kind of a legend in New York City. It has spoofed artists and shows of renown (even “Miss Saigon” got spoofed … one memorable line written was, “Who will be playing Miss Saigon, Lea Salonga can’t go on”) for quite a few years. No one was spared. Certainly not the likes of Patti Lupone, Liza Minnelli, Cameron Mackintosh, Stephen Sondheim, Rita Moreno and Barbra Streisand, or classic shows like “Annie” and “Fiddler on the Roof.”
You’d think that because of all this very public ribbing, the people being spoofed would get all sorts of pikon as a result. Truth is, not really. At a recent Boublil-Schonberg concert, I spoke with Alain Boublil’s wife, Marie Zamora. I told her about a friend’s performance of a “Les Miz” send-up on the show’s opening night in Manila, and she asked, “The one that spoofed ‘Bring Him Home’?” Before I even said yes, she was belly-laughing so hard that tears were streaming down her face, while trying to sing the spoof lyrics.
At first I was asked to do the send-up of “On My Own,” titled “On My Phone.” I felt a bit hesitant, as I knew I would be racked with guilt for toying with anything that had to do with “Les Miz.” One, I was still working closely with Alain and Claude-Michel; and two, I don’t think my brain would be able to handle the lyrics! I knew that the real ones would creep into the joke, and that keeping a straight face would be next to impossible. I had expressed my concerns to Joel, so he assigned me another song. It would be “Defying Subtlety,” spoof of “Defying Gravity” from “Wicked.” I immediately said yes. This would probably be the only time I’d ever get to do anything remotely related to playing the show for real, so I took the opportunity.
Simple, effective
We set a rehearsal for the Tuesday before my Friday night performance. Joel and I met up in Makati, along with Bernice and pianist Dingdong Fiel (whose sense of humor matched those of the actors playing in the show, as well as his piano playing skill … he’s got to have extra fingers on his hands or something!). The staging would be simple, but very effective. OJ Mariano would shine a small green light on my face, which would be my cue to starting singing. Lorenz Martinez would then enter, push a trunk in front of me, and I’d have to climb upon it and finish the song there. Simple!
The challenge for me would be how to not laugh out loud while OJ and Lorenz were doing their flying monkey schtick. Those two men are incredibly funny, besides being wonderful singers, and are so committed to whatever they do. According to Joel, it took Caisa Borromeo (the young actress who sang “Defying Subtlety” every night) a full week to get over the comedy of it all before she could sing it without breaking. I’d have loved to hear her sing this; her voice is incredible.
Like a blur
Come Friday night at RCBC, I was escorted backstage. I hung out in the ladies’ dressing room with Caisa and Liesl Batucan, the actress who would complete the foursome (she’d be responsible for channeling Liza, Barbra, and Chita Rivera, all effectively). She and I had first worked together in “My Fair Lady” many moons ago, and I loved her performance as Carrie Pipperidge in Rep’s production of “Carousel,” which was Gerard’s debut as an orchestra conductor. We caught up on each other’s lives and work, and I got to know Caisa a little better beyond her stage performances. At about 6:45 p.m., it came time for sound check (everyone wore a body microphone). The show started at about 8:10 p.m. For the duration of the first act leading up to my song, I stayed in the production room on stage left trying to calm my nerves, going through the lyrics of the song over and over again, staving away Stephen Schwartz’s original words from my head.
At a predetermined cue, I put on my cape and witch’s hat, grabbed my broom and headed to my backstage standby spot. When it was time, I headed to center stage and sang the number. It went like a blur that just went so fast that before I knew it, it was over. OJ led me backstage to the sanctuary of stage right, and I could still feel the adrenaline coursing through my veins. Now that was one heck of a stage rush, and I was so happy to do it. My mom, Rob and Nic were in the audience, and we all then sat together for Act 2.
I sure hope that Upstart Productions decides to repeat this show a few more times or brings it out on the road to give more people the chance to watch it. “Forbidden Broadway” is incredibly funny. Sure, it roasts some classic Broadway workhorses like marshmallows at a campfire, but does so with reverence and plenty of love.
I wonder now if anything homegrown could be spoofed in this manner without anyone getting pikon.
Shameless plug
The Philippine Opera Company presents “Ang Bagong Harana,” a show that showcases many of the best offerings by composers such as Nicanor Abelardo, Ryan Cayabyab, Willy Cruz, Antonio Molina, Levi Celerio, Ernani Cuenco, Constancio De Guzman and Felipe de Leon. Directed by Floy Quintos, this is a musical journey that every Filipino must take.
“Ang Bagong Harana” runs at the Carlos P. Romulo Auditorium at the RCBC Plaza from June 6 to 9 at 8 p.m., and on June 9 and 10 at 3:30 p.m. Call Ticketworld, 8919999; or POC, 8817168 or 0917-5224183.
