One for the Aegis

AICELLE Santos is the star of “Rak of Aegis.” ROMY HOMILLADA

For the last many weeks, I had been told about “Rak of Aegis,” a musical currently running at Peta Theater in Quezon City. Thanks to an early invitation by fellow singer and theater actor Gian Magdangal, I finally got to clear my calendar last Sunday. Gian himself greeted me at the door with my tickets. (My date for the evening was my assistant, Sheilla Habab.)

Up until then, the only thing I knew about “Rak of Aegis” was that it utilized the music of the hit group Aegis in the way that “Mamma Mia” did the music of Abba. However, the story, just like the music, is very, very Filipino.

In the fictional Barangay Venizia, Aileen (Aicelle Santos) dreams of uploading onto YouTube a video of herself singing, in the hopes of one day heading to the United States, meeting Ellen DeGeneres, and being given a check for $10,000. Kenny (Myke Salomon), her suitor with mommy issues, tries to help, but after recording her video, drops his camera into the floodwaters that have plagued the community for months. Misfortune seems to hound the whole barangay, including Aileen’s newly unemployed father Kiel (Robert Seña), her leptospirosis-stricken mother Mercy (Neomi Gonzales), barangay captain Mary Jane (Isay Alvarez-Seña), fledgling designer Jewel (Phi Palmos), Kenny’s rival for Aileen’s heart Tolits (Jerald Napoles), the developer of the adjacent subdivision Fernan (Nor Domingo)—yes, all of Venizia’s residents, played by ensemble members Gimbey de la Cruz, Carlon Matobato, John Emmanuel Moran, Gab Pangilinan, Rafael Sudayan and Gold Villar.

(This was the cast for that evening’s performance; other actors alternate in principal and ensemble roles.)

I’ll be the first to admit that, save for “Halik” and “Basang-Basa sa Ulan,” I’m not familiar with the music of Aegis. I realize now that it was to my advantage. I did not hear the famous band’s renditions in my head when their songs were played; but rather, a natural extension of the book (written by Liza Magtoto).

With lyrics rewritten, melodies repurposed, and with new arrangements (by musical director Myke Salomon), the music is fresh and absolutely right. Nothing feels odd or out of place.

Watching Aicelle singing “Basang-Basa sa Ulan,” tears streaming down her face, that song becomes less a drunken karaoke staple and more a lamentation on her character’s grave misfortunes. With the floodwaters as backdrop of her grief (set designed by Mio Infante), her performance is the fulcrum around which the rest of the show revolves. She is truly “Rak’s” star. This is a case of inspired casting, and I do hope to see more of her on stages everywhere.

As for the veterans, I’ve known Isay and Robert for a very, very long time (we were part of the larger contingent of Filipinos to head to London for “Miss Saigon” 25 years ago), and their talents have only deepened. Robert’s rock-tinged voice is very much at home here (he gets to let loose, air guitar and all). This is the best I’ve heard his voice, stable and solid. Isay’s unique voice hasn’t lost any of its character since her turn as Gigi (which in and of itself is a feat, given that when she opened in London, she was in her mid-20s). No one sounds like her.

Their characterizations as Kiel and Mary Jane, former lovers whose past conflicts still color their present interactions, are grounded, emotional and interesting. Neomi is a wonderful Mercy, maternal and steady. Myke and Jerald are alternately funny and real as Kenny and Tolits (their physiques could have launched a “battle of the biceps” subplot). Nor is slimy one minute, repentant the next as Fernan, and my personal favorite is Phi as Jewel. Although Phi plays an obviously gay character, he was tethered to earth with every fabulous step he took.

Seamless

Maribel Legarda’s direction is wonderful; all the elements of the musical weave together seamlessly. Myke’s music direction must also be lauded, not only for his arrangements of the material, but also for the surgical precision of his singers’ performances. The harmonies are tight, and although everything is clean, they never sound antiseptic. Emotional connection is not sacrificed. This is probably the best ensemble singing I’ve heard in a local musical in a very long time.

I couldn’t recommend this musical enough, so run to “Rak of Aegis.” You can catch it until Sept. 14.

Call TicketWorld, 8919999.

To the entire cast and crew, congratulations!

And if you happen to be the unfortunate soul that is chosen to join the cast on stage, as I was, enjoy yourself!