THE AUTHOR (left) snaps a selfie with other theater artists, led by Isay Alvarez-Seña (center) and Robert Seña (right), on the main theater stage.
What a treat! What a feast for the eyes and ears! And what a privilege it was to share a space with so many of our most talented musical-theater performers, gathered in one venue for one very special presentation.
To mark the Cultural Center of the Philippines’ (CCP) 45th anniversary, a celebration of original Filipino musicals staged over the last five years played for two nights at the CCP’s Tanghalang Nicanor Abelardo (main theater).
“Musikal!” featured excerpts from “Magsimula Ka,” “Rak of Aegis,” “Rama Hari,” “Noli Me Tangere,” “Katy, “Maxie the Musical,” “Zsa Zsa Zaturnnah,” “Caredivas,” “Ang Kababaihan ng Malolos,” “Sandosenang Sapatos,” “Batang Rizal,” “Stageshow,” “Walang Sugat,” “San Andres B.,” “Toilet the Musical,” “Rock Supremo,” “Bluebird of Happiness,” “Rivalry,” “Sa Wakas,” “Lorenzo” and “Himala.”
Musical-theater regulars Isay Alvarez-Seña, Robert Seña, Dulce, May Bayot, Sheila Francisco, Aicelle Santos, Cynthia Guico, Myke Salomon, Jerald Napoles, Nar Cabico, Onyl Torres, Robie Zialcita, Roeder Camañag, Red Concepcion, Tuxqs Rutaquio, Sweet Plantado, OJ Mariano and Vince de Jesus trod the boards alongside vocalists Ebe Dancel, Karylle, The Ryan Cayabyab Singers and the excellent Ballet Philippines. They performed the compositions of Ryan Cayabyab, Celso Abenoja, Severino Reyes, Fulgencio Tolentino, Vince de Jesus, Chino Toledo, Dong Abay, Noel Cabangon, Jed Balsamo, Jaime del Mundo, Rony Fortich, Jeffrey Hernandez, Mario O’Hara, Jose Javier Reyes, Bienvenido Lumbera, Gines Tan, Ed Gatchalian, Liza Magtoto, Ejay Yatco, Onofre Pagsanjan and Nicolas Pichay.
Yes, I needed to write down all those names in order to, as properly as I can, pay tribute to the artists who have spent their blood, sweat and tears creating enduring works of art.
The show lasted nearly three hours, but it sure didn’t feel that long. As the Philippine Philharmonic Orchestra (conducted by Gerard Salonga) played the overtures that began the first and second acts, the audience, seeing on the projection screens the title of each show from where that snippet of music came, burst into spontaneous and generous applause.
During the actual show, there was also plenty of screaming, very likely from other musical-theater performers in the audience, like Menchu Lauchengco-Yulo and Audie Gemora and members of The CompanY. I screamed a lot, too, because my brother was conducting the orchestra and I had many friends on stage.
I admit that the only ones I got to see in the past few years among the shows featured were “Rak of Aegis” and “Zsa Zsa Zaturnnah.” So I had to make do with the excerpts that came one after another in very quick and efficient succession.
Chris Millado, supervising director, had paced the parts evenly, spreading everything out in a way that made sense.
Shows featuring younger performers were grouped together (“Sandosenang Sapatos,” “Bluebird” and “Batang Rizal”); those with gay themes and characters had a section of their own (“Caredivas,” “Maxie” and “Zsa Zsa”).
“Stageshow” and “Katy,” two shows featuring bodabil, had their excerpts come one right after the other. “Rak of Aegis” ended Act I—to a screaming house. One of the more beautiful songs from “Katy,” Ryan Cayabyab and Jose Javier Reyes’ “Minsan ang Minahal ay Ako” ended Act II, with Isay Alvarez-Seña, Dulce and Aicelle Santos starting things off, and finishing with the entire cast on stage, singing together.
Outstanding moments
There were moments that stood out for me: Dulce, whenever she opened her mouth to sing; Isay dancing (those splits!) as Katy de la Cruz; the Peta Ensemble in “Caredivas” or “Rak” numbers; May Bayot, because I think she, like younger sister Lani Misalucha, is a halimaw (in only the best way); the whole “Rak of Aegis” cast making their already perfect sound even richer and fuller; Ebe Dancel singing alongside Ballet Philippines; that whole ballet from “Rama Hari”; Sheila Francisco and Red Nuestro flirting like teenagers; GA Fallarme’s beautiful projections; “Zsa Zsa’s” zombie invasion that segued to father-and-son heartbreak; and “Maxie’s” Jayvhot Galang being nothing but fabulous.
At the end of the show came a rousing and well-deserved standing ovation. Isay invited me to join the company to sing the CCP Hymn, “Kulturang Pilipino, Alay sa Mundo” (music by Ryan Cayabyab, lyrics by Herminio Beltran Jr.). I had learned the song only that day, so I brought my smartphone on stage for some lyric help.
Musical theater performers live for applause. As Isay pointed out in her final speech, shows like the ones spotlighted that evening don’t always make a killing at the box office (“Rak of Aegis” is an exception). However, the performers were all there for the love of what they do and the passion for bringing stories to life.
To quote from “Minsan ang Minahal ay Ako”:
“Ang lingap mo ay hahanap-hanapin sa entabladong minsan ay sa akin/ At kung ako ay malimutan, kahit sa awit ko man lamang/ Iyo sanang matandaan bago tuluyang lumisan na minsan ang minahal ay ako.”
Tangkilikin natin ang orihinal na Pilipinong musikal, mga kuwento at awiting sariling atin. Tayo’y humalakhak, umiyak, at pumalakpak, upang ang ating mga alagad ng sining ay patuloy na lumikha ng mga pagtatanghal na magpapasaya, magpapaiyak, at hahamon sa ating pang-unawa.