MICHAEL Williams (fourth from left), with Arcilla, Buencamino, Seña and Cerrudo. Is there life after 50?
The hottest ticket in town this week belongs to Spotlight Artists Center’s jukebox musical, “DOM.” But you need not be a theater buff to enjoy the play, swears theater veteran Michael Williams, who says that the cleverly reworked OPM classics that string together the disparate but intersecting tales of the musical’s middle-aged male protagonists are reason enough to watch the show.
The fascinating lineup of songs includes Gary Valenciano’s “Paano,” Ryan Cayabyab’s “Kay Ganda ng Ating Musika” and “Nais Ko,” Hajji Alejandro’s “Nakapagtataka,” Yoyoy Villame’s “Mag-exercise Tayo Tuwing Umaga,” Basil Valdez’s “Kastilyong Buhangin,” the Juan dela Cruz Band’s “Ang Himig Natin,” Raymond Lauchengco’s “Farewell,” Kristina Paner’s “Sana,” Wadab’s “Pag Tumatagal Lalong Tumitibay” and a couple of originals.
Starring John Arcilla, Nonie Buencamino, Robert Seña, Michael Williams, Bo Cerrudo and Ricky Davao (in a special role), “DOM” is a play that Inquirer editor and critic Nestor U. Torre describes as “a triumph of thespic testosterone,” whose best suit is its lead players’ ensemble performance. (The play is being staged at Music Museum until Sept. 10. Call 7764487.)
It examines the lives of 50-something friends who used to be members of an ’80s boy band that disbanded soon after earning its one and only hit song.
Fast-forward some 30 years later, they reunite to put up a benefit show for an ailing member. But it doesn’t take long for them to realize that some good intentions are easier planned than successfully actualized.
Before the show’s opening night last Thursday, we asked Michael what his thoughts were about “DOM.”
WILLIAMS
He explained why the musical deserved to be patronized by music buffs and theater aficionados: “Aside from ‘DOM’s’ original concept and the relevant themes it tackles, its compelling stories are bookended by many well-loved OPM songs—and boasts a great cast. And its older-male perspective is enlightening,” he said.
What initially attracted him to the character he portrays and the play itself?
Michael said, “Stan, my character, comes back as an out-gay man, although he’s reuniting with close friends who only knew him as straight!
“And the dancing is another come-on—the characters may be seniors, but there are quite a few numbers that have choreography.
“The opening number, conceptualized by director-choreographer Dexter Santos, is the most challenging in terms of energy, as we are supposed to be in the prime of our young careers. From there, it gets a lot easier (laughs)!”