JC Santos gives a searing performance in Red.
Santos and Bart Guingona put the audience under their spell.
Last week was the best of times for theater aficionados. Two productions opened, both offering a welcome respite from alien robot movies and Disney remakes. One was a traditional musical adapted from a beloved Filipino novel, the other a play about a famous American artist.
Opening June 8, 2023 (runs until June 18) at the GSIS Theater in Pasay City was a musical based on Dr. Jose Rizal’s revered Noli Me Tangere. It’s called Ibarra and Piolo Pascual is playing the title role. Given this casting coup, the show has been an anticipated event. If it takes a major movie star to get people interested in Noli, then Pascual is the man for the job. His star wattage alone may make one forget about Dennis Trillo’s acclaimed take on Crisostomo Ibarra in the telenovela.
Yet I’ve always been ambivalent about musical adaptations of Rizal’s works. When it comes to telling his stories through music, I think it has to be opera and nothing less. An opera was written by National Artist Felipe de Leon and esteemed lyricist Guillermo Tolentino. It’s been staged twice in Manila by New York-based producer Jerry Sibal. Years before that I saw another Noli musical; the one that had ilustrados dancing like the Rockettes. Had he seen it our national hero would have rolled in his monument in Luneta.
I was half expecting a similar experience with Ibarra but I was wrong. It was a pleasant surprise. It was quickly paced and the music by Joed Balsamo is a sweet and appealing fusion of operatic tunes and light rock. Much of the music draws inspiration from the kundiman and zarzuela, but there’s also the party music that will make one want to get up and dance.
Ibarra is a revival of Kanser, which was first staged 40 years ago. The change in title was probably done to make it more of a star vehicle for Piolo Pascual. The music still has its oomph though both the original and Ibarra suffer from what plagues most homegrown musicals—they don’t have signature songs. Seldom are they reprised, which could have helped audiences remember them. Having the cast perform a dance to an instrumental version of a song can also make a difference. An extended dance sequence adds a sense of excitement to any show. Even the darkest of musicals like Carousel have it.
The show does begin with a splash. Dona Victorina and Kapitan Tiago’s party is in full swing. Gossiping among the titas of 19th century Manila is also on full blast. This party scene is slickly staged. Ditto with the scene showing an alligator during the boat ride in Laguna de Bay. This is a glossy production with attractive period costumes and sets that look authentic enough to whisk audiences back to those wretched old days.
So then Crisostomo Ibarra makes his dramatic entrance in the Kapitan’s party, and Pascual does make quite a star entrance. In full costume, he looks perfect for the part. Early in the show, however, Pascual moved like a wind-up Crisostomo doll. Each move he made seemed tentative and calculated. He did redeem himself in his solo numbers. His Crisostomo Ibarra is vulnerable, sensitive. The grief and rage is expertly brought across yet there’s a slight touch of tenderness in there. It makes the character more accessible to the audience.
The music soars when the chorus and the cast sing. Each actor is a powerful singer. There’s Jeffrey Hidalgo (as Elias), Floyd Tena (Padre Damaso), and Carlo Manalac (Padre Salvi) who all perform so effortlessly. Any theater neophyte would have difficulty keeping up with them. Pascual does acquit himself well with the songs given him. He can hit the high notes, 99 percent of the time.
Great bits of singing are scattered throughout the show. There’s a touching duet with Sisa (Nicole Laurel Asensio) and Maria Clara (Myramae Menses). The kids playing Basilio and Crispin (JD Tena and Elian Santos, respectively) also stop the show with their tragic, heartbreaking song.
Yet if one can’t beat this excellent supporting cast in the singing department, then by all means, tear off the shirt and flaunt that ripped bod. This is just what Pascual did and it’s what the titas of 21st century Manila are talking about. Yep, life is unfair for the rest of us dudes.
JC Santos also took off his shirt in the dramatic play Red, which opened June 9, 2023 at the PETA Theater Center in Quezon City. But at that point in the play, the audience was already so invested in the character so it wasn’t a distraction. That’s how talented an actor Santos is. People left the theater raving about his acting, not his body.
Written by John Logan, Red is about the acclaimed American artist Mark Rothko (1903 – 1970). Set in 1959 in his New York studio, it was a time when pop art was becoming the rage and when distinguished artists like Rothko were accepting jobs that were way beneath their stature. Bart Guingona plays Rothko while JC Santos plays his fictional young assistant Ken.
Think of Red as The Devil Wears Prada of art, but sans the romcom and comedic elements. Rothko is the boss from hell but he can offer such important insights on art and color. He’s an intellectual snob who doesn’t think highly of people who aren’t familiar with Frederic Nietzsche
Red was first performed in London in 2009 with Alfred Molina as Rothko and Eddie Redmayne as Ken. When it opened in New York, it won six Tony Awards, including Best Play and Best Featured Actor for Redmayne. This two-handed play has the protagonists arguing about colors, artists, and the art industry in general, and the type of music that should be played in the studio. Rothko comes across as arrogant and intractable. Ken tries to uncover and understand the human being hidden behind that steely, bitter façade.
If done right, Red can be a riveting play and an educational one too. For students of Fine Arts, this is a must-see. Those who aren’t familiar with 20th century painters will also learn much. We all had our own Mark Rothkos to deal with during our younger years. I had one—he was an editor who refused to let go of using his typewriter. He was Perry White personified. John Logan’s gutty words resonate no matter what field of work you’re engaged in.
Bart Guingona and JC Santos had big shoes to fill but they’re up to the challenge. Guingona does directing and acting duties and he’s come up with an impressive production. It helps that he did the same chores 10 years ago when he staged Red for the first time. It was JC Santos who prodded him to produce the play again. He wanted to play Ken.
And he does play Ken brilliantly. He starts off as a naïve art student when he is interviewed for the job as assistant. It’s Ken who goes through an emotional rollercoaster as he reveals more of himself to his grumpy old boss. Santos submits himself to this and he gives a searing and heartrending performance.
Guingona matches his co-star at every turn though he admits it wasn’t too hard to play a narcissist like Rothko. It was easy to find the narcissist in himself, he told us with a laugh. Still, both actors deserve to win whatever award is being given out to live theater productions. Now if they could only film this play while it’s still running. This performance ought to be preserved!
Ibarra runs at the GSIS Theater in Pasay City every weekend until Dr. Jose P. Rizal’s birthday anniversary.
Red runs at the PETA Theater Center in Quezon City until June 18 with 3 p.m. matinee performances on Saturday and Sunday.
