Posts Tagged ‘Theater’

Made in Vietnam, Born in the Philippines


2010
04.02

(old letters: May 7, 2000)

Kathleen, Michaell, Jan, Leanne, Carl, and Dante,

Still trying to catch up reading your letters. Congratulations! to Carl, for making it to Steppenwolf and to Jan, for completing your doctorate…

Am annotating a six-week workshop for basic acting (adults), am learning a lot in the process…

Cameron Macintosh’s “Miss Saigon” is going to be staged here… not too happy about that… they are spending a lot of money to do that, money which could have been used to produce shows which are more relevant and “Filipino.” As some have remarked, it’s a western play with a western viewpoint, conceptualized and directed by westerners, utilizing asian talents.

No doubt, because of it, Filipinos came to be recognized as more than mere “domestic helpers.”

And it would certainly be a rare treat for Filipinos to watch big mechanized, revolving stages and helicopters descending on the stage… but the thing is, it won’t help much in the development of Philippine theater. In the process, they’re also displacing the Philippine Philharmonic Orchestra, Ballet Philippines, and Tanghalang Pilipino (where I am a scholar-member of its Actors’ Company) from the Cultural Center of the Philippines (where Miss Saigon’s gonna be staged). Of the eight to ten plays mounted by TP per season, only four would be at the CCP (because of Miss Saigon). The CCP conference room, which has been the regular rehearsal room of TP’s plays, would be transformed into an office of the Miss Saigon guys.

I don’t know, even though I was made in Vietnam (really! my parents met there.), I’ve never really liked Miss Saigon… (I’ve never seen it… but I’ve never seen “Les Miserables,” too, and I like it.)

Am intending to become a freelance writer, while also auditioning for plays, etc.

Salamat.

ian

Dulaang UP’s Production of Frank Wedekind’s “Lulu”


2009
08.03

Dulaang UP’s Production of Frank Wedekind’s “Lulu”

LULU is a story of a person who has no qualms about the body and its sexual needs. Lulu, who is the alluring woman in the English version and the captivating transsexual in Filipino, is a being able to explore and express her desires without compromise or guilt. Adored and lusted after by men, women and creatures of the world, she takes them to a dance of bodily freedom, of the mind’s liberation and of utter ecstasy. But like any other person, Lulu searches for the other that could accept and understand her seemingly deviant nature.

In her hunt, Lulu meets a myriad of “civilized beasts”: painters, writers, the educated and the ignorant, the rich and poor men, the young and the dying who are upright and honorable by day but transform to hungry animals in the dark. Lulu embraces each person only to find him or her weak and forever trapped by man’s idea of propriety.

English Cast:
Che Ramos as LULU
Angeli Bayani as GESCHWITZ
Jules de la Paz as GOLL / HUGENBERG / HUNIDEI
Missy Maramara as JACK / RINGMASTER
Paolo O’Hara as DR. SCHON / CASTI-PIANI
Meynard Penalosa as SCHIGOLCH
Gabs Santos as ALVA SCHON
Randy Villarama as SCHWARZ / RODRIGO

Filipino Cast:
Tuxqs Rutaquio as LULU.
Acey Aguilar as SCHWARZ / RODRIGO
Alexander Cortez as SCHIGOLCH
Jules de la Paz as GOLL / HUGENBERG / HUNIDEI
Ian Lomongo as DR. SCHON / CASTI-PIANI
Jojit Lorenzo as JACK / RINGMASTER
Andoy Ranay as GESCHWITZ
JC Santos as ALVA

Direction and Choreography: Dexter M. Santos
Filipino Translation: Joel Saracho
Production Design: Tuxqs Rutaquio
Lights Design: John Batalla
Dramaturgy and Additional Text: Patrick Valera
Sounds Design: J Victor Villareal
Photography and Poster Design: Jojit Lorenzo
Poster Art Direction: Carlo Vergara

LULU will open on Aug 5 and will run till Aug 23 at the Wilfrido Ma. Guerrero Theater, UP Diliman.

English:
5 August 7pm – Opening
6 August 7pm
7 August 7pm – Gala
8 August 10am, 3pm
9 August 10am, 3pm
19 August 7pm
22 August 10am, 3pm

Filipino:
12 August 7pm – Opening
13 August 7pm
14 August 7pm – Gala
15 August 10am, 3pm
16 August 10am, 3pm
20 August 7pm
21 August 7pm
23 August 10am, 3pm

THIS PRODUCTION CONTAINS SCENES AND MATERIAL STRICTLY FOR MATURE AUDIENCES.

Lamay: Pakikiramay, Buhay, Kamatayan


2008
07.24

isang eulohiya para kay Ramon Jose Leyran, sinulat noong Octubre 10, 2003.

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Lamay: Pakikiramay, Buhay, Kamatayan
ni Michael Ian Lomongo

Kung di ako nagkakamali, nabuo raw ni Wency Cornejo ang kantang “Habang May Buhay” sa isang lamay. Kakaiba nga ang lamay ng mga pinoy: sa mga probinsiya, may pasugal (madyong, baraha, trembe), may inuman pa sa iba, may mga laro (juego de prenda), may kantahan, kwentuhan, tugtugan, may pakain din (kape, tinapay, biskwit, sopas, kendi, atbp.). Para ngang lagi tayong naghahanap ng dahilan para magkaroon ng selebrasyon.

Minsan, meron akong kababata at kaklase sa elementaryang namatay. Malalaki na kami nang maaksidente si Rhey sa motorsiklo. Natural, nagkita-kita sa lamay ang mga dating magkakaklaseng bihira nang magkasama-sama. Meron din kaming kaklaseng nasa ibang bansa noon. Tumawag siya (si Elna) sa telepono at nakibalita sa isa sa amin, at ang sabi niya: “Magkakasama kayo d’yan? E ‘di ang saya-saya n’yo!”

Hindi na siguro kakatwang makakita ng mga taong tumatawa habang tumutulo ang luha sa mga lamay. May lungkot dahil sa pangungulila sa isang kasama o kaibigang hindi na makakahuntahan o makakabiruan. May saya dahil may pasasalamat sa magagandang ala-alang pinagsaluhan ng magkakaibigan.

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Master and Slave Moralities in Ugo Betti’s “The Queen and the Rebels”


2008
05.04

something i wrote for a friend in 2003…

I tried to search for websites that (I thought) would mention the influence of Nietzsche on Betti (based on my reading of “The Queen and the Rebels”). I didn’t find any (plus, this is my first encounter with Betti), so I’m thinking this might be a case of me over-reading or seeing what I want to see, or simply a case of similar minds (Nietzsche and Betti) working on the same issue.

Anyway, as you might know, it was in “Beyond Good and Evil” that Nietzsche mentioned the difference between the moralities of masters (the strong) and slaves (the weak). (Once, I read someone mentioning that Hegel had a discourse on masters and slaves. So, again, as I haven’t read Hegel yet, I’m thinking Nietzsche might be taking off from Hegel’s starting point.) But it is in “The Genealogy of Morals” that we find an extended discussion of the difference between these two kinds of morality. The morality of the “masters” proceeds from an affirmation of one’s goodness; the notion of “bad” appears as a contrast, and is secondary, to this valuation. The morality of “slaves,” on the other hand, proceeds from a reversal of this process: slaves see the master as “evil,” which therefore makes him (the slave – the antithesis of the master) “good.”

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A Thousand Bitter-Sweet Poems for Women


2008
03.15

A Thousand Bitter-Sweet Poems for Women
By Michael Ian Lomongo, March 21, 2001

Last March 10, I watched PETA’s “Komedi Club,” a festival of 10 to 15-minute plays written by members of the PETA Writers’ Bloc. In celebration of the International Women’s Day, the plays featured during that weekend (March 8-10) were written by women playwrights (except for Nick Pichay’s “Kahit na Magtiis”). The line-up included “Flight,” an interpretative dance choreographed and performed by Martina Gonzales-Quesada, Regina Lasam, and Verni Severo, incorporated with a poem by Inge Saltarin; an adaptation of Liza Magtoto’s Palanca-winning Despedida de Soltera; Sheila Crisostomo’s “Emergency” (the grand prize winner of the second Charley dela Paz Awards of the PETA-PDP Writers’ Bloc); Nick Pichay’s “Kahit na Magtiis”; and Lallie Bucoy’s “Isang Libong Tula para sa Dibdib ni Dulce.”

I liked the last two plays best.

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Lost My Phone (Again)


2008
02.02

Hi mga repapips, repakols, remamims, kapuso, kapamilya, kamag-anak, katribu, kaberks, kapusod, kaputol, kapatid, kabagang, kainuman, kakwentuhan, kakulitan, kaibigan,

Watched Tanghalang Pilipino’s production of “Kudeta” last night with Athena (who’s celebrating her birthday today, as with my brother Mateo and sister Carmi and ka-neo Ebok). Guys, you should try to catch it. Last shows na bukas. Ang galing-galing ni Mario O’Hara. Of course, magaling din ang TP Actors’ Company. Last chance nyo na to.

It’s a tragicomedy. Very much like our beloved country. Caught between the devil and the deep blue sea.

Well, after watching the “a-bit-depressing” play, we went to Oarhouse in Malate with Sugus, Marj, and Tara of the TPAC. Had two beers. And then, Sugus wanted to order some burritos. There were no burritos. They had mojitos instead. He ordered one.

As it turns out, mojito’s not something you can bite. It’s something you drink. It’s something that can cause you to be drunk. It’s rum with mint (and I don’t know what else).

So, of course, since Sugus didn’t want it. I took it. Sayang e.

Well, I know for certain that the mojito was not wasted. Ako rin. I was definitely not wasted. Not fucking drunk.

Buzzed.

A manageable buzz.

Shared a taxi with Athena. She got off at her mom’s house in Mandaluyong. I proceeded to Edsa Central. Got off the taxi. Left my phone.

So there…

Please delete my number. It’s in limbo land.

best regards,
ian

“Nothing human is alien to me.”

– Seneca

Paghihintay sa Chuvatienes


2008
01.26

Paghihintay sa Chuvatienes
ni Michael Ian Lomongo, August 18, 2006

Hindi maikakailang malaki na rin ang naging impluensya ng salitang bading o gay lingo sa pang-araw-araw na pananalita ng madla. Sa pinoy gay lingo, kapansin-pansin ang mala-chopsuey na paghahalo ng iba’t-ibang wika (Tagalog, Japanese, Spanish, English, atbp.) at sari-saring alusyon sa pop culture (gaya ng mga pangalan ng mga artista). Kadalasan, dahil na rin sa dami ng variations at pagpapalamuti ng mga salita, halos ‘di mo na makilala at malaman kung saan hinango ang mga ito.

Halimbawa, san kaya nagmula ang katagang “chuvatienes”? Maaaring ang “chuva ay variation ng “chever/cheber,” na maaari namang pinaikling “whatever/whichever” (o posible rin sigurong updated version ng salitang Tagalog na “keber,” na mula naman sa Spanish que ver); ang “tienes” naman (kung saan hinango ang “chenelyn”) ay Spanish ng “you have.” Kaya, kung tutuusin, ang “chuvatienes” ay Spanglish ng “what-have-you.” Sa madaling salita, “anuman,” “whatever.”

Nitong nakaraang Hunyo, napanood ko ang produksyon ng Tanghalang Pilipino ng “Waiting for Godot” ni Samuel Beckett. Bilang pagdiriwang sa ika-isandaang taon ng kapanganakan ni Beckett, nakipagtulungan ang CCP, Alliance Francaise, Embahada ng Pransya at NCCA para imbitahan ang isang direktor mula Avignon, si Alain Timar, na idirihe ang isang adaptasyon ng nasabing dula (sa panibagong salin ni George de Jesus III).

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Going with the Rhythm


2008
01.24

Reflections on my limitations as an actor/artist, 2003.

best regards,

ian

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Going with the Rhythm

By Michael Ian Lomongo, 2003

Ah! If it were only possible to begin a task with the very lessons that one has gained in the process of doing it, one perhaps might be better equipped to meet the challenges posed by that task.

When I first read the script of Rhythm Method (in its English translation), I immediately liked it because it was both light/funny and weighty/serious. It was about Dr. Ogino Kyusaku, the doctor who first correctly determined the ovulation period of women and how he made that discovery. It had dramatic and comedic scenes, and even raised philosophical/ethical and gender issues. I thought it would be nice to take on the role of this doctor who was so consumed by his work that he didn’t know how to go about doing other things. I thought I fit the role and so told Herbie Go (the director) that I would like to audition for the role or even be the understudy for it. Herbie did give me the part.

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