Day 03: Of Wayna Picchu and Acrophobia

We were advised by the hostel staff to queue at the bus station as early as 4am if we wish to climb Wayna Picchu but we didn’t follow that. We underestimated the other tourists and thought that they might wake up a little later than us. Breakfast was already served at 4:30am so we grabbed the chance to have another quickie meal before joining the queue. Surprisingly, a long line was already waiting for us. My estimate was that there were around 150 climbers ahead of us. Coffee and sandwiches were offered by the vendors, that’s a good thing if you wish to have your last-minute breakfast. It was dark and drizzling at the same time.

At close to 6:30am, we were already at the entrance to Machu Picchu. Park authorities were head counting. They allow only 400 visitors a day for Wayna Picchu and it’s divided into two groups. The first 200 are allowed to begin the climb at 7am then another 200 at around 10 or 11am. We were caught off guard when the staff announced that we three were the last ones on the first set (to the wailing and violent reaction of those behind us). That gave me a sign that I should probably do Wayna Picchu (I was still unsure the day before because it gave me chills every time I looked at the high mountain at the back of Machu Picchu). Topeng assured through a staff that it’s gonna be an easy one-hour climb and that it can be done by your lonesome (meaning the trail is safe).



We logged in at the starting point (there’s a guard house there) at 7:20am. The one hour trip was only to a certain point but the peak can be reached in 2.5 hours. Since I was already there, I decided to still go for the challenge. First few minutes were easy-going. Paths are narrow but there are some ropes on the side if needed. Foggy mountains were everywhere and it’s a pleasure to experience nature that grand. After 20 minutes, there’s a point that connects Machu Picchu and Wayna Picchu and that’s where my real adventure began.



The descending steep path leading to Wayna Picchu from Machu Picchu can give you a hint of what’s in store for you. That’s the time I realized that it’s not going to be an easy climb (at least the ground staff was right when he said that the trek can be done alone). People ascending can be seen from there and it’s going to be endless. Ten minutes from that point on, I surrendered to the idea that I can’t keep up with Topeng and Nina so I asked them to go ahead without me. Lots of climbers passed by me but I was taking my time. At least I had a temporary company and they were very nice. One guy even volunteered to carry my little red backpack but I declined (primarily because my food and water were there). I stopped a hundred times. A few more minutes and my legs started to sore and I felt that lack of a decent and heavy breakfast wasn’t helping. It’s a steep climb of paths made of rocks and Rio Urubamba below served as a reminder of how high I already was. Just like the route to Inca bridge, only going up, there’s no support facing the ravine.

Tired and with a little courage, I reached the first part of the portal made by the Incas. It’s a platform of soil supported by rocks at the edge and can be explored by going sideways. Machu Picchu can be viewed from there. Some were resting while others were having a puff. But the peak is still far from there. The whole structure leads to a cave in which I didn’t know how I managed to get out. It’s a one-way ticket from the cave. The moment I crawled out from it, I knew I had to start taking care of my acrophobia. I didn’t see much support underneath like a safety net or another platform. It’s like one big mistake and you’re history. One couple got me connected (the guy is Arab-looking and the girl spoke Spanish really well). They confessed that they took a picture of me while struggling myself out of the cave. They helped me cross one critical step leading to the peak.



My mindset when I reached the peak was how the hell I would climb down. On the first sturdy platform, I saw how people descend. It’s a narrower step and slightly steeper. I was scared and proud of it. I didn’t enjoy the peak much and I even forgot to take a Hipstamatic shot for my Project 365 Days. I remember saying “hi” to Topeng and Nina (who were having a grand time with the view) but I just continued going down to finish the whole thing. I found a nice spot to photograph Machu Picchu from there but that’s about it. I started the climb down through the narrow path just opposite the other path with a cave (got no other choice), with my behind hitting the rocky steps, sit-crawling the whole she-bang. At one point, I had to rely on a crack to cross the path while praying big time. As far as I can remember, there were three long narrow paths that I endured. Some were with company of trekkers that added pressure and some, all by my lonesome. Until now, I don’t know how I made it.

The rest of the descent after the Inca platform was not as challenging. My mental note then was not to look at Rio Urubamba below and it helped. Halfway through the trek, I turned my iPhone on and played Mishka Adams. Why her? Her latest album has a mix of English, French and Spanish songs. I was just trying to connect with the people I met along the way, either those who were going up or Machu Picchu-bound like me. I greeted the climbers good luck and one British girl even commented “Thanks but I wish I have your music.” Another Asian-looking girl joined me in resting at a spot near the destination. She was trying to figure out my nationality.

See a video here of climbers on their way to Wayna Picchu.



The first glimpse of the guard house made me celebrate. I really made it and decided to hang out in the bench there to wait for Topeng and Nina and to dry my socks out. Good to have seen the people there, jubilant with their finish. Mostly Spanish-speaking but I had the chance to talk to an Italian couple with a nice DSLR (they asked me to take a picture of them and the guy was such a perfectionist). There was also a Thai family where the head of the bunch mentioned that he just visited Cebu and Bohol for business and pleasure. A Japanese guy came out while videotaping himself and another big guy rushed on his way out as his elbow was bleeding. I waited for an hour more for Topeng and Nina but they probably decided to prolong the experience further (I caught up with them on my way out of the ruins). I just killed the time by exploring the “city” of Machu Picchu and took more pictures.


While resting at a spot overlooking Wayna Picchu, some silver lining came by:

1. In every mountain, it is the climb that matters most;
2. You’ll get by with a little help from some friends no matter how temporary;
3. It is not always fun at the top;
4. You can only see clouds from the top and not those that make you commit mistakes;
5. Struggle is, first and foremost, a personal thing;
6. Ropes are there for a purpose; and
7. The whole process of trying to hurdle a mountain is not entirely scientific. Sometimes you need faith and a little luck.

The rest of the tiring afternoon were spent eating a cuy (a guinea pig!) and alpaca (or llama), getting our bags back, checking emails for the next hostel and visiting the hot springs (I opted to stick on the net and skipped this one) right before we met up again for the train ride back to Ollantaytambo at 6:10pm. During the trip, there’s a devil dance called “sacra” right in the aisle of the train (video here) which was very amusing. They said that during Holy Week, God is not watching in which I beg to disagree after accomplishing the Wayna Picchu climb.

The rest of the pics here.

Day 04: The Ollantaytambo Leg

I woke up ahead of my celfone alarm clock. It was more than eight hours of sleep. I raised the curtain beside my bed in Hostal Iskay (a glimpse of the area here) and I was greeted with some chirps. A huge mountain was at a distance, returning my glance. It was a beautiful morning, so serene and freeing. The night before, we didn’t have any idea that the hostel was this relaxing as the driver who picked us up from the train station took a dusty road. Breakfast followed suit: hot scrambled eggs, bread, jam, cheese, ham, a kind of cereal that looks like rice crispies, fresh orange juice, fruits, coffee, tea and of course, coca leaves.

There was a minute mishap with the ATM at Hotel Sauce near the main square but that didn’t stop the fun. It was supposed to be our anti-fatigue day. We rented a car that would bring us back to Cuzco airport and we will be having some stops along the way. Everything went well as planned except that we were delayed for an hour. The hotel staffs headed by Cristina were very helpful and very understanding. We availed of the “box lunch” to make us of our limited time.



At 10am, we were already on our way to one mountain peak overseeing the Sacred Valley (see a 360-degree video here). Our guide Jose (yes, we also hired a guide) mentioned that the Sacred Valley is called as such because of the Sacred River with a shape similar to a constellation. The view from there was nice and the weather was just cooperative. Then we went down on our next stop which is the archaeological site in Moray. It’s a place used to experiment plants that suit to a particular temperature. In a glance, it looks like an inverted Banaue rice terraces. The deeper the plant can get, the colder it gets. A really clever experiment, I should say. Going to the bottom and back reminded our legs of what we’ve done in Wayna Picchu.


Our last stop was at Chinchero. We passed through fields and fields of barley and wildflowers, at times dreamy. I finished my lunch during that trip which includes two sandwiches (which we shared with our guide and the driver), an apple, an orange, cookies, candies, a peach juice and a bottle of water. Chinchero is a small village with some stores that sell hand-woven textile similar to those we can find in Baguio. In one store where Jose brought us, there was a short recreation on how the garments are made. It’s a fascinating demo. We learned from it that the colors itself are organic, either from an insect or from fruits like lemon. I ended up buying some bracelets and a winter scarf.

There's a video here and here on the textile-making demo.

We left Peru at 4pm past. That’s after having a nice chitchat with two other fellow Filipinos Dean and Dang at the airport lobby and at the gates. How come I wasn’t surprised that we will be meeting a “kababayan” in places like Cuzco? We shared stories on Machu Picchu, about backpacking and how to save up more in trips like that. Of course, we parted ways after having a group picture and exchanging Facebook accounts.

The rest of the pics here.

Candombe! Candombe!

Just last week, we went to Gral. Rivera corner Missouri Streets to watch a parade of different candombe bands (Wikipedia is your friend). I was informed that it's similar to what we could have witnessed if we came here right before the lent. As noted from the parade, it usually has a logo bearer first, announcing their band name. Then a set of flag bearers waving gigantic flags (too big that you'll be hit if you're near). After that, an entourage of carnival ladies then an old couple (where the lady is dressed up a la Corazon in "Marimar"). Then the carnival queen leading the group of drummers. Everybody was dancing to an African beat.

The rest of 200 plus pictures here plus a video here.

They Close Their Eyes When They Sing: Notes on Jaime Roos Concert

Five days after the Roxette concert, I watched another music event here in Montevideo. Thanks to an Argentinean officemate who invited us to watch Uruguay’s legendary singer Jaime Roos. The same manager who instructed me how to go to Velodromo declared that he is the country’s most popular music artist (so popular that his songs reach the neighbouring South American countries). I got no clues other than that. I just went with the flow.

And here are my notes:

1. The place this time is not as big as Velodromo. It’s a bar similar to Metro Bar or Laffline in size and it’s called La Trastienda. Tickets have seat numbers so we were accompanied to Table # 10 the moment we arrived. The table is slightly bigger than a family pizza and six of us were sharing it (four from our group and a couple on their 60’s). I think the idea was just to have a beer or two (plus empanada). Everybody was facing the stage and given the set-up, it’s very crowded. Officemate commented that it’s close to being claustrophobic;

2. A ticket costs UYU480 or roughly PHP1,100. No free drinks whatsoever;

3. They did not start on time but the wait was worth it. Jaime Roos, probably on his late 50’s, is balding but sings really, really great. He’s a guitarist, too, and he smiled very generously. I’m not good at describing the genre and let’s just say that it’s a typical Uruguayan music (so they say) complete with candombe on the side and an all-male back-up singers;

4. There’s a lights-off in almost every song number. They also have a 15-minute break which reminds me of one mockery that Martin Nievera did when he mounted a concert at Greenbelt Onstage two presidents ago. After some songs, Martin announced that there will be a 10-minute intermission. Curtain fell, lights were on and people started to locate the toilet. Then in a beat, Martin came out and took some pictures of the audience. He said, “Where can you find a concert with a break?” and continued singing;

5. The all-male back-up singers, when doing nothing, were not onstage. They stepped out occasionally, something that is Greek to me;

6. Yes, they sang with their eyes closed and they looked happy while at it. What were they imagining?;

7. Photography was allowed but no videos. Officemate attempted but Jaime Roos himself made a comment in local dialect about a patron trying to camcord a song; and

8. After the concert, people lingered for a while. This normally happens after a play. I noticed that some of the musicians were there with the crowd. We headed home instead, mind-effing the idea of scoring a Jaime Roos CD.

More pics here.

It Must Have Been Love (But It’s Over Now): Notes from the Roxette Concert in Montevideo

Last April 2, a Saturday, after a thorough self reflection lent-style, I decided to watch the Roxette concert here in Montevideo. The pros: I know some of their songs by heart. Thanks to a cassette tape that my brother has left us when he was in college. I remember vividly one of their songs in “Pretty Woman” OST. The cons: I haven’t gone in a night-out alone here in Montevideo. We survive here by cab and I was expecting a hefty competition with the concertgoers.

Anyhow, some notes:

1. The venue is called Velodromo. Its facade can be mistaken for our very own Rizal Stadium in Vito Cruz only a little orangey. Our manager here (where I got a tip on the best way to go there) described it as a place for cyclists. It’s an open field with a capacity comparable to Araneta Coliseum;

2. It took me less than 15 minutes to reach the place. The cab hailing took more time as a juelga from the operators was ongoing during that godly hour. I thought I was late for the 9pm schedule but the front act was still performing;

3. My estimate for the attendance was 5,000 to 6,000 (could be more). I got the cheapest ticket and for me it’s a good thing as I had freedom where to enjoy the concert. First, I can take any seat at the back of the venue which serves as a grandstand. The other option was to go past that crowd and join the others in the area that forms a U adjacent to the stage. Those inside the U were, of course, those with more expensive tickets and they got seat numbers;

4. Stage set is not that a stranger to our concert scene. Except for some makeshift dividers beside the stage, everything felt like home (the lighting, the atmosphere, etc.). They’ve got two or three booths selling shirts but I didn’t find anything cute. I noticed, too, that some were selling those glow sticks but I was guessing they’re not legit;

5. I was pretty sure that I smelled a hint of marijuana in one or two spots. Hey, I was in the Netherlands for almost the entire 2006;

6. Thanks to the video walls, I can at least figure out from a far that Marie Fredikkson is getting a bit old (but not tired). She’s turning 53 this May if Wikipedia is right. She can’t hit the high notes anymore but she did her best to ad lib (and the unusual output was still enjoyable audio-wise). As for Per Gessle, good as the cassette tape;

7. Happiness was listening to the familiar tunes. The concert opened with “Dressed for Success” and ended with (surprise, surprise) “Listen to Your Heart”. Right before singing “Dangerous”, Per said “Welcome to Hollywood!” It must have been love that I sang along with the locals in songs that I can sing without being reminded that 80’s was so centuries ago;

8. Before the encore, the crowd was cheering “Ole! Ole! Ole! Ole! Roxette!” My football fanatic friends would love to hear that; and

9. No, I didn’t have a hard time getting a cab after the concert (after walking two or three blocks, I guess).

The rest of the pics here.

Makinang

Kaos
Produksyon: Resorts World Manila
Direksyon: Sviatlana Burkun
Libretto: Walang kredito
Musika: Walang kredito
Mga Nagsiganap: Gian Magdangal, Martha Joy, Joel Trinidad, atbp.

ISTORYA

Uunahan ko na na katiting lang ang partisipasyon ng istorya sa buong pagtatanghal. Ang bentahe talaga nito ay mga circus act. Ganoon pa man, ang musical na bahagi ay tumalakay sa paghahanap ng prinsipe (Gian Magdangal) sa kanyang pangarap na babae (Martha Joy) mula sa kanyang kasalukuyan hanggang sa makabagong panahon. Hindi lahat naging madali sa pangingialam ng kanyang Tagapayo (Joel Trinidad).

VEGAS

Ganito ang takbo ng produksyon: merong pagkukwento (o kantahan) sa umpisa (sa tulong na rin ng subtitle sa dalawang video wall sa tagiliran) at susundan ito ng circus act, babalik sa kuwento (o kantahan) at susundan muli ng isang acrobat. Ito ang ruta hanggang matapos ang dula. Sa unang tingin, puwede na talagang tanggalin ang musical part. Maaaring ma-enjoy ang buong extravagance kahit sunud-sunod na circus act lang. Pero naisip ko rin, bakit naman hindi.

Walang kredito ang libretto o maging ang naglapat ng musika dahil wala naman talaga itong orihinal na akda. Ang mga kanta ay sinungkit mula sa iba’t ibang musical at tinugtog nang live ng mahusay na Manila Symphony Orchestra (na litaw na litaw sa mga kredito mula sa poster maging sa website ng Resorts World). Duda ko lang naman na lahat ng piyesa ay kinuha sa ibang musical. Nakilala ko rito ang “Where is Love?” mula sa "Oliver" at isang kanta ng Queen na marahil ay hinugot naman mula sa musical na “We Will Rock You”. Kung ang buong repertoire ay hango sa ibang obra, masaya sana itong experience para sa mga musical theater buff. Para kang nasa isang guessing game at huhulaan mo kung saang dula nanggaling ang inaawit ng performer. Sa isang eksena kung saan naghahanap ang prinsipe ng kanyang mapapangasawa, isang Pilipina ang umawit ng kundiman (na kung hindi ako nagkakamali ay “Mutya ng Pasig”). Dahil walang kredito, hindi ko nasiguro kung s’ya rin ang napanood ko sa “Basilia ng Malolos” ng DUP noong 2007.

Ang serye ng circus act ay halo-halong sahog ng acrobat mula sa ibang bansa kamukha ng Spain at China na marahil ay nakita na natin sa ibang pagtatanghal na madalas gawin sa Araneta Coliseum tuwing Christmas season. Wala namang bago talaga pero masarap ulit maging bata. Ilan ito sa mga bagay na hindi yata maluluma. Marami namang hindi makakalimutan dito, partikular sa akin ang motorcycle act sa bandang dulo ng produksyon kung saan pinagkasya sa malaking bola ang limang motorsiklista. Nakakita na ako ng ganito sa old Vegas, sa isang kalye roon. Unang beses ko ring makakita ng puting leon pero nakakita na ako ng white Bengal tiger sa isang zoo sa Singapore. Ang naisip ko n’ung panahong ‘yan, sana kasama ko ang tatlo kong maliliit na pamangkin. Pihadong kasabay ko silang nag-enjoy.

Sumasang-ayon naman ako sa promotional stint na “Broadway meets Vegas” ang produksyon. Maging ang entablado ay nag-uumapaw sa state-of-the-art set na bihirang bihira, kung hindi man wala pa talaga, nating makita sa Philippine theater scene. Magara ang costume, higante ang mga video wall sa likod (na kamukha ng nakikita natin sa “ASAP” tuwing Linggo) at marami pang ibang visual spectacle. Bonus na lang na nandoon din ang Philippine All-Star. “Reprezent!”, sabi nga.

KONKLUSYON

Wala akong makitang argumento na purong pampamilya nga ang pagtatanghal. Mas nais nitong abutin ang mga bata (o nagpapanggap na bata) at itinimpla na lang na atraksyon ang musical para sa karagdagang audience. Ito na siguro ang pinakagandang halimbawa ng popcorn play (kung meron mang ganitong term). Mas mainam na gumastos ng pera para sa dulang ito ng walang bahid ng mataas na expectation pagdating sa storytelling. Mas mainam din na isama ang mga bata kung hindi man kayang bitbitin ang pusong bata.

Humihinga pa ang Mangangatay

Screen: Macbeth
Produksyon: The Department of English & Comparative Literature (UP Diliman) at World Theater Project
Direksyon: Anton Juan
Mandudula: Judy Ick (halaw mula sa dula ni William Shakespeare)
Mga Nagsiganap: Teroy Guzman, Judy Ick, Ron Capinding, Ricardo Abad, Romnick Sarmenta, atbp.

ISTORYA

Bumalik si Macbeth (Teroy Guzman) sa kanyang asawang si Lady Macbeth (Judy Ick) matapos ang isang matagumpay na giyera. Baon nito ang mga propesiya ng tatlong bruha tungkol sa kanyang paghahari mula sa pagiging Thane of Glamis. Ang mga balakid sa daan ay magkabrasong nilandas ng mag-asawa upang maisakatuparan ang inaasam-asam na kapangyarihan, buhay at kamatayan man ang kapalit.

GLORYA

Hindi ko na tatalakayin si Shakespeare dito dahil hindi naman kami sangang-dikit. Wala sa hinagap ko ang gumawa ng mabusising pangungumpisal sa kanyang mga ginawa o ipangalandakan kung nabigyan ba ng karampatang panukat ang adaptation ni Judy Ick sa orihinal na akda. At baka hindi ko rin ito mapanindigan. May ilang Macbeth na rin akong napanood (sine o maging dula rin) at wala akong panahong alalahanin ang bawat eksena rito at ihanay sa tabi ng bagong pagsasadula. Sumugod ako sa UP kahit gabi ang screening (extension na lang ito mula sa unang run) dahil sa credential ng mga tao sa likod at harap ng produksyon: Dr. Anton Juan, mag-asawang Teroy Guzman at Judy Ick (na tila mahirap tibagin pagdating sa maalab nilang rendition ng madilim na karakter dito), Romnick Sarmenta, Ron Capinding, Ricardo Abad o maging ang mga nakilahok sa installation video kamukha nina Frances Makil-Ignacio at Eugene Domingo. Kung isusuma, sila ang mga piling-piling pambato mula sa DUP (at Tanghalang Ateneo) na huli ko yatang nasaksihan sa “Frustrations” sa Wilfrido Ma. Guerrero Theater n’ung late 90’s. Hindi ako magugulat kung ang cast ng dulang ito ay mapupuri at magiging nominado sa mga darating na parangal para sa teatro.

Hubad ang teatro nang nakisabay ako sa pagpasok ng kahabaan ng pila. Ang direktor nito ang isa sa mga naghanap ng upuan para sa mga manonood (at isang karangalan para sa akin na s’ya ang nagbigay ng puwesto sa isang sulok). Tila isang bakanteng warehouse ang Media Center ng College of Mass Communication. Mataas ang kisame at ang apat na bahagi ay nilatagan ng malalaking puting kurtina para sa 360 degrees na video installation. Ang nakaangat na stage ay dalawang ramp na naka-cross sa gitna at sa mga espasyo nito nakatahan ang mga manonood. Maliban sa mga dulo ng ekis na entablado, may isa ring hagdan sa isang kanto na madalas gamitin sa paglabas-masok ng mga artista. Malayang nakakagalaw ang mga performer at mahusay ang pagkaka-optimize upang maipakita ang gubat, ang kaharian at iba pa sa kabila ng kawalan. Isa ito sa mga snagustuhan kong sahog sa pagtatanghal. Hindi napinid sa “screen” part ang bentahe at lumitaw rin nang todo ang pagiging theatrical sa tulong ng blocking at direksyon kahit na payak ang stage set ni Ohm David.

N’ung napanood ko ang “Three-Penny Opera” ni Dr. Anton Juan, lumabas ako ng teatro n’un na damang dama ang protesta nito laban sa pamunuang PGMA. Nariyan ang tirada sa pagiging National Artist ni Carlo J. Caparas at marami pang ibang nai nitong kalampagin. Halos hindi ko na nga nakilala agad kung ano (o sino) ang Bertolt Brecht sa dula. Hindi naman ganito ang naranasan ko sa “Screen: Macbeth”. Nakatutok sa pagiging Shakespeare ang pagtatanghal at walang tahasang patama sa kasakiman sa gobyerno maliban sa mga nahuhulog na sapatos mula sa langit sa isang eksena ni Lady Macbeth. Pero hindi nakatiis ang direktor. Sa panghuling pananalita, matapos ipakilala ang mga nagsiganap, binalaan n’ya ang mga manonood na hindi pa patay ang slayer at nasa kongreso pa nga ito.

KONKLUSYON

Kung babalik-balikan natin ang Macbeth at pag-aaralan ang mga motibo rito, hindi natin maiiwasang lumingon sa sarili nating political history upang makatisod ng paghahambing. May dalawang bagay na nais tumbukin: una, ang maintindihan ang giyerang kanilang pinagdaanan bago sumapit sa kasakiman at ikalawa, ang turuan tayo ng leksyon sa pagkilatis at pangungutya sa mga ganitong uri ng mga namumuno sa gobyerno. Ang pagtatanghal na ito ng “Screen: Macbeth” ay isang rarity sa kabi-kabilang produksyon na matalas ang mass appeal o pop art. Nakapagbigay ito ng silid para sa mga mag-aaral upang masaksihan ang mga dulang sa literary textbook lang mahahagilap at kaalinsabay nito ay nakapagturo rin ng totoong leksyon. Isa itong paalala na buhay pa ang mga mangangatay, humihinga at handang dumaluyong sa susunod na biktima.

Awit ng Valium

Next to Normal
Produksyon: Atlantis Productions
Direksyon: Bobby Garcia
Libretto: Brian Yorkey
Musika: Tom Kitt
Mga Nagsiganap: Menchu Lauchengco-Yulo, Jett Pangan, Jake Macapagal, Felix Rivera, Bea Garcia at Markki Stroem

ISTORYA

Isang maybahay si Diana Goodman (Menchu Lauchengco-Yulo) na unang ipinakita bilang isang mapag-arugang ina sa kanyang dalawang anak na sina Gabe (Felix Rivera) at Natalie (Bea Garcia) at isang butihing asawa kay Dan (Jett Pangan). Ang mga sumunod na pahina ng kanyang pang-araw-araw na buhay ay nagpakilala sa kanyang bipolar disorder at sa pagbisita sa papalit-palit na doktor na sina Dr. Fine at Dr. Madden (Jake Macapagal). Isa sa naging susi sa pagbukas ng pinto ng kanyang kondisyon ay ang kasintahan (Markki Stroem) ng kanyang anak na si Natalie.

SINO ANG BALIW?

Bagama’t payak ang kabuuang produksyon ng dula (walang koro, walang malalaking choreography, walang stage set na bumubukas o bumababa at iba pa), malaki ang naging impact nito sa akin. Sa katunayan, hindi rin naman ako direktang nakaka-relate sa lead character pero ang depression ni Diana ay isang bagay na lahat ng adult ay maaaring makakuha ng pagmumuni. Tumutok ang materyal sa pinagdadaanan ng isang nilalang (partikular sa isang ina na walang ibang nanais kung hindi ang mapalaki nang matino ang kanyang pamilya) at wala na itong ibang tinahak pa. Ipinakitang walang ibang hanap-buhay si Diana kung hindi ang pagiging maybahay, hindi s’ya office worker o businesswoman. Siguro, kahit na pahapyaw, ay may gustong sabihin dito ang may-akda tungkol sa trabaho bilang isang housewife, kamukha ng nanay ko at ng karamihan, na madalas nag-oopisinang mag-isa sa apat na sulok ng isang bahay.

Sa isang bahagi ng dula, ipinakita ang dilemma ng asawang si Dan sa pag-aalalaga ng asawa na may bipolar disorder. Umabot sa pagtatanong kung hanggang saan ang dapat isukli sa kanyang aruga. Mula rito ay bumalik s’ya sa sarili upang suriin na baka s’ya ay may sakit na rin na hindi n’ya namamalayan. Isa itong kritikal na bahagi para sa akin upang ibalik ang tanong na ginamit ni Dan. Baka hindi ako normal. O, baka mas normal ang iba kesa sa akin. Baka mas normal ang iba sa akin na sa tingin ko ay abnormal. Sa dulo, katulad ni Diana, iisa lang din ang gusto kong maratnan, ang maging next to normal kahit papaano.

Kamukha ng nabanggit ko na payak ang produksyon pagdating sa stage set, hindi naman ibig sabihin na bumigay si Lex Marcos sa challenge na ito. Simple nga ang kanyang imahinasyon pero may isang piraso rito na matatas ang significance at hindi ko makakalimutan. Ito ay ‘yung isang pinto sa itaas na bahagi sa kaliwa na bumubukas at sumasara pero walang hagdan na nakikita ng audience. Parang wala itong pupuntahan. Madalas itong gamitin ng performer kapag merong gustong sabihin ang kanyang iniisip. Siniguro ko talaga (sa tulong ng Google) na hindi ito kinopya sa Broadway counterpart nito dahil para sa akin, isang gintong ambag ito sa kaganapan ng dula.

May kakaibang expectation ang isang produksyon kapag ang isang lead role ay ibinigay kay Menchu Lauchengco-Yulo (“Sweeney Todd”, “Kiss of the Spider Woman”, etc.). Kung hindi emotionally stressful ang character, mas malamang kesa hindi na kumplikado ang mga awit na kasali rito. Ang kanyang responsibilidad bilang Diana, ang malapatan ito ng sapat na conviction sa parehong aspeto bilang aktres at singer, ay isang malaking dahilan upang maging excited ako sa proyektong ito ng Atlantis (maliban siyempre sa pedigree ng dula: Tony Awards, Pulitzer). At hindi nilipad ng hangin ang aking excitement. Ang kanyang Diana ay cool na cool sa umpisa na dumudulay sa dahan-dahang pagkadurog sa gitna hanggang sa dulo. Nakadagdag siguro ang pagiging ina n’ya sa totoong buhay at ito na siguro ang pinakamalapit sa reyalidad na kanyang ginampanan (dalawa ang kanyang anak, isang babae at isang lalake, parehong teenager). Ibang usapan na pagdating sa paninimbang sa belting ng ilang notes at ang character singing na idine-demand mula sa kanya. Hindi ko matandaan kung kelan ako huling nakarinig ng pagbirit na banayad pa rin sa tenga.

Ito na siguro ang pinaka-audience friendly na dula mula sa Atlantis. Napansin ko lang na marami itong puwedeng maabot. Ang take ay maaaring nanonood lang ng isang melodrama o soap opera, habang sinusubaybayan natin pagtawid ni Diana sa bipolar disorder. Ang ilang awit at pathos sa dulo ay isang malaking boksing sa pagpipigil umiyak (sino ba rito ang walang nanay?). Puwede rin namang bilang theater spectacle dahil ilan sa mahuhusay sa industriya ay nandito: Jett Pangan (walang pagdadalawang-isip na mahirap pantayan ang kanyang presence bilang aktor at bilang singer), Felix Rivera (na pinatawa at pinahanga tayo bilang komikero sa “Avenue Q”), Bea Garcia (na ilan sa atin ay matatandaan ang kanyang contribution sa “Faculty” ni Jerrold Tarog), Jake Macapagal (nami-miss na yata s’ya ng indie filmmaking) at ang baguhang si Markki Stroem (hindi nagkamali ang “Pilipinas Got Talent” para sa kanya, sa tingin ko). Puwede rin namang ma-appreciate maging ng mga manonood na wala sa mga nabanggit.

KONKLUSYON

Tagumpay ang local staging na ito ng Atlantis Productions. Para sa akin, isa ito sa pinakamagandang nagawa nila mula nang nag-umpisa silang buhayin sa Pilipinas ang ilang produksyong sa Broadway lang maaaring masaksihan. Hindi man kasing posh ng orihinal na pagtatanghal, kahit papaano ay nabibigyan ng pagkakataon ang mga Pinoy upang magamit ang dula bilang isang kapani-kapaniwalang reference. Ibang iba ito sa na-Google lang o nabasa lang sa libro. Ang “Next to Normal” ni Bobby Garcia ay kuminang sa maraming paraan at sa maraming beses. Nilampasan nito ang vision ng Atlantis na makapag-stage ng imported na dula. Nakuha nito ang puso ng mga manonood. Nalinlang nito kahit pansamantala na ang buhay ay isang dula o vice versa. Naitanong nito nang buo kung ano ang normal at kung ano ang abnormal. Hindi man ito nagbigay ng tahasang sagot, nakapagbahagi naman ito ng ilang rason na magbubunsod sa ating tuluyang pagkilala sa sarili.

Mahabang Proseso

The 39 Steps
Produksyon: Repertory Philippines
Direksyon: Ana Abad Santos
Mandudula: Patrick Barlow (halaw mula sa nobela ni John Buchan at pelikula ni Alfred Hitchcock)
Mga Nagsiganap: Michael Williams, Liza Infante-Robinson, Juliene Mendoza at Rem Zamora

ISTORYA

Tungkol sa adventure ni Richard Hannay (Michael Williams) matapos n’yang masangkot sa isang hindi maipaliwanag na krimen. Mula sa kanyang apartment sa London hanggang Scotland , hinarap ni Richard ang misteryo na nakatago sa likod isang sindikato. Samu’t saring karakter ang kanyang nakasalubong sa daan (na pinagpalit-palitang ginampanan nina Liza Infante-Robinson, Juliene Mendoza at Rem Zamora).

HITCHCOCKY

Uunahan ko na: hindi ko nagustuhan ang dula. Ang pangunahing timpla ng dula, ang pagpapalit ng mga karakter sa napakabilis na blocking, ay hindi na bago. Nagawa na ito ng ilang materyal kamukha ng “The Mystery of Irma Vep”. At dahil hindi na bago, umasa akong may makikita man lang sanang kakaiba sa produksyon. Wala akong natagpuan kung hindi ang kuryosidad na mapanood ang film version nito sa lalong madaling panahon.

Hubad halos ang entablado. Ang dalawang tore sa magkabilang bahagi, na s’yang nagsilbing permanenteng props, ay nagamit lamang sa dalawa o tatlong eksena. Lahat ay papasok-lalabas ayon na rin sa hinihinging gag ng kuwento (eksena sa train, sa isang hotel, sa isang bahat at iba pa). Masaya ito sa ilang pagkakataon pero dumating ang punto na nakakasawa na at nakakabagot.

Ang bentahe ng dula ay ang pagpapalit-palit ng karakter ng mula sa tatlong aktor dito (si Michael Williams ay Richard Hannay lang mula umpisa hanggang matapos). Pinanindigan naman ng mga nagsiganap ang challenge na nakaatang sa kanila at nagtanghal sila nang sakto lang sa inaasahan. Dahil matagal kong hindi napanood sa isang dula si Liza Infante-Robinson, para sa akin, nangibabaw s’ya. Masayang masaksihan ang kanyang pagbabalik-entablado kahit sa limitadong panahon lang.

Hitchcocky ang ipinangako ni Ana Abad Santos. Nasabi n’ya sa program na ang bawat eksena ay magpapaalala sa atin ng mga ginawa ni Alfred Hitchcock. May pagka-“Psycho” ang isang eksena sa hotel samantalang literal na naglagay ng ibon sa bintana sa isang apartment upang maalala natin ang “Birds”. Maraming nagawang pelikula si Hitchcock (sa imdb, merong 67 na titulo, kasama na ang ilang telemovie) at hindi ko pa lahat napapanood kaya siguro hindi ako masyadong nasiyahan.

KONKLUSYON

Para sa ganitong estilo ng pagsasadula, simple at nakasalalay sa husay at wit ng mga aktor, mas nanaisin kong mapanood sa mas intimate na venue (na huli kong naramdaman sa staging ng “Tatlong Maria” ng TP). Kumbaga, masyadong magarbo at malaki ang Greenbelt Onstage para sa kapayakan ng dula. Sa mas maliit na venue, kung saan mas engaged ang manonood, mas mabibigyan ng tutok ang husay ng mga nagsiganap kahit na mukha itong isang mahabang proseso.

Ripit Perpormans!

Hindi ako masyadong mahilig umulit ng film o play pero hindi ko yata mapapalampas ang pagkakataon na mapanood muli ang mga dula sa ibaba. Sa kaso ng “Amphitryon”, nagustuhan ko talaga ito nang unang ipinalabas n’ung panahon ng Ondoy. Kokonti ang nakanood at may pagkakataong nakansela ang pagtatanghal. Ang “Orosman at Zafira” naman ay malaki rin ang iniukit sa akin pagdating sa pagpapakilala ng orihinal na Pinoy musical. Naging kapanapanabik na lumipat ito mula sa Wilfrido Ma. Guerrero Theater papuntang Centerstage sa SM Mall of Asia. Isang malaking hamon kung anu-ano ang mga karagdagang gilas ang puwede nitong isampay. Ang “Zsazsa Zaturnnah, Ze Muzikal” naman, tila hindi tinutuyuan ng sumusuporta. Heto at sa huling minuto ay binuhay ulit ng TP ang kanyang kapa na pumalit sa “My Brother, My Executioner” sana ni F. Sionil Jose (na nagkaroon yata ng problema sa ilang dokumento).

Pero ano ba’ng bago?

AMPHITRYON (DUP, February 2011). Ganitong ganito ang staging na napanood ko n’ung September ng 2008. Si Neil Ryan Sese pa rin ang nasa title role subalit si Diana Malahay na ang napanood ko (hindi na si Gilleth Sandico). Kung meron man akong napansin na bago (o baka nand’un na rin dati pa pero hindi ko lang napansin), mas interactive lalo ang dula. Mas kinakausap na ang mga manonood at mas napapasagot naman sila. Entertaining. ‘Yan ang kabuuan. Entertaining na literary piece. Nangingiliti pero alam mong naka-peg ito sa ilang reference na maaari rin nating makita sa mga textbooks. Ganitong ganito pa rin ang tinahak ng dula. At sino naman ang hindi makakalimot sa mga huling minuto nito, kung saan ang kaganapan ng mga pangyayari ay hinipan ng isang engkantadong hangin? Salamat sa napakagandang set ni Lex Marcos.

OROSMAN AT ZAFIRA (DUP, February 2011). Pinanood ko sa ikalawang pagkakataon ang dula dahil para sa akin, isa ito sa pinaimportanteng Pinoy musical noong 2010. Mga ganitong song selection ang masarap ulit-ulitin sa MP3 player habang inaalala ang choreography rito. Sa restaging, pinili ng producer na gawin ito sa mas malaking venue, (marahil na rin siguro sa demand ng unang nakanood n’ung nakaraang taon). Nand’un pa rin ang original na aura ng stage pero mas nakakahinga na ang mga performer. Hindi ko matandaan kung merong karagdagang piyesa pero wala halos hindi mo mapansin ang update sa blocking (kung meron man). Mahusay pa rin ang cast. Mahusay pa ring marinig nang live ang kanilang world music. Nakakadismaya lang na hindi ito masyadong pinanood (gala ‘yung ticket ko, ewan lang sa matinee na mas pang-estudyante ang rate). Sa ikalawang pagkakataon, hindi ito nahubaran ng reputasyon.

ZSAZSA ZATURNNAH, ZE MUZIKAL (TP, February 2011). To the rescue na naman ang musical na ito ni Vincent de Jesus na halaw sa pamosong graphic novel. Kamukha ng pagsalba dati sa hindi pagkakatuloy ng “Oro, Plata, Mata, the Rock Opera”, heto at muli na namang binuhay ang mabentang musical. Katulad ng inaasahan, may ilang add-on. Bago ang set sa tulong ni Gino Gonzales. Mas sleek ito at mas mukhang stagey, hindi kamukha ng dati na sinadyang magmukha itong kabaret dahil na rin sa liit ng venue n’un. Nand’un pa rin ang pole sa kaliwang bahagi at nasa kanan pa rin ang parlor pero mas mukha na itong malaki. Mas suwabe na rin ang kulay at may ilang bahagi ng wall na bumubukas at sumasara (walang ganito dati). Bago rin ang cast, kamukha ng Didi ni Gabe Mercado, Queen Femina ni Pinky Amador at Dodong nina Rocky Salumbides at Prince Stefan (na s’yang napanood namin). OK naman si Gabe. Medyo nangangapa sa kanyang role at mas mabirit ang version ni Nar Cabico, halimbawa, pero naka-deliver s’ya. Si Prince Stefan ay maraming handicap. Halata ang kanyang regional accent dito pero puwede namang palampasin dahil probinsya ang setting. Hindi rin yata masyadong nabantanyan ang kanyang singing. Maraming pagkakataon na kinakabahan ako na maaari s’yang mabasag o tuluyang mawala sa tono. Ang kanyang alas ay ang akting na hindi man kataas ang brilyo ay hindi na masama para sa isang baguhan. Si Pinky Amador ay halatang nag-enjoy sa kanyang mga ginawa. Malaking bagay na masaksihan s’ya sa entablado kung saan s’ya nagsimula. Sa kung ikailang ulit ng pagtatanghal ng dula, pinatunayan nitong muli ang dahilan kung bakit parati itong isinasadula.