Unang Araw sa Cinemalaya 2013

Hindi ko na nagawang maisingit ang pagdalo sa opening night noong Biyernes (July 26) dahil unang una, malakas ang ulan noon (na parang teaser lang mula sa huling araw ng festival n’ung isang taon). Kung puprusisyon pa ako mula sa panggagalingan ko sa BGC, aabutin ako ng siyam-siyam sa EDSA. Ikalawa, ipapalabas naman ulit sa ibang araw ang opening film na “Jazz in Love” ni Baby Ruth Villarama-Gutierrez. Ikatlo, ayokong manood ng mga trailer sa opening program.

Kaya ayun, kanina lang ako nakapunta sa CCP bitbit ang season pass (P3,000 ngayong taon na ito para sa lahat ng pelikula, competition man o hindi) at ang hindi masyadong pamoso na katagang “indie spirit”. May patsi-patsi pa rin ng nagbabadyang ulan nang ako’y dumating pero pinaghandaan ko naman ito (payong, jacket at mga sapatos na puwedeng mabaha). Katulad ng inaasahan, meron pa ring nagi-inspeksyon ng bag pero hindi na ako tinanong kung may dala ba akong camera (baka bukas, tanungin na ako). Halos 10 minuto na lang bago mag-umpisa nang galugarin ko ang entrance papuntang Dream Theater. Marami nang tao. Marami na ring notice ng sold-out lalo na sa mga maliliit na tanghalan kamukha ng MKP at Tanghalang Huseng Batute. At sa buong araw, bumaha rin ng mga kakilala (ilan sa kanila ay nakikita ko lang kapag merong Cinemalaya).

Para sa unang araw, heto ang mga napanood ko:

ANI (Animation/Experimental) Taun-taon ay merong ganitong screening na isang koleksyon ng mga nagwaging video sa Gawad CCP. Natuwa lang ako na properly credited na ang mga filmmaker sa flyer. Walang lumutang sa akin para sa line-up ngayon pero masasabi ko naman na good trip pa rin ito. Sa animation, halimbawa, marami namang promising lalo na’t halos college-based ang ilang produksyon. May pagka-animated short ng Pixar ang “Kaleh and Mbaki” (Dennis E. Sebastian) tungkol sa isang manlililok at isang ibon at nakapaglatag naman ng texture ang “Marianing” (Nico Salazar) kahit na wala naman itong naikuwento talaga. Muntik nang hindi maipalabas ang mga eksperimental dahil mukhang hindi naabisuhan ang mga nasa projection room. Sa section na ito, gusto ko ang “Pikit sa Alas-Tres” ni Mark Sherwin Maestro dahil nadakot nito ang angst ng isang call center agent (sleeping habits, monotony at iba pa).

YANAN (Mae Urtal Caralde) Na-hook ako ng material ng docu na ito tungkol sa isang nanay (“yanan” kapag ibinaliktad) na NPA at kung paano n’ya pinalaki ang mga anak kahit na malayo sa kanya at nasa piling na ng bagong pamilya ng asawa. Nakita ko sa mga mukha ng mga anak na optimistic sila at mukhang lahat matatalino. Sa pagitan ng mga interview na malakas makakurot, ipinapakita ang ilang clips mula sa libing ng ina na may bahid makakaliwa. ‘Yun nga lang, parang isang bahagi lang ang docu na pinitas mula sa mas malaki pang larawan. Parang marami pa itong puwedeng palawigin at parang meron pa itong kailangang tahiin sa dulo.

BUKANG LIWAYWAY (Pabelle Manikan) Kadobol ito ng “Yanan” bilang kasali sa feature na “Cinemalaya Documentaries”. Hindi hamak na mas kumpleto naman ito kahit na hindi kasing warm n’ung una. Malapit ang atake sa “Tundong Magiliw” ni Jewel Maranan (na apparently ay creative consultant dito at sa “Yanan”) at maganda ang na-capture na immersion ng dokumentarista. Tungkol ito sa isang babaeng buntis ng tatlong buwan na may matinding karamdaman at ang pang-araw-araw na buhay n’ya kasama ang ama at isang albularyo. Maraming puwedeng pag-usapan. Puwedeng tumbukin ang medical na plataporma ng gobyerno para sa mga hindi kayang magpa-ospital o puwede ring advocacy ito para sa mga albularyo natin na nakapako sa mga tradisyonal na paraan ng panggagamot.

PUROK 7 (Carlo Obispo) Ito ang unang competition film ko para sa taong ito at hindi ako masyadong masaya. Malapit sa akin ang milieu dahil lumaki rin naman ako sa probinsya at may mga kaklase akong umuuwi pa sa kani-kanilang baryo (tawag namin dito sa Quezon ay “linang”) mula sa sentro. Nag-umpisa ang pelikula sa isang serye ng mga palaro sa isang rural area sa norte. Maganda sana ang introduksyon dahil nakuha nito sa camera ang katapatan ng emosyon ng mga naninirahan doon. Para sa akin, hindi ito madaling maabot lalo na’t isa itong crowd scene. Mula rito ay sinundan ng audience ang buhay ng magkapatid na sina Diana (Krystle Valentino na isang revelation para sa unang pagganap sa pelikula) at Julian (Miggs Cuaderno) na parehong inabandona ng kanilang ina na nasa death row sa China for drug trafficking samantalang ang ama ay may bago nang asawa at nakatira sa ibang bahay. Siyempre, ang unang tanong ko, bakit sila hinahayaang mabuhay na wala man lang guardian? Wala ba silang ibang kamag-anak man lang? Sa pagitan ay ang nakabinbing paghanga ni Diana sa kababatang si Jeremy (Julian Trono). Dito rin sa mga eksenang ito nababasag ang mga drama sa buhay ng magkapatid. Base sa mga nagtitiliang grupo sa audience, mukhang epektibo ang segment tungkol kina Diana at Jeremy. Bagama’t stellar ang pagganap ng bidang babae, hindi ko naman masyadong maramdaman ang authenticity ng rural setting. Ang batang si Julian, halimbawa, ay maayos ang pronunciation ng “TV” subali’t hindi n’ya alam kung ano ang “burger”. Wala rin akong makitang character sa lugar. Parang kahit ilipat ang backdrop sa urban area, mukhang gagana pa rin ito. Natuwa lang ako na tinapos ang agony nang walang kaabog-abog, walang emotional breakdown at wala ang required na resolution. Ayoko na sanang sabihin at baka mahusgahan na isang sarcasm pero sobrang nagustuhan ko ang movie poster nito at 'yung dalawang dance number sa pelikula. Mahusay 'yung choreo at magaling na dancer si Julian Trono.

Matapos ang screening, nagkaroon ng maiksing Q&A segment. Medyo nakakadismaya lang ang karamihan sa mga tanong kamukha ng "Nasaan si Jeremy (Julian Trono)?" at "Kung hindi ikaw ang director ng pelikula, ano ang rating mo rito?" Isinalba na lang ng pinakahuling tanong tungkol sa stand ng director sa injustice sa mga Pinoy sa China.

THE PRIVILEGED MIGRANTS (Rica Arevalo) Comfort zone ang documentary na ito na nangumusta sa mga dating high school classmate sa St. Scho ng filmmaker. Lahat ng subject ay pawang mga migrants na sa iba’t ibang bahagi ng mundo (US, China, Thailand, Singapore at Canada). Hindi nga lang lahat sa kanila ay nasa estado na ng contentment. Gusto lang namang i-highlight na mas masarap pa ring tumira sa Pilipinas kahit na wala ang kaawalwanan. Alam na natin halos lahat ‘yan. Ang pinakagusto ko lang ay ‘yung kuhang kuha sa camera ang tiwala ng subject sa filmmaker dahil magkakaibigan sila. Mahirap minsan na manakaw ang mga ganoong level ng emotion.

Mga Babae sa Likod ng Tagumpay (at Pagkabigo)

 
Nine
Produksyon: Atlantis Productions
Direksyon: Bobby Garcia
Mandudula: Arthur Kopit (halaw mula sa pelikulang “8 1/2” ni Federico Fellini na unang ginawan ng libretto ni Mario Fratti na may pamagat na “The Italian”)
Libretto at Musika: Maury Yeston
Mga Nagsiganap: Jett Pangan, Menchu Lauchengco-Yulo, Carla Guevara-Laforteza, Jay Valencia-Glorioso, Eula Valdes, Cherie Gil, Ima Castro, atbp.

Kung ilalagay sa lokal na atmospera ang dula, napakahirap nitong maabot. Malaking porsyento sa ating mga film director ay walang kamukhang estado ng pinagdaanan ni Guido Contini (Jett Pangan), isang pamosong Italian filmmaker na nahaharap sa sariling mid-life crisis. Kadalasan na ang kalakaran sa industriyang Pinoy sa ngayon ay nakakadena sa mga nakahain nang konseptong pangpinansiyal ng mga producer o ng line-up para sa mahabang pila ng mga nakakontratang talent nito. Si Guido, 40 taong gulang, ay hindi makabuntis ng ideya para sa susunod n’yang pelikula habang ang mga babae sa kanyang buhay ay nag-uumpisa nang pumarada sa kanyang harapan: ang asawang si Luisa (Menchu Lauchengco-Yulo), ang kanyang namayapang ina (Jay Valencia-Glorioso), ang kanyang kabit na si Carla (Carla Guevara-Laforteza), ang kanyang musa na si Claudia (Eula Valdes), ang kanyang producer (Cherie Gil) at ang prostitute na si Sarraghina (Ima Castro) na nagbukas ng kanyang muwang noong s’ya ay siyam na taong gulang pa lang.

Ang luho ng artistic freedom ni Guido ay hindi naging ganoon kadali. Bagama’t isa itong pandayan ng kung ano pa mang maaaring mailuwal, isang level kung saan malaya ang pagtitimpla o pagbabawas ng mga sangkap sa bagong pelikula, naging sagabal ito upang maiiri ang inaasahan sa kanya bilang artist. Ang mas pamosong tawag dito ay mid-life crisis. Isa itong pader na binuo ng mga agam-agam mula sa mga unang nagawa (sa kaso ni Fellini, ang kanyang walo at kalahating pelikula) at ang kawalan ng kumpiyansa sa mga maaari pang maibigay. At dahil isa nga itong pader na hindi agad-agad matitibag, walang magagawa si Guido kung hindi bumalikwas ng direksyon at harapin ang mga taong bumuo sa kanyang artistry. Hindi lang naging madali ang lahat na ang ilan dito, kabilang ang babaeng kanyang pinakasalan, ay bumalikwas din. Sa dulo, ang kanyang gatilyo upang tumuloy sa pagrolyo ay ang kanyang sarili kung kailan ito puro at walang dungis, ang kanyang siyam na taong sarili.

Malakas makagulat ang stage design ni David Gallo. Halos mula stage floor hanggang kisame ang kinain nito. Isa itong recreation ng isang traditional bath house sa Venice na hinati sa iba’t ibang level na parang ilang hagdan at ang bukal ay nasa pinakaibaba. May kakaibang psyche na ang lugar kung saan nanggagaling ang tubig ay madalas ginagamit para sa blocking ng bidang si Guido at ang kanyang asawa (o ang ikalawa o ikatlong pinamalapit na babae sa buhay ng direktor) samantalang ang ibang mga babae ay nakapuwesto lang sa mga hagdan. Kung tutuusin, kung ang ticket mo sa produksyon na ito ng Atlantis ay nasa balcony, mapapanood mo pa rin ito nang walang panghihinayang.

Nagkaroon lang ako ng maikling argumento sa isa mga staff dahil ang napili kong extra seat sa balcony ay wala na talagang makita dahil kapantay nito ang isang hilera ng mga upuan. Ideal na ang mga ganitong seat ay merong babala mula sa nagbebenta ng ticket at nasa disposisyon na ng manonood kung susugal pa rito o hindi na. Hindi ko nagustuhan ang burgis na paliwanag ng staff (na sa dilim ay nakikita kong sumasabay sa mga pagkanta ng mga nasa stage), na parang gan’un daw talaga. Dahil dito, isinoli ko ang ticket at kumuha ako ng iba kahit na may karagdagang bayad. Naisip ko na lang na sa sobrang pagkaaliw ko sa set, nararapat lamang na mamuhunan dito ng mas malaki.

Unang beses kong napakinggan ang song selection ng musical (hindi ko napanood ang film version ni Daniel Day-Lewis). Madali naman silang maabot lahat. Ang ilan, sa katunayan, ay may bahid ng pagka-radio friendly. Sa mga nagsiganap, pinakagusto ko ang kontrolado at bihasang atake ni Menchu Lauchengco-Yulo bilang Luisa. Nakuha n’ya ang hinihinging pagkabanayad ng isang asawang sumuko na sa masalimuot na machismo ng kanyang kabiyak. Scene stealer naman si Carla Guevara-Laforteza bilang Carla at nakatawid ang kanyang take na mapaglaro at mapangahas na kerida. Mapanuyo rin ang boses ni Jay Valencia-Glorioso at naramdaman ko ang comfort na kayang ibigay ng isang ina. Vocally ay naka-deliver naman si Jett Pangan. Hindi ko lang nakita ‘yung complexity ng isang artist sa kanya na nanunulay sa pagitan ng paghabi ng isang obra at sa mga babaeng nakapaligid sa kanya. Marahil ay wala s’yang masyadong pinaghuhugutan dito o marahil ay masyado palang s’yang bata para sa karakter.

Lumuwag naman ang pakiramdam ko matapos mapanood ang dula. Nang makita ko ulit ang staff na hindi ko nakasundo, parang wala na ito sa akin. Hindi man ako tuluyang naantig (siguro ay dahil mahirap maabot sa aspetong emosyonal ang dilemma ng bida), nakuha naman ako r’un sa bahaging kailangang balikan ang isang bagay na dalisay upang mabigyan ng angkop na pagsisiyasat ang pangkasalukuyang sarili na nagkukumahog sa hilahil.

The Ruth Trip

Exactly a week after the news that my onsite assignment will be cut short, the spring wind blew divergently and decided to keep me for another month or so. Well, as I have mentioned, it’s in the job description and that I am just a consistent, so-so foot soldier. Anyway, part of the cramming that the first announcement has brought me is a trip to visit a dear lunch mate back in Manila office named Ruth. She’s now based here in the Netherlands and it would be a pity not to pay her a visit in Eindhoven in the southern part of the country (she’s pregnant, by the way). Plus, there’s this weekend train ticket, a ride-all-you-can type that I have to use on any given weekend.

Josh, who’s also temporarily based here in Apeldoorn, joined the trip. We met up at the train station on a rainy 7am. There’s a railway repair of sort so we had to endure some extra time to reach Amersfoort by bus (particularly provided by the train company) and just transfer to another train to Utrecht from there. No roadblock whatsoever along the way other than it’s really a long trip (clocked at more than two hours). Ruth, who remains petite on her 6th month of pregnancy, welcomed us at the train station in Eindhoven. I also finally met her husband Horyin and her friend named Maricel (who was sent by her boyfriend to the station). From there and with some sandwiches and bottled water on board the car, off we went to our road trip.

We crossed the Dutch-Belgian border after an hour and some minutes. Though I realized by then that I left my passport at the hotel in Apeldoorn, and thankfully nothing crazy happened along the way, it was fun catching the border signage on camera while the car was speeding. Horyn said that we can be fined if we stop in the emergency road without a valid reason. Usually there’s a sign that bears the EU logo with Belgium (o Belgie) on it announcing that the actual border can be reached in a kilometer (enough distance to ready the gadgets). Someone joked that you can feel the difference that you’re outside the Netherlands already if the road becomes bumpy.



Our first stop is a small town that claims to be the smallest in the world. Wikipedia says otherwise but thanks to this endless dispute on how you can really measure a town (by population, by size or a combination of both?), Durbuy deserves to claim anything. In terms of small roads and turns that we took, it doesn’t seem to be easily accessible by public transport. It is indeed small and it is charming as it is. There’s a big rock formation in one end, there’s a castle in another, then some bars and restaurants, and old houses in between. The first thing that we did was to have lunch at La Brasserie Ardennaise where I had the most sumptuous pasta I have ever tasted (I believe it’s an “a la chef” dish) complimented by a not so hefty serving of a local white beer aptly called Durboyse Blonde. It’s definitely a good start. We spent another hour or two exploring the town, walking past the castle and crossing the bridge over the Ourthe River. I wanted to visit the Topiary Park but the tribe decided to skip it. That’s pretty much about it in Durbuy.



From there, we rode back heading to the direction where we came from and made a full stop at Liege, also in Belgium. Contrary to Durbuy, it’s a giant city and a very busy one. We parked right in the middle of a plaza, opposite the Galeries St. Lambert which houses some ubiquitous shops. That was around 4pm already, I believe. We took a map from the nearby tourism office after visiting a paid toilet in the mall and headed to the historic route. Since our time is limited, as Josh and I still had to go back to Apeldoorn, we didn’t linger much and just chose to conquer Montagne de Bueren which is around 15 minutes from the plaza. I wasn’t very sure why I decided to take the 406-step challenge but it was both tiring and fulfilling for someone who hasn’t done an exercise for a while. It’s quite similar to the grotto in Baguio except that there’s no religious figure whatsoever at the top. In fact, it’s a residential area for those who probably don’t need to enroll in a gym. After that, we headed back to the plaza and merited ourselves with a serving of (Belgian) waffle at Marie’s (a place we just discovered based on the suggestion of two local police officers). I got my waffle with chocolate in it and the muscle pain caused by the surprise climb suddenly disappeared.



The last leg of the road trip was spent in Geldrop back in the Netherlands, around 15 minutes short to our Eindhoven train station. A neighborhood there is a bit infamous for streets named after the characters created by JRR Tolkien. The main one is called Laan van Tolkien for the man himself. From there, you can find street names with the likes of Arwen, Galadriel, Legolas, Gandalf, Frodo and Aragorn. There’s even a primary school called De Hobbit and a cemetery can be found along Saruman St. It was slightly raining and Josh and I had to run and catch as many streets as we can. Horyn was kind enough to make a short stop if we find anything novel (pun intended). It’s usually accompanied by a review question pertaining to the Middle Earth.

At 7:30pm-ish, Josh and I had to say goodbye to Ruth and Horyn and Maricel in a spot where we all met for the first time. It was one hell of an emancipating road trip, biblical at some point, a mix of catching up, gossiping and some serious analogy of the IT business in Manila.

The rest of the Durbuy pictures can be found here, Liege here and Laan van Tolkien here.

Ang Bahay Bilang Entablado

A Portrait of the Artist as Filipino
Produksyon: The Philippine Drama Company
Direksyon: Naty Crame- Rogers Mandudula:
Nick Joaquin
Mga Nagsiganap: Naty Crame-Rogers, Florina Castillo, Francis Kenn Cayunda, atbp.

Puwedeng hatiin sa dalawang punto kung bakit ako humagilap ng paraan (at panahon) para mapanood ang isa na naman sa hindi ko mabilang na bersyon ng “A Portrait of the Artist as Filipino” ni Nick Joaquin. Una at dahil ito ang talagang nakaanunsyo sa mga dyaryo, ito na raw ang huling pagkakataon na gaganap bilang Candida ang isa sa haligi ng Philippine theater na si Naty Crame-Rogers. Kung hindi ako nagkakamali, s’ya ang naging template ng Paula na kanyang ginawa sa film adaptation ni Lamberto Avellana at sa mga naunang staging ng dula. Ikalawa ay ‘yung ideya na makanood ng isang dula na nakasalang ang premise sa bahay at ito ay itatanghal sa isa ring bahay.

Maliban sa dalawang dahilan na nabanggit, maganda ring pag-aralan ‘yung pagkakataon na ang karakter nina Candida at Paula (siguro ay nasa 40’s na sa orihinal na konteksto) ay gaganapan ng dalawang artista (Florina Castillo bilang Paula) na mas matanda pa sa kanilang karakter. Si Naty Crame-Rogers, halimbawa, ayon sa mga tala ay nagdiwang ng ika-90 kaarawan n’ung nakaraang taon samantalang ang mga karakter na nakakatandang kapatid na sina Manolo at Pepang ay ginanapan naman ng mas nakababata. Sa mga eksenang magkakasama ang apat na magkakapatid, kitang kita ng mga mata ko ang enigma na kayang gawin ng teatro, na handa itong tumawid ng kasarian, gulang o maging relihiyon.

Wala namang bago sa pagtatanghal na ito ng akda ni Nick Joaquin. Wala ring kung anu-ano pang palabok. Naiimadyin ko na direkta ang pagsasabuhay ng dula mula sa orihinal nitong script. Ang kalumaan ng AmingTahanan Sala Theater (na isa talagang bahay) ay nakatulong upang magbigay-kulay sa tema ng isang nakaraang nagliliwaliw sa bohemia at unti-unting nilalamon ng makabagong era na salat sa delikadesa. Ang totoong hinihingi ng script ay isang marangyang bahay sa Intramuros na nanganganib maglaho dahil nais itong ibenta ng magkapatid na Manolo at Pepang na pawang mga puppet ng modernisasyon at kanipisan ng ideyalismo. Halatang hindi na masyadong naasikaso ang “AmingTahanan” sa 40 Stella Maris St. sa Brgy. Kapitolyo sa Pasig pero lutang na lutang naman na maraming alaala itong nakasiksik sa bawat haligi. Sa niloloob ko, baka ito mismo ay mayroong sariling portrait na nais protektahan at pangalagaan.

Hindi perpekto ang pagtatanghal. Marami itong butas sa dingding na kailangang tapalan. Ang Tony Javier ni Francis Kenn Cayunda ay masyado nang makabago para sa akin at hindi nakatulong ang ilang ad lib upang igiit ang kanyang ritmo at bagsak ng emosyon. O, siguro, mahirap lang burahin sa rehistro ang katotohanang lumalabas lalo ang kanyang kabataan sa gitna ng kanyang mga kaeksenang hamak na mas beterano. Pero gusto ko ang kanyang bulkan na sumasabog, partikular sa mga eksena ng panghihinayang at panlulumo. May ilang pagkakataon na tila naghihintayan ang mga aktor sa kung sino na ang magsasalita at sa maraming beses ay sinasalo ito ng direktor na parang isang gurong gumagabay sa kanyang mga workshopper.

Sa kabila ng lahat, ang pinakanapulot ko sa karanasan ng panonood ng “A Portrait of the Artist as Filipino” ng The Philippine Drama Company ay ang presensya mismo ni Naty Crame-Rogers. Hindi ko yata maisip na ginagawa ko pa rin (o ng mga theater artists mismo) ang bagay na ninanais sa edad na 90 nang walang kapaguran at pag-aalinlangan. May pagkakataon na kailangan na s’yang alalayan ng kanyang Paula sa paglabas ng “stage” pero ang kanyang bersyon ng breakdown scene ni Candida sa air raid practice ay nanatiling makinang at taos-puso. Ang makamayan s’ya pagkatapos ng pagtatanghal (bago kumain ng isang masarap na chicken arroz caldo bilang pasasalamat sa mga nanood na nagmistulang bisita sa nasabing bahay) ay isang malaking bagay.

Pussycat, Pussycat, Where Have You Been?

Before lunchtime two Thursdays ago, I got a word that my onsite assignment will be cut shorter by a month than initially laid out. Being in the same line of work for a decade now, the news was not new to me. In fact, my very first “foot soldier” assignment in Paris back in 2003 was also trimmed down from three months to disheartening 19 days. I remember being so regretful then of weekends that I just stayed in the apartment in Rue Alfred Stevens in the heart of Pigalle’s red light district. I should have explored Provence or Belgium on any free weekend. My only consolation then was experiencing the real Fête de la Musique on the eve of my flight back to Manila. Charge everything to experience so to speak. For this return engagement in the Netherlands, and after 10 fruitful years of memorable business trips (this is my 6th), I have to admit that my left toenail is still screaming “too soon”.

Oh, well.

On the weekend of the same week, I decided to go out and, as they say, smell the flowers. And what a way to seize it by visiting Paleis het Loo which once became the residence of the Dutch royal family (including the queen whose birthday is being celebrated every 29th of April, now known simply as “Queen’s Day”). It’s just a block away from the hotel where I am staying and it would be a shame if I don’t visit it before I head home.

Fortunately, it was Museum Weekend on that sunny spring weekend. That means extra loads of visitors and on the winning side, a cheaper entrance fee (from EUR 14.00 / PHP 751 to EUR 5 / PHP 268). It was already 2pm when I reached the place. I was eyeing for the armoury which opens at 1pm so I decided not to come as early as the palace’s opening hours (10am, I guess) because I might end up killing some extra waiting time.

Starting from the obelisk (which, at one point, became a reminder of a failed attempt to assassinate the queen on a Queen’s Day some years ago) in the intersection of Loolaan and Zwolseweg. I went to the tree lined path on the left and found my way locating the ticket booth in the stable area of the palace. It’s actually not easy to find as it is closer to the parking area than to the stable and the nearby cafeteria. It was a bit busy in the ticket room but never a hassle. From there, I walked to the stable which also displays some items relating to the royal family’s means of transportation from horses to cars used for some state visit. At the end of the hallway is a recreation of a horse carriage for Queen Wilhelmina’s funeral. By the way, it would be best to find this area first before proceeding to the main palace as the other building doesn’t sell any ticket.



Speaking of queens, I suddenly remember the first nursery rhyme that I memorized and recited in kindergarten. It went something like “Pussycat, pussycat, where have you been? I’ve been to London to visit the queen”. For this case, I went to Paleis het Loo to visit the place where the Dutch queen(s) once lived before they moved to another residence somewhere close to Amsterdam some years ago. The west wing of the palace, for instance, houses Queen Wilhelmina’s stuff during her last stay on the first floor and different portrait interpretation by some young artists (Andy Warhol included) of Queen Beatrix on the upper level. The latter is the reigning queen and will hold her title only until the upcoming Queen’s Day as she’s about to pass her throne to her son.

The east wing of the palace is also called the armoury which, as it suggests, contains anything military (medals, war gears, etc.) and some collection from Mauritshuis in Den Haag (on display until next year). From there, I had to go back to the palace’s front yard. Both west wing and east wing, and the main building in between have no connection. They may have some audio tour options but I did not avail of it. At this point, at around 4pm, Josh came on board and joined me for the rest of the tour and maze of royal rooms (bedroom, toilet, reception room, study room, children’s room and more). We didn’t get the chance to explore the Versailles-inspired gardens further because of the time but we saw it from the palace.  

I posted some pictures here and here to document the museum tour.

After some hours of getting cultured (with our nose already bleeding of too much art and affluence), Josh and I headed to Oranjerpark for a small weekend fair. It was about to close. Some shops were about to fold up except for the beer corner near the park’s central gazebo. It was one hell of a sunny Sunday and all I deserved that time was a nice strawberry ice cream from the little girl who sold it for a Euro a cone.  

Pictures of the side trip here.

Movie Digest # 089

PITCH PERFECT
Robinsons Galleria, Cinema 6, October 21, 5:20pm

Trite and predictable but at least it did the basic stuff right. POV is clear, singing is enjoyable and Anna Kendrick is just luminous.

Friends who might appreciate it: For sure they’ve heard about the film already.  



FRANKENWEENIE
SM City – North EDSA, IMAX Cinema, October 21, 7:50pm

I'm not sure if it can be classified as having a Tim Burton ending or not but it gave me an idea on how he handles a Disney film. It's both cuddly and dark but the references to B movies are the best part. Its message on death and science is clear and the song "Strange Love" just capped the fun.

Friends who might appreciate it: Kids.  

A SECRET AFFAIR
Eastwood Mall, Cinema 5, October 26, 1:00pm

Direction-wise, it's serviceable enough. It's just that it was already done before; same theme, almost the same cast, same gloss and same approach. Some scenes are likeable (car scene with Jaclyn Jose and daughters, the iconic artwork in Burgos Circle, etc.) but it's very hard to take the characters seriously. The women here are either plain bitch or just fickle minded.

Friends who might appreciate it: I wish I can demand them not to watch and like it.  

LAWLESS
Greenbelt 3, Cinema 5, October 27, 11:00pm

Categorically, the film is a popcorn action film for me. It's based on real life characters back in the 1930's Virginia. Its story about brothers who are forced to have a taste of violence is very easy to follow and probably has been exhausted before. Past that, it remains entertaining for me, thanks to its terrific photography. Guy Pearce should be noticed here at the very least.

Friends who might appreciate it: Those who are tired and weary of those Bruce Willis’ brand of machismo.  

SKYFALL
SM Mall of Asia, IMAX Cinema, November 4, 5:00pm

I haven't seen all the Bond films but from what I saw, this one's the most definitive. It has the usual stuff like undercover tasks involving women, some gadgets, some cars, sleek fashion and big action scenes. What differentiates this from the rest is the successful attempt to humanize the paper thin character. From this franchise on, audience can now easily empathize with the iconic agent. Also well acted (especially Javier Bardem who's scary in most scenes) and the production design is impressive. I can say that it's the only Bond film that I experienced a little sense of danger while watching it.

Friends who might appreciate it: For sure they’ve seen it.  


WRECK-IT RALPH
Glorietta 4, Cinema 1, November 7, 7:10pm

This film about finding purpose through an unlikely friendship is very predictable but I liked how it could stir the imagination of its expected young audience. As for the not-so-young viewers, there's always the novelty of the arcade/video game culture to consider. It would be lame to say it's an eye candy but the Sugar Rush scenes made me crave for sweets. Bonus: impressive B&W (and red) animation on the short film “Paperman” (which I believe was noticed by the Academy).

Friends who might appreciate it: Everybody has a purpose so....  

MADALING ARAW, MAHABANG GABI
Glorietta 4, Cinema 2, November 7, 9:40pm

Aside from the additional CGI, I didn't see much progress from its version that was shown at the CCP four months ago but I enjoyed it the second time around. This talky film which looked like a labor of love from a circle of friends in the industry has to have an audience. It could actually serve as a baby step in anti-formula film appreciation in Pinoy cinema. It's about the vanishing tradition of Pangangaluluwa where the characters are challenged to reexamine their own souls. The stories are a bit uneven and the final segment relies on being too eventful but it was satisfying nonetheless. It was a good call to tag playwright (and Virgin Labfest regular) Nicolas Pichay on board as co-writer.

Friends who might appreciate it: Not entirely sure who’s going to appreciate the film.  

TWILIGHT BREAKING DAWN, PART 2
Newport Cinemas, Cinema 4, November 18, 1:05pm

I missed the first part but at least I still managed to pick up the story. Oh, there's really no story. It's just a clash of two vampire groups and their preparation for it. Snapshots on the opening credits are good though and the OST sounds promising for its genre.

Friends who might appreciate it: It’s so pop that it doesn’t require any recommendation at all.  

RIGODON
Trinoma, Cinema 2, November 21, 9:55pm

This glossy film serves as an antidote to the recent Pinoy films about the so-called extra-marital affair. Erik Matti is like showing us how to better tackle infidelity: insightful, technically well made and sensual. The last few minutes of the film got me. It pretty much pinpoints what could have been the ripple effects of our actions, something that was not touched yet in other kabit films. John James Uy is not a good actor but the peg of the character is there. Yam Concepcion has a strong presence and very promising for her first film but it was Max Eigenmann, who reminds me of the young Monique Wilson, who delivered the goods.

Friends who might appreciate it: Married or not, this film deserves a try.  

THE TROUBLE WITH THE CURVE
Robinsons Galleria, Cinema 2, December 5, 12:10pm

I got no plans of watching the film at first but the extra time to kill pushed me to. I more or less knew what to expect from this Hallmark-y tale about the emotional distance between an aging father (Clint Eastwood) and his daughter (Amy Adams). And my guts are actually right. Reliable acting from the leads salvaged a quarter of what could have been the usual and run of the mill Hollywood drama.

Friends who might appreciate it: I can’t pinpoint anyone right now.  

RISE OF THE GUARDIANS
Robinsons Galleria, Cinema 3, December 7, 3:30pm

Past the cute idea of assembling the familiar characters (Santa Claus, Jack Frost, etc.), there's nothing more to it. It's another take on maturity and on how to shoulder responsibility. For sure, I've seen something like that before. It's enjoyable for 90 plus minutes nonetheless.

Friends who might appreciate it: Kids though they deserve something better.

KILLING THEM SOFTLY
Glorietta 4, Cinema 4, December 12, 7:35pm

This talky film reminds me of Quentin Tarantino's early works, only more technically promising. I can actually stand the slow pacing but the reference to the US national elections is a bit forced for me and oftentimes distracting. I can say that Brad Pitt has been very picky on his film projects.

Friends who might appreciate it: Forget the song reference in the title; it’s not Cannes-decorated for nothing.

FLAMES OF LOVE
Glorietta 4, Cinema 1, December 12, 9:25pm

I almost walked out after 15 minutes, particularly in a scene that involves a soft-spoken guy and his girlfriend dismissing pre-marital sex. He said that it's a love triangle between them and God. The rest of the film boasts of similar scenes; saying no to abortion (which, on personal note, is a good campaign) and repeatedly preaching that condoms are ineffective. The “sermon” that the film tries to convey is difficult to swallow especially for a script that seems to challenge not morality but reality. The OFW mom for instance is shown putting $1,000 in a snail mail and the money reaches the daughter. There's nothing much from the acting department either considering the presence of the likes of Christopher de Leon, Lani Mercado and even the great Jaclyn Jose. Only exception perhaps is Dina Bonnevie who did great.

Friends who might appreciate it: I know some extremely religious friends who may appreciate the film big time.  

MNL 143
SM Megamall, Cinema 12, December 15, 12:00pm

Similar to Emerson Reyes' award-winning short film, "Walang Katapusang Kuwarto", the audience is once again asked to eavesdrop to other people’s conversations. This time around, the POV is brought inside an FX and charmed to feel what’s going to be a day like for a public transport driver (Allan Paule). For me, the whole premise looks like an extended plot for a short film (the moment Joy Viado joined in up to the last frame) and some odd decisions (like the scene where the lead character is seen getting emotional while the whole song from “Paalam, Aking Bulalakaw” is being played on the radio) did not help. I must admit though that the last five or so minutes provided the expected kilig.

Friends who might appreciate it: I can’t tell.  

CLOUD ATLAS
Robinsons Galleria, Cinema 8, December 15, 3:20pm

First things first, I haven’t read the book. What I’ve heard is that the novel is challenging to adapt on film. It’s a bit noticeable along the way but the Wachowski brothers (more of siblings now) and Tom Tykver did a great job with the finished product. The timelines are easy to follow and seeing the same set of actors (Tom Hanks, Halle Berry, Hugo Weaving, Jim Sturgess, Doona Bae, etc.) doing different set of characters pushes the agenda further that everything is connected. It’s a new experience for me since the different timelines serve as varied storylines as if I was watching four or five different short films in one. Maybe a bit simplistic if taken per piece but at least the high concept is not messed up. The only downside for me is the make-up. It is sometimes overly distracting especially those episodes that require a Caucasian actor play an Asian role and vice versa.

Friends who might appreciate it: Those who miss the same folks who gave us “Matrix” and “Run, Lola, Run”.

One More Zaanse Schans

Eleven days after I arrived here in Apeldoorn, Kate, Claire (a colleague’s sister who’s having a side trip in the Netherlands from Frankfurt before heading back to Manila) and I met up at the train station. It was cold as expected. I only have some clothing for spring and the extended winter on that Saturday morning was meant to be some sort of dissuasion.

Zaanse Schans is a small village strategically located close to Amsterdam. By strategically, I mean another tourist trap for those who are craving to see some windmills and have no time to go as far as the Kinderdijk. It’s like a Dutch version of the now defunct Nayong Pilipino or that theme park in Pampanga that was erected in time for the Philippine centennial. I didn’t manage to check if the village was artificially constructed or it was really a liveable village that’s just converted into a park.

The closest train station from there is Koog-Zaandijk. Of course, 9292.nl can come up with a route that is more convenient but the 20-minute walk from the train station includes getting a free map to the village. Don’t bother getting one from the store at the station. The guy who looks like the owner might encourage you to buy something to hand you a map in return. Don’t fall for that. Securing the map just outside the station some sort of jumpstarts the visit as you have to figure out how you can best pull the handle from a box that imitates a slot machine.

From that machine, it would take around 10 minutes of leisure walk to finally reach the first windmill at the foot of a bridge. I saw a lot of side trippers with their carry-on bags and they looked fine with the idea. From the bridge, you can already have a clue of what lies ahead. Three or four windmills are lined up at the side of the river and some old and small houses can be seen from there. If not too windy, it would be good to warm up the camera. It would take another five minutes to finally reach the park.

Kate, Claire and I spent the first 30 minutes checking out the houses that serve as something else. There’s one that is converted to a clock museum then the first Albert Heijn (probably a Dutch counterpart of Henry Sy only in a small scale retail business) store then more houses of the same kind and purpose. We went into a barn-looking place with a windmill on top which is specifically intended to pulverize some spices. From afar is another set of houses/barns for the clogs, cheese and more. Souvenirs are everywhere. There’s an art museum close to what looks like a parking spot for buses on excursion. We ended up having our very late lunch in the cafeteria there with apple pie and some chips and later on decided to just make a full stop at Amsterdam to get a real meal (Coco’s Outback is the place to be).

So there went my first brush of the Netherlands after seven long years. Up to now, I am still considerately rethinking why I did not bother visiting Zaanse Schans while I was here the first time around (wait, more of the second time as I had a really quick visit to Amsterdam in 2003 while stationed in Paris). Some familiar and awesome memories are starting to spring up and I am in for those digital boards that display the bus schedule. An anonymous OV Chipkaart is also kept in my wallet and it’s very comfy to just swag the thing on a yellow marked box inside the bus (or outside the train stations).

 More pictures taken at Zaanse Schans here and the short visit to Amsterdam here. 



I did not say much about Apeldoorn, my new home for the next two months, as I believe the snapshots here can do the job. Also, it would be ungrateful too not to make a day stop at Utrecht which became a comfort zone for me for the whole 2006. I only did that during Easter Sunday (check out the pictures here) and what a way to celebrate new beginnings by feasting on some all-time favorite dishes at Tai Soen. I guess, for now, I can say that I am really back and this time more than equipped with a blog title that is inspired by a John Lloyd - Bea movie.

‘Sangkaterbang Dula Para sa Malamyang Buhos ng Manonood sa 4th National Theater Fest Noong Nakaraang Taon

Hindi ko alam kung may kinalaman ang bumubuo ng marketing team dahil hindi nakuha ng 4th National Theater Festival (na may tagline na “Ikaapat na Tagpo” bilang pagpupugay sa unang tatlong “tagpo” na naganap sa magkakalayong taon) sa CCP ang inaasahan kong ligwak ng manonood kamukha, halimbawa, ng Cinemalaya. Siguro ay hindi pantay ang pagkumpara sa Cinemalaya, dahil hindi kasing discriminating ng dula ang pelikula, pero festival kasi ito at kahit papaano ay nangangailangan ng festive mood. Ang mga inaasahang daloy ng mga estudyante mula sa iba’t ibang eskuwelahan ay hindi ko nakita. Nagkaroon kaya ng imbitasyon para sa kanila? O, sadyang wala lang ito sa panahon (November 8 – 18) na may karampatang oras ang mga nasa academe? May ilan namang dula ang nagkaroon ng nagsusumiksik na manonood (ang restaging ng “Orozman at Zafira”, halimbawa, ay full house sa dalawa nitong pagtatanghal) pero ang karamihan ay nangangatok ng patron kahit man lang hanggang kalahati.

Baka naman may kinalaman ang presyo ng dula at mahirap nang pagkasyahin sa budget kung magma-marathon pa sa ‘sangkaterbang mga entry rito. Ang isang ticket sa pagtatanghal sa Tanghalang Aurelio Tolentino (TAT o Little Theater) ay pumapatak ng P800 at P500 naman sa Tanghalang Huseng Batute (THB). Kumpara sa mga dulang ginagawa ng Dulaang UP o Tanghalang Ateneo, medyo mas mahal ito. Para sa nais makatipid, nagkaroon sila ng festival passes. Ang TAT Pass sa halagang P3,000 ay may libreng entrance na sa lahat ng pitong produksyon na gagawin sa TAT samantalang ang Student Pass naman sa halagang P1,000 ay merong tigdalawang entrance sa TAT at THB. In-avail ko ang TAT Pass (ang proseso ay kamukha ng nakaraang Cinemalaya, ‘yung merong card na ini-scan sa bawat pagpasok sa teatro) sa pag-asang makatipid sa mga gusto kong mapanood. Nakakatuwa lang na dahil noong kumuha ako nito, pinansin ng staff na mapapalampas ko raw ang unang pagtatanghal (“Stageshow” ng TP) sa TAT at bilang sukli, maaari raw akong pumili ng kahit anong palabas sa THB. Kung hindi ako nagkakamali, ako lang yata ang kumuha ng TAT Pass (o bilang kami sa daliri) dahil hindi na nila nilalatag ang scanner sa harapan ng venue.

Sa kabila ng kalamyaan, heto ang ilan sa mga napanood ko:  

DULA TA (MSU Kabpapagariya Ensemble) Hindi ko naabutan ang unang kalahati ng dula dahil sa trapik mula sa The Fort hanggang CCP kaya’t nagpakuwento na lang ako ng mga napalampas ko. Sa naabutan ko, tungkol ito sa mga bata na nakikihalubilo sa isang dating sundalo na tinakasan na ng bait. Tungkol sa innocence ang tema at kung paano ito binabasag ng violence sa Mindanao. Sa punto na kailangang i-recreate ang gunfight, halos tumakbo ako mula sa inuupuan ko sa Tanghalang Huseng Batute. Hindi sa nagulat ako sa “putok ng baril” (na mula sa paghampas ng ilan sa produksyon sa plywood at hindi mula sa isang pre-recorded at delatang tunog) kundi dahil nagulat ang karamihan sa audience at handa nang tumalon mula sa kanilang kinauupuan. Ito siguro ang pinakamabisang parte ng dula at ‘yung kilabot na ginawa nito sa akin upang maramdaman ang nararamdaman ng mga kapatid natin sa Mindanao. Sa Q&A portion, sinabi ng mga taga-produksyon na kapag dinadala nila ang dula sa ilang pagtatanghal sa baryo, ang iba ay halos nakakatalon sa pader sa sobrang takot.  

DUHA KA ALIMPO SA HABAGAT... BOHOL 1700 (Bohol Antequera at Maribojoc Cultural Collectives sa pakikipag-ugnayan ng Teatro Bol-Anon) Hindi ko nagustuhan ‘yung premise nito. Tingin ko, unang nabuo ‘yung idea na magkaroon ng kolektibong grupo bago naisulat ang script. Nagmukhang episodic ang pagkakalatag at walang madulas na daloy ng storytelling. Sa kabila nito, mas nagging interesante sa akin na malaman na ang mga miyembro ng ensemble ay isang diaspora ng Bohol: merong dating kasapi ng children’s choir, merong mangingisda, merong nag-cutting class para lang makarating sa Manila at iba pa. Ang musika ni Lutgardo Labad ay ibang usapin. Gusto ko ang mga areglo at gusto ko rin kung paano ito inawit ng mga kasali sa dula.  

UWAHIG (Integrated Performing Arts Guild) Dance ito na may ilang awit. Isa itong mabulaklak na interpretation ng isang epikong Mindanawon tungkol sa mga diyos, pagkalanta at muling pagsibol. Para sa katulad kong hindi pamilyar sa orihinal na teksto ng epiko (na sana ay alam ko bago ko ito napanood), medyo nawala ako. Parang masyadong marami nang nasala n’ung nagkaroon ito ng buhay bilang isang sayaw na itinanghal sa loob ng 45 minuto. Consolation ko na lang siguro na paminsan-minsan ay nakakaranas ako ng ganitong performance sa Tanghalang Huseng Batute na limitado ang espasyo sa paggalaw.  

SINTANG DALISAY (Tanghalang Ateneo) Sa ikalawang pagkakataon na napanood ko ito, at para sa iba at mas malaking venue, hindi pa rin magbabago ang pananaw ko sa dula. O baka mas lalo ko pa itong nagustuhan, mas napansin ang ilang detalye na hindi ko unang nanamnam. Narito ang kakambal na blog tungkol sa dula.  

HARING +UBU-L (Sipat Lawin Ensemble) Ito na siguro ang perpektong breather para sa line-up ng mga dula na nakapila para sa akin. Kung wala ang unscripted na atake sa dula, ang basa ko rito ay tungkol sa kung gaano ka-fragile ang tao sa pagkasuwapang sa kapangyarihan. Una ay isang mag-asawa ang naghangad ng trono, nakuha ito, nawala, bumalik, nawala at nakuhang muli. Isa siguro itong pagpapatunay sa isang komentaryo ng isang historian noon na bilang Pilipino, hindi natin kayang panghawakan ang pamumuno, na mas gagalaw tayo nang mas epektibo kung merong ibang entity na nagmamaneho sa atin. Maliban d’yan, sapat na sigurong experience ang mapanood sa ilan sa mahuhusay nating aktor sa entablado (Sheenly Gener, Abner Delina at Acey Aguilar) na pangatawanan ang dulang ito na walang harang, walang hugis at walang tuldok. Masaya ring maging bahagi ng audience sa pagtatanghal na ito na halos nakaupo lang sa entablado mismo at paminsan-minsan ay pinapakiusapang makigulo sa takbo ng dula.  

KAKARONG (Barasoain Kalinangan Foundation, Inc.) Pasok naman s’ya sa kategoryang sarswela dahil tumalakay ito sa mga isyu ng bayan (opresyon, himagsikan at iba pa) pero hindi ako masyadong nakuha. Siguro dahil nakita kong medyo trite na ang pagkakakuwento tungkol sa mga kabataan sa kontemporaryong panahon na biglang hinigop ng nakaraan. Sa time zone na ito nila tahasang namalas ang kabayanihan ng isang Bulakenyo at ang pagkadakila ng isang lugar na halos napaglipasan na. Hindi ko rin masyadong nagustuhan ang music dito. Pakiramdam ko, OPM pop ang template pero hindi ko masyadong nasalat ang sariling karakter nito kung meron man. Pero sa kabilang bahagi, nakuha ako n’ung subject na bahagyang tumalakay sa manipis na pagkakahati ng pananampalataya, anting-anting at katapangan. Sana mas nabungkal pa ang lupa nito at pinatubo hanggang lumago.  

ISA PANG KAWING (The Xavier Stage) Ilan sa mga nakahumalingan ko n’ung high school ay magbasa ng mga nanalong dula sa Palanca na kadalasan ay nililimbag kada limang taon o higit pa. Nasa ganoong molde ng mga nabasa kong dula ang one-act play na ito tungkol sa isang bagong kasal na Muslim na kabi-kabila ang mga lihim na nabubunyag sa kanilang honeymoon. Hindi na rin naman bago ang atake pero sa apat na sulok ng hotel room na ‘yun, natalakay rin ang hindi mabilang na isyu, political man o social, na marahil ay alam na rin ng audience. Gusto ko ang pagkakadirek dito. Mabilis ang palitan ng mga linya at game ang dalawang aktor sa mga batuhan ng isyu at paratang. Walang saglit na nasayang o lumaylay at nakatawid ang dula nang hindi kumukurap.  

MIND’S EYE (Trumpets) Ang una kong napansin sa dulang ito ay ‘yung stage design ni Lex Marcos. May ilang suhestiyon ito ng pagka-mobile, ‘yung madaling distrungkahin ang set at madali ring ilipat agad. Hindi rin ito mukhang ginastusan pero classy ang execution. Katulad din naman ng dula. Napaka-conventional ng pagkakadirek ni Jaime del Mundo, walang kung anu-anong palabok o ‘yung audio-visual na add-on upang lumapad ang dula. Minimal din ang galaw at nakuha nito ang katahimikan na hinihingi upang magbigay suhestiyon sa espasyo para sa malawak na imahinasyon ng ilang karakter dito. Lutang na lutang ang dedikasyon dito ni Joy Virata upang maitawid ang isang talky na dula tungkol sa escapism. Mahahaba ang mga linya at nai-imagine ko rin na dusa ito para sa ilang artista sa entablado. Marami naman akong napulot. Sa totoo lang, nakakalungkot ang premise. Ang mga pasyente sa ospital na tauhan sa dula ay para ring mga preso. At ito raw ang pinakamalungkot na maaari mong magawa sa isang mortal, ang mapalayo s’ya sa kanyang mga mahal sa buhay. Sa ganitong pagkakaton, walang wala ka nang pagkakapitan kung hindi iluwal ang sarili sa mundo na hindi nahahawakan at maari lang maabot sa tulong ng isip.

SAYAW NG MGA SENIORITA (Gantimpala Theater Foundation) Tingin ko, maayos naman ang pagkaka-adapt ni Jose Javier Reyes sa “Boys in the Band” ni Matt Crowley dahil hindi ko na naisip kung ano ang orihinal na anyo ng dula. Maayos ang pagkakapinid na gawin ito sa lokal na atmospera at humihinga ang mga karakter dito. Naiintindihan ko naman ang konsepto sa umpisa na pagsama-samahin ang mga mga pinagpipitaganang “seniorita” sa showbiz kamukha nina Joel Lamangan, Soxy Topacio, Arnell Ignacio, Manny Castañeda at BB Gandanghari. Mainam din naman itong ideya lalo na’t lumitaw talaga kung sino sa kanila ang talagang may karanasan na sa entablado. Halos minamani na nina Joel Lamangan at Soxy Topacio ang kani-kanilang role samantalang kinakailangan pang dagdagan ni BB Gandanghari ang projection ng boses. Maraming pagkakataon na hindi ko s’ya naiintindihan. Riot ang ilang bagsakan ng linya rito at nakakatawa ang ilang ad lib na mula sa mga aktor mismo. Sa pagtatanghal na napanood ko sa Tanghalang Huseng Batute, kinakailangan lang na bantayan kung kailan dapat pinapatay ang ilaw dahil minsan ay wala itong ritmo. Gusto ko rin ang stage design. Para sa isang venue na limitado ang espasyo, nagawa nitong bigyang buhay ang isang living room kung saan naganap ang pagkikita ng mga magkakaibigan.  

BATA BATUTE (Ony Carcamo at Wanlu) Libre ko lang napanood ito bilang kapalit n’ung “Stageshow” (o sadyang mabait lang at may konsepto ng suki ang namamahala ng automation ng ticketing). Hinati sa dalawang palabas ang puppet show na ito. Una ay mula sa puppeteer na si Wanlu na nilatagan ng ilang song number at ang ikalawa ay mula naman kay Ony Carcamo. May isang segment na ipinakilala ang iba’t ibang uri ng puppet na para sa akin ay isang educational na aspeto ng pagtatanghal lalo na’t ang audience ay binubuo ng mga batang estudyante.  

OROSMAN AT ZAFIRA (Dulaang UP) Pangatlong beses ko na itong napanood at mula sa iba’t ibang venue. Ang una ay sa UP mismo na hindi masyadong malaki ang stage. Ikalawa ay sa isang sinehan sa SM Mall of Asia na mas maluwag at ito ngang sa Tanghalang Aurelio Tolentino na nasa gitna ang sukat ng stage. May ilang karagdagang sequence, kung hindi ako nagkakamali. Nagbago rin ang ilang aktor (kabilang ang debut sa DUP ni Kierwin Larena ng PSF bilang Zelim na unang ginawa nina JC Santos, Acey Aguilar at JM de Guzman). Nagkaroon man ito ng panibagong timpla, hindi pa rin nawala ang tema nito ng karahasan. Napanatili ang pangil ng choreography ni Dexter Santos at umakma naman ang acoustic ng teatro para sa live music ni Carol Bello. Nakakalungkot lang na ito na ang huling pagtatanghal ng dula. Narito sa blog na ito ang aking mga naunang obserbasyon.

Maliban sa mga dulang kasali sa festival, nagkaroon din ng serye para sa mga pelikulang ginawang dula o mga dulang nagkaroon ng film adaptation. Ginamit naman ang Tanghalang Manuel Conde (o Dream Theater) para rito. Nakanood ako ng ilan kamukha ng “Bona” (ni Lino Brocka) na inulit ko, “Anatomiya ng Korupsyon” (ni Dennis Marasigan) at “Noli Me Tangere” (ni Gerardo de Leon) na para sa akin ay pinakasapat at siksik na bersyon ng akda ni Jose Rizal.