Theater: Disney’s Aladdin [Atlantis Productions]

“After the success of it’s productions of Disney’s BEAUTY & THE BEAST in 2005 and Disney’s THE LITTLE MERMAID last year, Atlantis Productions proudly announces that it has been handpicked by Disney Theatricals to stage the Asian premiere of it’s newest stage musical Disney’s ALADDIN.

Based on the much loved animated film, Disney’s Aladdin tells the story of a street-smart commoner whose whole life changes with one rub of a magic lamp. The brand new romantic musical adventure incorporates all the beloved songs from the film’s Oscar®-winning score and brings some of the movie’s most memorable characters to life. Jafar, Iago, the Sultan, the Genie and of course Aladdin and Jasmine come together to create a whole new world of magical musical theatre for the whole family.

Disney’s ALADDIN features music by eight time Oscar Award winner Alan Menken and Lyrics by Oscar Award winner Howard Ashman, Oscar Award winner Tim Rice, and Tony Award nominated lyricist Chad Beguelin (who also wrote the brand new book of the musical).” — (C) Atlantis Productions

Hey guys! If you have nothing to do on the night of December 8, that’s a Saturday, why not check out Atlantis Productions’ staging of Disney’s Aladdin?

Here’s a review from ABS-CBNNews.com;

“Apparently, the songwriting team of Alan Menken and Howard Ashman initially conceived “Aladdin” in the lines of the classic Bob Hope-Bing Crosby “on the road” movies but this was supposedly changed when Robin Williams signed up to voice the Genie. For the stage version, they brought the original concept back. As such, the musical is more of an old-fashioned cornball comedy with a merry band of musicians – Aladdin is the fourth member – who also acts as the narrators.“

This new stage musical from Disney Theatricals brings to life a story we already know and love and gives it new life, with a different way of story-telling–and new music!

The musical will be staged at the Meralco Theater, which is located at Ortigas Avenue in Pasig City. And the ticket prices are as follows:
Php1,500.00 – Orchestra Center
Php1,350.00 – Orchestra Side
Php900.00 – Orchestra Side Obstructed
Php1,100.00 – Loge Center
Php1,000.00 – Loge Side
Php700.00 – Balcony Center
Php600.00 – Balcony Side
Php500.00 – Balcony Back

If you’re interested, contact Onay Sales through her mobile number: 0917.908.0565! Again, this is for the 8 p.m. staging on December 8!

Theater: The Woman in Black

The Woman in Black tells the story of a solicitor, sent to a far provincial town to put to order the paperwork of a recently diseased, and his brushes with the titular character. And while, in essence, the play is about the same thing as the novel (and the many film adaptations)–it’s also a different entity all together. Mostly because the stage play of The Woman in Black takes the setting from the small English town to a theater stage–literally.

In the stage play, after surviving the horrors of the woman in black, Arthur Kipps sees a man to help him tell his tale. Except, the man misunderstands and sets about in staging the unusual horror story that Arthur Kipps has brought. Constantly chastised, Arthur decides to go along with the reenactment of his experiences in the small town; and through various set pieces, manages to recreate the horrors of meeting the woman in black.

And they do manage to recreate the horrors. On stage.

I’ve seen the most recent film adaptation, which tackles the story a little different from the novel too, so I already kinda knew what was going to happen. But seeing as the stage play isn’t exactly like the novel either, I knew there was bound to be different twists as well. What I was really looking forward though is to see how Dulaang Kalay, the theater group behind this local production, would go about doing the scares.

The crown goes to the lighting director (and staff)–and really fast stage hands. Those two, plus Teatrino’s unique theater layout, made the production live up to the title’s promise of horror.

As for the actors, Jeremy Domingo was wonderful as the real Arthur Kipps–and the host of other characters he had to play, with different accents to boot. But as for Reb Atadero… While manages the swagger of his character well, and the vulnerability of Arthur Kipps during the reenactments, there were times when it was hard to understand what he was saying. His British accent was, for the most part, unnatural. It was all the more noticeable because his co-actor, Domingo, was doing exceptionally well in the accents department.

And you can’t exactly say that British accents are harder to understand–because as a theater actor, it’s your duty to make sure the audience understands your every word.

In the end though, what matters is that the production was able to give its promise of horror.

Though, I think I like the film adaptation better for it’s clearer explanation of what happened to the woman in black, and its attempt at explaining why it sought revenge against Arthur Kipps–who shouldn’t have been part of the curse–as well.

Book: Will Grayson, Will Grayson

“One cold night, in a most unlikely corner of Chicago, two strangers cross paths. Two teens with the same name, running in two very different circles, suddenly find their lives going in new and unexpected directions, culminating in heroic turns-of-heart and the most epic musical ever to grace the high school stage.“

I have to say, out of all the John Green novels I’ve read–this one is the best. Maybe it’s because he wrote it with someone else. But I think–I hope–he does take something from this exercise. I haven’t read his latest book yet, so I wouldn’t know. But Will Grayson, Will Grayson takes off so much from other Green novels because the author is forced to include three new characters that aren’t part of his hit formula.

In Will Grayson, Will Grayson, we get two characters with the same name but are from the different sides of the personality spectrum. The funny thing is, the two are essentially the same–except, they dealt with their fears and insecurities differently. One unconsciously became a shadow of a much bigger personality, while the other rejected all offers of connection.

David Leviathan’s Will Grayson is the latter. And he’s the more interesting character, in my opinion, because he’s filled with so much self-hatred that it pours of him–and it affects his relationship with everyone. And he tries so hard not to care, but he can’t help but do. Especially when it comes to his mother. Whereas John Green’s Will Grayson is of the stereotype the author has created for all his heroes. A little quirky, unpopular, friends with someone big (this time, literally and figuratively), and hopelessly in love with a girl too cool for him. Forced to face each other, the two Will Graysons bring out something different.

And that’s when the book became interesting.

Will Grayson, Will Grayson, unlike other John Green novels isn’t just about coming of age. While it is that, it focuses more on the importance of connection. How other people affect us, and how we (in turn) affect them.

What I like about it the most is it’s a young adult novel that doesn’t celebrate standing out. Because, really, not everyone can stand out. What makes any one of us special, if all of us are special? This book talks about how, no matter how different you might be, you have someone you’re the same with. Whether by interest, by love, by family–or, by name. And yet, at the same time, the things that make us common are the things that make us who we are. It’s the things that shape who we become.

And in the era of the me generation, a story about people who help someone else stand out, is the one that stands out the most.

From the books I’ve read this year, Will Grayson, Will Grayson is a clear front runner for being a favorite.

But what do other people think?
A Little Shelf of Heaven
Fyrefly’s Book Blog
YouTube: Book Review

Theater: Bona

“Spinster call center agent Bona upon seeing the televised pitiful background of Gino Sanchez immediately becomes a fan of the Star of Tomorrow wannabe. In her desire to help him jumpstart his showbiz career, she gives him everything she has and turns her back to everything she values. Blinded by her belief in him, she allows all his faults to freely slide as she finds herself drowning in the surreal quicksand of worship and pity where manipulation blurs the line between prey and predator, the dismissive god and the faithful worshiper.“

The first thing I noticed, watching Bona, was the colors. Each character was assigned a color, depending on how they were connected to each other. Which made the Bona’s passionate reds and Gino’s appealing blues all the more distinct from each other. Sure, the colors complement each other–but any color does, depending on the shade. Given the wrong shade, the two will clash.

And that’s exactly what Bona is–a love story between a woman who adores a boy so desperately it’s almost idolatry, and a boy who sees her for what she is to him–opportunity. It’s a love story waiting to clash. And crash. And burn.

I’m familiar with the source material. I’ve never actually seen it, only heard references of it, so I cannot say if the stage play was better than the movie it was adapted from. But it is very apparent that the production has taken liberties with the material. For one thing, I don’t think there were call centers back in the day the original Bona was made.

That said, I do think the writers who adapted the movie did an amazing job updating the material–without, basing on what other people have said about the production, taking anything away from what made Bona the movie work. But what sets it apart, basing from other people’s comments, is the stage play was able to laugh at the absurdity of the situation. Imagine, a grown woman falling in love with a boy on television?

The absurd part of this is that it really does happen in real life.

Bona gives a stark look into the idolatry that goes around the local entertainment industry. Fans do act like Bona does. And everything is captured in one question at the end of the stage play:

What is the different between admiring and worshiping?

And it’s a great statement to make. Where do you draw the line? Which one is more rooted in love? In true love?

I’m sure each one of us has a different answer to that question.

Catch the last five shows of Bona this weekend at the PETA Theater.

advert: the wedding singer, the musical

a friend of mine is selling tickets to a local production of THE WEDDING SINGER musical, and i thought i’d help out by posting about it here.

THE WEDDING SINGER, in a nutshell, is about “Robbie Hart, a New Jersey’s favorite wedding singer whose fiancee leaves him at the altar. Heartbroken, he is forced to reexamine the meaning of love and marriage with the help of Julia, a waitress from one of his wedding-singing venues.“

i liked the movie (starring adam sandler and drew barrymore) that spawned the musical, but i have no idea what goes on in the musical: what they kept, what they changed, and what they added. and since previous musicals i’ve watched live are musicals i’m already familiar with, i’m coming in cold with this one.

the 9 works theatrical production of THE WEDDING SINGER opens october 23, and ends its run on november 17. my friend is selling tickets for the november 7 show.

for more information about the local production, check out this blog post from gibbs cadiz.

and i’ll post my thoughts on the musical after watching it on november 7. i do hope it’s better than their production of RENT, which was okay but was cringe-worthy during some parts.