“It’s the stories we believe that make us who we are”. Life is full of twists and turns, dead ends and blank spaces. “Friction: A New Musical” follows the journey of a brilliant upcoming writer who finds help from a stranger that challenges his whole concept of reality.
It’s never easy giving birth to new material, and it’s never easy to hear what other people have to say about your work when they see it. Which is why I want to commend the creative minds behind Friction for venturing out with a new musical after the diamond-in-the-rough production of Toilet, the Musical.
Unlike Toilet, Friction knows and celebrates its limits. And, most importantly for me, it doesn’t feel overcrowded. Not with just three actors on stage.
Red Concepcion is serviceable in the lead role. He takes on his character with gusto, but I felt certain hesitations in scenes where I needed to see him more vulnerable. Gabriella Pangilinan, as the girlfriend, is a little better. In the entirety of the first act, I felt for her, and I empathized with her. And then we get to the second act. As she confronts the lead character, we see her pull back a little. I didn’t feel the rage that I was expecting her to feel, nor the despair at her realization of what was going on.
The one actor I can’t say anything bad about is Fred Lo. I liked how he gave two distinct voices to the two character he plays. There is strength in the way he voices the psychiatrist that’s supposed to help our lead character write, and there is a palpable uncertainty in the way he voices the stranger. I don’t know if it was a directorial decision, if so, good on director Toff de Venecia for having that sight because not every director would have an actor do that–not for any theater production with a short run like Friction.
And that brings me to the direction; Friction was staged at Saint Benilde’s black box theater–a small space that director de Venecia utilizes really well, along with the sparse furnishings. The entrances and exits of the actors tell as much of the story as the dialogue, and if there is one thing I would wish for this production, it’s just enough budget to allow for Gabriella’s wardrobe to reflect the passage of time that her movements are supposed to invoke.
Now, let’s talk about the story–
Friction feels like a study on how writers’ work. I don’t know if that was the intent, I didn’t ask, but it sure felt like one. Especially in the first act when we’re not entirely sure what the musical is about yet. Truth be told, the first act felt formulaic. You can see clearly where the story was going, and you can even draw comparisons to Jonathan Larson’s Tick, Tick…Boom. I’m still on the fence if that’s a good thing. Friction just doesn’t bring anything new to the table.
Until the second act begins.
In case Friction gets staged again, I will refrain from spoiling what actually happens.
The second act takes a foreshadowed twist into a direction that is expectedly unexpected. Because it’s well plotted, the twist doesn’t feel out of the blue, but it definitely gives the musical new life wherein the audience is taken to the edge of their seats. You will want to know what happens next because everything is up in the air, because nothing is safe, because there are people involved who will get hurt… And, let’s admit it, for a story to be good, there has to be something that needs to be at risk somewhere–something that the characters and the audience are supposed to care about. And Friction delivers in how it wraps up its story.
I like how it ended. I don’t love it because the writers went the Nicholas Sparks route during the denouement… But that’s not necessarily a bad thing. My dislike for the Nicholas Sparks way of dealing with problems is a personal preference. It works for most people. So I don’t hate it. Let’s settle with like. Especially since I don’t regret watching the musical, and I didn’t feel the need to tear it to pieces after watching.
Friction is a good musical. Solid and dependable. And a good follow-up to Toilet, the Musical, which I hope will still see the light of day in the future–with a better script.