because with a festival pass at P1,000 pesos, these two plays were already value for money. and really it makes you wonder why P1,000 pesos would allow you to watch all 18 plays at Virgin Labfest, yet all it will get you are 4 to 6 movies give or take, at the Cinemalaya. and we wonder where the double standard lies?
on Floy Quintos’ Evening At The Opera
When a stage is filled with a king-size bed, a dresser, and an ottoman you don’t know when to begin feeling uncomfortable: the mere sight of a bed conjures up a sex scene, and sex is always reason for discomfort amongst an immature audience, including the three guys behind me who chatted each other up throughout the play before this one.
But sex as we imagine it wouldn’t be reason for discomfort in that cold little theater; it would be politics that would hush the noisiest of audiences, encapsulated as it is in this bedroom.
Floy Quintos’ Evening at the Opera (directed by Jomari Jose) is the story of rural politics, as we know it, as we hear it in the news, as it has been imagined in movies, presented by documentaries. That this is also the story of dynasties left unquestioned, of marriages of convenience, of political machismo, of class versus crass, of the wealthy and rich among us, are layers that thicken this stage of a stark white bed and a governor’s wife in a bright red dress.
on Rae Red’s Kawala
What happens when the tiny space that is the Tanghalang Huseng Batute at the country’s cultural center is deemed too large? What happens when it is made into the two walls and two doors of a condominium elevator with the one constant presence within it?
Some really creative funny theater, that’s what.
Written by Rae Red and directed by Paolo O’Hara, Kawala shows us aspects of our urban contemporary life in Manila within an elevator that has no truth other than that of the young man who tends to it, the elevator boy.
Alwin (Cris Pasturan) is a fresh graduate, ready to move on and away from the oppressive walls of the elevator. In the course of a day, he articulates this unfreedom, as he shows how this world revolves around him, trusted as he is by the condominium’s tenants, central as he is to their existence.
Familiarity is easy, friendliness is default. It is here that you realize this boy’s life is beyond that elevator’s walls, because there is much to be said about opening those doors. And so it becomes understandable why the big shot sleazy dirty old man, the ex-bold star turned serious actor, the gold digger stalking her prey all hop into this elevator and demand a friendship of sorts with Alwin. He must hear no evil, see no evil, speak no….