Patria's Petty Tales and Other Trivial Pursuits

"Si Juan Tamad, Ang Diyablo, at ang 5 Milyong Boto" is a timely play by PETA on voter's education. That it is targetted to the 5 million first-time (virgin) voters -- aged 18-24, does not deter the other age brackets to enjoy and learn something new themselves.

First of all, its script is snappy, clever and informed. Written by Vince de Jesus, who puts on a variety of hats for this play (as playwright, musical director, composer and actor! whew! --- Vince, where do you get the energy to do all that?), it tells of the story of Juan Tamad and the people of Isla Filiminiminon (or something like that... basta it's a tongue twister). Election for a new leader has come, and Juan Tamad (or J.T.) has finally come of age to participate in the the process.

When I excitedly registered for the first time to vote (wag na atin ungkatin kung kailan), everything was a breeze. Or maybe because I was too eager to participate, that I don't remember anymore the bad things that came with that experience.

Not Juan Tamad. He had a lot of issues to deal with -- his innate katamaran coupled with his inherent feeling of entitlement, the election circus, hormones, and a persistent devil who I just love because he looks like Beetlejuice!!! J.T. gets to vote all right, but not without all the fanfare.

What I like best about the play is that it announces a clear and bold statement that the elections is not just about voting. It is about participating, about having a say, and taking responsibility for our choices. It not a one-time deal which ends with the proclamation. It is the continuous, mindful, day to day effort to become a good citizen and building a great nation.

My only beef with the play is that it could be more compact. It seemed longer than the 2 hours it promised to be. On our way to the Theater Center, my boss was asking me why Filipino plays were so long? Why 2 hours -- plus 10-15 minutes for intermission? Japanese plays were at the most 1.5 hours -- with intermission. I flippantly answered that maybe this was because watching plays is a luxury and audiences might think that less than two hours is not worth the ticket price. With that, he said he might skip the second part because he might get hungry. (Tama nga. He did.)

Aside from the time comment, I LOVED it! Congratulations to the talented cast -- ang galing galing niyo!!! One time during the intermission, I caught myself staring into space, feeling that niggling desire to sing, to dance and to act. Kudos too to the artistic staff -- the lights, music, costumes, were whimsical and so --- bongga! Congratulamalations to Filiminiminoble (Phil, that's you!) for bringing together the elements which make for a fun and informative production.

Before I forget, one must not miss the MTTL's preamble to the play. It helps in the setting of the tone and mood of the whole production.

Now, where do we get a copy of Kuya Noel (Cabangon's) song?

Seven individuals go through The Ultimate Makeover in the musical "Skin Deep", written by Vince de Jesus and directed by Nor Domingo. In a Charlie and a Chocolate Factory-esque scenario, the "lucky" recipients explore a veritable playground of physical possibilities. The characters --- a bouncy, buxom call center agent; a better-seen-not-heard male model; a tragic burn victim; an aging gay desperate for love; a senior citizen in denial of her age; and an emotionally estranged couple -- discover what beauty really means.

The play is a laugh a second; punchline upon punchline delivered by the wonderful actors. And just when one thinks that everything will be as light and breezy (as in the first act), the second acts scrapes the glossy veneer and exposes more potent issues. The writer certainly has controlled his craft when he can make one laugh and cry at the same time; when the lines spoken by each character feel real.

The characters were all simpatico-- even the pasaway role of Narciso -- and you can't help but root for what they want. Because, well, you want it too. You know you do. From the main characters to the ensemble who never dropped their AI-like facade, the performance was even and inspired. It was hard to pick just one exceptional performance because everybody was strong.

The most memorable parts of the play for me were the part wherein May Bayot's character, Amor de Sangre, pleads to Dr. Beau Batoctol to give her back her original un-aestheticized face, and when Phil Noble's character, Pipay breaks down when his bid for true love fails yet again. Actually, each character has their own moment, which each audience member may be able to relate to.

All the elements worked although I have one comment about the music. Maybe because I had an expectation based on a previous presentation, the opening song didn't leave a big impression on me. The scenario was in a high tech, state of the art beauty facility and the music, please bear with my untrained opinion, sounded a bit ummm... conservative? That's just my opinion... but to be fair, the songs began to pick up in the second act. With a bit of a melancholy strain naman, but that's how I want my songs, bittersweet.

Most of the people involved in this production are people close to me or else, artists I truly admire. But these aren't the reasons for you to see this play. See this play because it presents a progressive Philippine theater, in tune with the concerns of our time. OA no? Kebs. I like the play. Very much.

I'm such a sucker for love stories, and an even larger sucker for Paris. And it's been such a long time since I left a movie feeling buoyant! And it wasn't just me. Because last night, in between rues/ episodes, some members of the audience couldn't help but clap :)

I liked the different stories of the people living in Paris --- young, old, rich, poor -- and the different streets/ quarters. My sister asked why anyone would fall in love with a city that looked so grey... I dont think Paris is grey. It is translucent as it reflects the condition or mindscape of the person observing it.

The episode I liked the most was the one on the mimes on eiffel. That was ingenious, because people in love could be so annoying like mimes. And the way the director shot the scenes of the two mimes "driving" through Paris was just plain beautiful.

Another episode I liked involved this American lady who went to tour Paris alone. It was so bittersweet relatable. The ironies in being a singleton in the city of love. Of longing to share an overwhelming experience with someone. And the scenes where she was at the park eating a crusty sandwich... parang nagawa ko na yan!

Another episode was the sophisticated repartee between an old couple about to go through le divorce. The dialogue was just so smooth and witty that I wished I was that suave in my conversations and not the stuttering over-earnest twit that I am.

And finally, I liked the episode on this black man from Lagos who fancied a girl in the building which he worked at. It brushed up issues of the condition of immigrants in Paris (although it was unclear if he was illegal or not). The device used by the director was also skillful.

The other episodes were absurd or plain cheesy. Like the parisienne aswang shtick, the chinatown parlorista bit and the oscar wilde tribute... But well, okay lang, because people in love are such.

I just wish our directors come up with a project like this featuring the city of Manila. Wait, Maynila IS a TV series. What am I talking about?

Yup, what am I talking about? If our directors and artists will see Manila as a vivid, dynamic, progressive and hopeful city, not just as a showcase for Asian ills of society --- poverty, corruption --- then the people just might see its value and regain its charm and glory. So, not a TV series okay? Something to captivate people big time. Go big screen.

Shrek and Fiona are married. Next stop: kids. Fiona's king-father finally croaks. Inevitable outcome: an ogre-king. But Shrek is scared of fatherhood and kingship. So he sails to find the next in line, a boring pipsqueak, whose only saving grace in the movie is introducing us to Merlin, who is also ho-hum. Realizing that Far far Away is without a ruler, the displaced villains of the fairy-tale world conspire to take over... the end is a fairy-tale ending. Shrek and Fiona become parents, the next in line becomes king, credits roll and I couldn't care less.

Shrek is still good for laughs although for me, the jokes were kinda old. I swear I've seen Dolphy do the dying gag. And even if the princesses portrayed in Charlie's Angels mode were amusing, they didnt quite hold my attention as much as the characters in the first and second shreks. I did like the way the gingerbread man's life literally flashed before our very eyes ;)

Have been wanting to watch "300" ever since reading rave reviews about its cinematography and testosterone-laden action. I will watch any movie which will move jaded teens and busy yuppies to read more on the Battle of Thermopylae. Hehehe.

The reviews are not unfounded as the movie delivers a thousand, or rather close to a million (Persian & Greek) deaths in slick unadulterated fashion. I have been known to enjoy gore in my movies but this movie frightened me. And it wasn't just a oooh-i'm scary-kind-of-scared. It was a shit-i-am-going-to-die kind of dread. Thinking about it really freaks me out. The visuals are really graphic and disturbing. But then again I am the kind who gets nightmares (!) reading Harry Potter books, so I am gullible like that.

But the details! This movie is so aesthetically stimulating, even the really brutal -- the tree of death, disengaged heads, the sea/ wall of carnage... It will be my best movie if not for the really unnerving way it affected me.

I really liked the artistry (the oracle dance) and tongue in cheek wit of the movie. But my heart and mind could not fathom violence done in the spirit of bravery and dignity. That they are Spartans and they were born to be raised as warriors (or ahhhhooooo!!!) is a given in the movie. Andon na ako. But to kill the babies who were physically inferior and deformed ... no wonder namatay ang 300 (o sige na nga -- 299)! Karma!!!

Serious no? Oo naman. Natakot kaya ako! But then when it got to the queen's audience with the council, i finally got to gather my wits. Did I hear a duplicate of George Bush's plea to US Congress for more support to the war on terrorism in Iraq? Gorgo = George Bush! Ahahahaha. Bush getting bushwhacked from behind... that's a disturbing scene alright.

To sacrifice lives of promising young (gorgeous, perfect gene donors)men for the sake of vainglory, is really dumb. They knew they were against an army of millions, and they gathered 300?!!! Gusto talagang mamatay ng beautiful death ang mga Spartan na ito! Bute nga!!!

In fairness, beautiful death nga. If only the troops in Iraq don't meet the same fate. At least Leonidas was there with his men.

Yann Martel tells a tall tale about being adrift in the high seas with a Bengal tiger. Told like a fairy tale, I enjoy it's being on the edge of what is real and fantastic. Although truth be told, it took me while to finish the book. When it came to reading about his adventure in the lifeboat, I became restless and couldn't really care more. I just wanted him to reach land so he can already tell his insightful, often hilarious stories. I enjoyed the parts where in Pi described each animal in the zoo as if humans; how despite the ballyhoo about keeping animals in their original habitat and not caged in zoos, the final verdict (according to Pi) is not to set them free in the wild but allow them to flourish in a venue where everything is provided for. I also liked the part when Pi got in touch with his spiritual side and started seriously practicing three religions: Roman Catholicism, Jewish and Islam. Funny situations arise.

Taking after quaint but fashionable Tokyo cafes, Malcolm's Place exudes a relaxing, unpretentious ambience.

The food is tops. Sampled the Salmon Says, a salmon in cream pasta, that will now be a staple treat in my books. Their salads -- the Abs Salad and the Kani Crunch-- were deliciously light.

The staff were super accommodating. They even gave us freebies! Free appetizers while waiting for the food, free banana shakes (yum!) and free notepads!

All was well and good. Probably because it just opened and not many know about this nice place. I could just imagine the sitch over at Malcolm's when it gets busier, when word gets around. I hope they get to add more servers; they only had two at that time.

Also, for a Japanese-style cafe, there was no coffee! Eck. Go figure!

A for Effort. Despite really grainy film, I got to appreciate the fresh story-telling, the tongue-in-cheek humor, and the gritty realities of contemporary teenage life.

The next time I shush a rowdy group of teenagers, I will remember that they might have heavier hang-ups than me.

I am so hesitant to review this play as it is our own project. It is like commenting on your child's physical attributes. Any kind of rave may be misconstrued as plain favoritism. How can your kid do wrong, di ba?

Well, okay, let's count the ways.

First, this play was promoted as a horror play. Now, that was original. There have been plenty of dramas, comedies, musicals, action and adventure thrown in, but all around a scarcity of scare. So when people heard that this play was a horror play, they got interested. After a while, it transformed into a comedy. At saka naging musical. The final verdict, it is a drama. Sigh.

BUT don't let that dissuade you from watching! Because it truly is a funny, quirky musical about a theater group mounting a children's horror play. The mix-up about genres will actually help in disarming the viewer into appreciating and getting into the groove of the play.

How can one not be sucked in by this theater experience? With actors as ebullient as the TP ensemble, each with his or her own story to tell (but sadly was not explored by the writer.. bakit kaya? kulang ang oras?), it was a treat getting them as your personal guide in lalaland. They are some of the brightest, most talented actors around I tell you. I am their fan.

The director and writer, Chong Wishing, is a genius for putting all this together. For a while back, I thought this was to be a mish-mash of sorts as the director was really particular about rehearsal attendance, and that he would like everybody in the cast to be there for every rehearsal! Demanding, devah? Oh, but he puts it nicely... Great thing, that the production finally came together and gelled.

Aside from the acting, I liked the little details of theater life in the play. How the chuwariwariwap boys, chorus boys transformed into stage hands after the scenes, in true theater form. I could relate to the passive aggressive stance the two female leads were displaying. How many times have I smiled through requests that were downright difficult, bordering on the impossible? How many times have I smiled through gritted teeth or stamped my feet or threw a couple of books here and there....? Even the line uttered by one of the characters, "enough of this nonsense... tama na itong kalokohan..." has been uttered, I'm sure, in some instances by even the staunchest of theater rats.

I'm rambling coz it is good. There are just too many things going right for this play that I just forgot about listing down the negats. If you are in theater or used to do theater, or just love the theater, then I recommend this play. It is sure to bring back warm cuddly feelings about life in bohemia.

"Yaji and Kita" are two characters from Japanese traditional literature who go on a journey to Ise, a sacred place, to cleanse them of worldly wiles. Think the Japanese version of "Pilgrim's Progess". The classicial Japanese text has since then been adapted into manga, into a movie and now into a play.

This play version unfolds when Yaji and Kita are stuck in an inn on a rainy day with nothing to do but ruminate about stuff... and when there are drugs involved (not medication, mind you), the topics could be way surreal. Eventually, Yaji and Kita talk about their "closeness" and disclose, in true Japanese fashion, how they love each other.

The staging is very clever and snappy, somewhat magical. One is transported in a world where there is a fine line between what is real and imagined. The premise of the play (two guys talking) is simple but the execution is more complicated. There were novel touches of "reality" seeping into the play, like calling a real Chowking take out counter and having them deliver onstage --- it is hell coordinating it!

The only thing not going for the play was it's script in Japanese. At first, they wanted to rely solely on their flashcards, where Tagalog words were written on. But then, they finally resorted to havign some Tagalog lines spoken. All in all, it was an entertaining show.

At first, I was too busy to really appreciate the genius of this play. Was too bogged down by details of production management that I almost, almost, missed out enjoying just watching. I was glad I saw it :D

I don't get it. I must be getting old because I don't get it.

Watched this with a Japanese director and didn't quite know how to explain the play to him. Started analyze the play on the spot --- don q is a Filipino youngster addicted to role-playing games which he plays with other youths with their own angst to tell. don q's parents are abroad, trying to be "bagong bayani's" for their country, while the poor kid is left alone with his yaya sunshine.

The scenes based on reality I can dig, but the gaming references. Man, I just wanted to delete it!

I know I know. It is my mother studio, so to speak. But they will understand me when I say it again. I. Dont. Get. It.

There are a lot of confusing things in this movie. Two of which are Toni Gonzaga and Jodi Santamaria's wigs. Such a waste of good hair.

I also noticed Sam Milby's beautiful lighting. He was practically glowing throughout the movie. More than his female partner!!! That says a lot about the film company's priorities no? I mean, they should have seen the rushes and did some cinema magic before the apparent light disparity hit the big screen...

The story was common, although amusing. I liked their depiction of government workers (hey, I was one before) --- that they were model employees, willing to go the extra mile for a client; sincerely thoughtful; and gay gay gay! The only character who wasnt gay was the woman who accepted forms at the NSO -- one of the first scenes-- whom Milby talked to. She really looked the part. Bravo!

It is these fantastic love stories --- US Embassy Consul falls in love with a Filipina government worker --- which poison the minds of our gullible youth. Look at me! I was weaned on "Pretty in Pink" and "Heathers", and I thought being weird was cool! The damage has been done.

Although there was an attempt to surface some really interesting issues --- migration, duty to family and country --- like the indulgent yayas our producers are, we are instead given a dance number in red.

Can't believe I enjoyed this movie, but I did!!! It was so bad, it was good. The snakes were CG'ed, the humor was hackneyed, the dialogue was stale and the action was kinda inaccurate... hello! when Samuel L. Jackson's character shot open the plane's window while still in the air --- there were still people left on the plane --- I was told with the extreme pressure, everything in the plane will be sucked out!!!

See it see it!!!

Ho-Jin and En-soo have an idyllic marriage --- both have successful careers while enjoying their love for each other. Dae-jin, Ho-Jin's bachelor brother, lives with them after serving his compulsory military service & pursues a bachelor occupation: race-car driving. However, this happy image is broken when the two brothers encounter simultaneous accidents -- Dae-Jin on the tracks, while Ho-Jin is smashed on his way to see Dae-Jin's race.When Dae-Jin wakes up from his coma, Eun-soo notices strange things abot her brother-in-law. The way he absentmindedly retreats to the master bedroom, how he is sddenly taken by gardening and furniture-making and even, how he automatically fills up Eun-soo's toothbrush with toothpaste. Actions which her husband usually did. All this leaves Eun-soo confused, seeing Ho-Jin's traits and actions in Dae-jin's body.

The best part for me? Lee Byung Hun (Dae-jin) of course! His acting is seamless, as if he isnt acting. I like the details that make Ho-Jin and Eun-soo's marriage special -- Ho-Jin picking up Eun-soo at the train station in the rain to the tune of their favorite song, how Ho-Jin lovingly prepares and cooks dinner for them. These tiny details that also crmble Eun-soo's defenses.

This is a compelling watch, I guarantee.

Okay. I viewed the movie again and I remember now why I wanted to watch this movie. It is because of Maggie Gyllenhall. She plays these quirky characters who revel in their being different, even if it means being an outsider forever.

In this movie, she plays this introverted, mousy girl who's just been released from a mental institution. We find out not long that she has a habit of cutting and hurting herself -- self mutilation. I suppose it was her escape from the hurt other people were inflicting on her unconsciously; that she had to do something to distract herself from the pain. Some scenes were so uncomfortable, it really made me wince (and jaded, bored audience that I am of American films --- that might mean something).

I also watched this movie because of James Spader, who was the ultimate embodiment of coño in the 80s. He resurrected his career as token voyeur in "Sex, Lies, and Videotape" and a pervert obsessed with sex with crash victims and at accident locations in David Cronenberg's film "Crash" I thought I would be seeing some action, and I did. But no sooner than I saw it, I hoped that it will finish right away. He's turned creepy these days.

The film was able to infuse charm, humor and compassion in a delicate subject of masochism and sadism. Sometimes scenes were really absurd, but well, life can sometimes be stranger than fiction, they say. The part which I liked best was towards the end when Maggie's character does the ultimate act of subservience to her "master".

I'm reminded of the story my parents have told me about me when I was about 4 or 5. Whenever I would see something that I liked, I would never throw tantrums if my parents would not buy me what I want. I would merely stand in front of my object of affection, silently, stare at the thing, and wait until my parents get tired of looking at me staring at the thing.

Is that a Beware sign flashing on my forehead?