Davidplatz

It was a great coincidence (or was it fate?) that the three plays dealing with issues of the gay community fell on Pride Day 2008.  Even Rody Vera shared his surprise about this when he announced the night before to come watch this set “kung saan lahat ng dula ay may kinalaman sa kabaklaan.”  Though filled with comedic moments, each play carried serious situations with them as well.    

Pagbabago

If the title of the play doesn’t catch one’s attention, then its uncanny plot will.  Ang Kwento ng Menginga ng New York City na Kamukha ng Bee-stung Lips ni Julia Roberts by George Kabristante (direction by George de Jesus III) tells the story of a Denise, a B-movie writer who wants nothing more than to be loved by his object of desire, Victor.  Victor promises to sleep with Denise and even marry him on one condition: that Denise gets the snipity-snip to set in a new menginga (ie. In Eve Ensler’s words: a coño, a fica, a cunt, a vagina, a puki).  Victor leaves for New York for new opportunities, and Denise picks out the best menginga model: one reminiscent of Julia Roberts’ bee-stung lips.  (How they represent the presence of her new body part is something to look forward to in this production.)  She follows Victor and is shocked to find out that his earlier condition was just a joke.  What follows are darkly comic situations that eventually lead to the stuff of modern tragedies.


Ricci Chan is hilarious as Denise and is effective in his comedy as well as melodrama.  I think the last time I saw him perform live was back in 1999 in RENT as a fantastic Angel.  This time around, he cross-dresses again, but as a funnier albeit more tragic character.  (At least si Angel, nakaranas ng tunay na pagmamahal kahit namatay siya.  Wala pang kondisyon at hindi pa siya nagpa-sex change sa lagay na iyon!)

One person in the audience that afternoon commented that the plays were good, but needed a little more editing. True, there were times when I wanted it to be tighter.  Still, one can think that how free it is and how it breaks the fourth wall are part of its charm.  I mean, there were even some sections where we couldn’t figure out when Ricci was already doing adlibs and that just added to the fun of it all.


The play teems with steamy moments of which our section had more than an eyeful.  (If you’re the adventurous type and want the “full experience” watch near stage left like we did.  Hehe.)  No problems with these, though, since they were well choreographed and were sometimes used as riotous accents to the show.  

Even with the mature scenes, it was clear that the point being made is still that on self-worth and acceptance.  Though shown in the context of a gay relationship and in the midst of extreme conditions for love, the questions posted are the same: Will you change yourself just to be loved?  How far will you go just to be accepted?  If Denise’s story is to be taken as the writer’s answer, then we find that unless the decision to change comes from our deepest desires, our own will and not another’s imposition, then it is a decision that will only bring pain and despair.


Pagkakataon

Not to be outdone by the first play’s lengthy title, the next one delivered as well: Rogelio Braga’s  Ang Bayot, ang Meranao, at ang Habal-Habal sa isang Nakakabagot na Paghihintay sa Kanto ng Lanao del Norte (direction by Nick Olanka).  Contrary to its complex title, this play’s outline is simple: a gay social worker waits for transportation at the foot of a Lanao del Norte mountain to get to their NGO office at the top.  Here, he encounters a habal-habal driver.  In their wait, their discussion covers discrimination, hypocrisy, corruption, their love lives, and even the Radioactive Sago Project.


Joey Paras is the bayot and Arnold Reyes is the Meranao habal-habal driver in this utterly amusing play.  When it started, images of Didi and Dodong flooded my mind again.  When Joey started to talk, I knew we were in for a laugh trip.  The comedic timing and rapport between these two are just phenomenal.  At one very funny point in the play, you see them about to crack and lose it, but they manage to carry on.

Amidst the laugh-out-loud moments (mostly coming from the characters’ sharp-tongued hits at each other), the play is serious in weeding out the issue of discrimination in modern society.  How common an occurrence is it that opportunities for minorities are withheld?  What structures in our country prevent the growth of all its members?  What social engagements look good on the outside but actually oppress in practice?  Through the experiences of our Bayot and our Meranao as part of struggling groups, we are faced with the cruelty even a civilized society can condone.

With its sharp humor and sociopolitical commentary, Ang Bayot… was my favorite play in this set.


Paghahanap

Dahil naubos na ang mga salita sa title ng unang dalawang produksiyon, tipid na ang ikatlo na pinamagatang Gumamela.  Roobak Valle directs this funny play penned by J. Dennis Teodosio.

Gumamela opens with Butch, played by the endearing Phil Noble, waiting for his most recent hubby to celebrate his 40th birthday with him.  Somewhat reminiscent of his last character in PETA’s Skin Deep, Noble portrays a gay man in his mid-life who keeps on going after the young ‘uns.  He, however, never seems to learn and ends up being used or hurt by his boys.  That is, until he meets Rubert via an online matching service.  While waiting for Rubert, Butch gets neurotic in thinking that his love will never arrive and that he’ll end up alone and suicidal once again.

The play is pretty straightforward, and that, I feel, is my major concern with it.  It leaves nothing more for me to uncover.  Its title is explained a few minutes into the play: Butch identifies with the Gumamela since it is most fragrant when crushed.  Towards the end, the play uses a chocolate cake to symbolize self-acceptance and love.  When Butch decides to eat the cake, that already sends a clear message to the viewer that he has finally made the decision to love himself first.  Still, he adds an exposition that the cake is his, and it is his time.  Some of my friends even say it should have ended with him eating the cake.


This self-confessed bittersweet-campy story was fun to watch and it did have its moments.  Feel-good, ika nga, lalu na sa huli.  Like that other audience member’s comment in the talkback, though, I felt that a little more editing and tweaking could have made it more meaningful in the end.  (Note: Friends who saw the latter shows said they enjoyed it as well.  Playwright J. Dennis Teodosio also shared his decision to edit and gives his input in the comments section.  I appreciate the notes and the explanation, Sir Dennis.)


Keep it Gay

Nang tanungin daw si Ginoong Vera kung bakit tuwing Labfest na lang, ang daming dulang may kinalaman sa kabaklaan, wala raw siyang maisagot.   Siguro may katotohanan ang mga salita ni Mel Brooks sa The Producers:

The theatre's so obsessed
With dramas so depressed
It's hard to sell a ticket on Broadway
Shows should be more pretty
Shows should be more witty
Shows should be more
Gay!
No matter what you do on the stage
Keep it light, keep it bright, keep it gay!
Whether it's murder, mayhem or rage