Virgin Labfest 4: A General Review

NOTE: This slightly bitchy, hopefully humorous review may contain certain details that are not suitable for overly sensitive, humorless theater practitioners. Reader discretion is advised.

In one of his introductory speeches almost two weeks ago, Rody (Vera) admitted how surprised he was at how the Virgin Labfest has lasted as long as it did; he really didn't expect it to go beyond the second edition. The fact that it did is an encouraging sign, I believe. It means there are people outside the local theater community who genuinely believe in the festival, in the reputation it has earned. If nothing else, where else can you find a collection of untouched plays that can provoke your senses or challenge your intellect beyond your comfort level?

As expected, the Virgin Labfest 4 had eighteen plays of varying quality that tackled a wide range of themes, with most of them conventionally and straightforwardly mounted. Naturally, all the plays had flaws, and only a handful managed to compensate.

Bart Guingona tried but ultimately failed to match May Bayot's modulated performance in Layeta Bucoy's Las Mentiras de Gloria, which benefitted from Tuxqs Rutaquio's restrained direction. Actors, most memorably Amihan Ruiz and Nar Cabico, had a field day sinking their teeth into their roles as underworld loonies in debuting Carlo Garcia's surreal, ultimately shallow black comedy Ang Mga Halimaw. And men with a fetish for virginal and leggy schoolgirls may be the most receptive audience for the bland fluff that was Hase Hiroichi's Amoy ng Langit.

Jonathan Tadioan was ferociously good as a corrupt congressman and fraternity alumnus in Tim Dacanay's intriguing, funny (thanks in great part to that ridiculous frat chant with matching raised-fist, one-leg-stretched-back pose) and, according to National Artist for Literature F. Sionil José, sophisticated (Yeah. Fine. Whatever.) Pamantasang Hirang, which could've benefitted from a stronger sense of horror and a more assertive feminine perspective from director Hazel Gutierrez. And Allan Lopez, together with director J. Victor Villareal, giddily put his actors (Abner Delina Jr. and Katherine Sabate this time around) and the audience through brainbending hell as usual in his exploration of psychological torture in the oddly titled Masaganang Ekonomiya.

I can't really comment on National Artist for Literature F. Sionil José's "play" Dong-Ao, a sequel of sorts to the last Rosales novel Mass, because I slept through it. Ü But seriously, Hammy--I mean, Tommy--Abuel was so, well, hammy as a pompous senator that I felt as if I was at Santi's Deli Shop or at a supermarket's cold-cuts section. If I only knew, I could've brought some slices of bread, mayonnaise and lettuce. Truth to tell, this "play" inflicted more needless torture on the audience than Masaganang Ekonomiya.

Speaking of ham, meat--muscular and otherwise--are on display in George Vail Kabristante's Ang Kwento ng Menginga ng New York City na Kamukha ng Bee-stung Lips in Julia Roberts, about a Filipino tranny living in the Big Apple who had his, well, "meat down there" surgically removed so that the hunky love of his/her life can finally push his "meat" into him/her. That, or it's another hilarious Ricci Chan stand-up performance in disguise, for it sometimes felt that way. Good thing I didn't have that feeling at all in Rogelio Braga's thought- and laughter-provoking Ang Bayot, Ang Meranao, at ang Habal-Habal sa Isang Nakakabagot na Paghihintay sa Kanto ng Lanao del Norte. It worked onstage in a way that it never did on paper, and I must credit the first-rate performances of Joey Paras and Arnold Reyes, the erstwhile Didi and Dodong, respectively, of ZsaZsa Zaturnnah: Ze Musikal for it. As for J. Dennis Teodosio's Gumamela, it just wilted.

Thanks to Ana Valdes-Lim's appalling direction and a horribly miscast Mary Emeral O'Hara, the arguably promising ideas Debbie Ann L. Tan offered in Mga Babaeng Toobright regrettably got flushed down the toilet, along with lead actress Wenah Nagales's considerable talents. And in Koh Jun Eiow's very fascinating Ang Dalawa Niyang Libing, the cast's overdependence on Malaysian broadsheets as props unnecessarily distracted from the play's strong subject matter. Thankfully, nothing of the sort marred Floy Quintos's rich, well-realized Ang Kalungkutan ng mga Reyna. The fabulous Shamaine Centenera-Buencamino was captivating as a president recasting herself as a queen while Tuxqs Rutaquio shone as a queen of another kind, but just as dignified and refined. I hope the playwright further develops the play into a full-length one; the material is that rich, that complex.

As for the collection of children's plays, Argel Tuason's generally diverting Bru-ha-ha-ha-ha-ha, Bru-hi-hi-hi-hi-hi could've been more technically polished, while director Cats Racsag made the most out of Job Pagsibigan's brief Uuwi Na ang Nanay Kong si Darna. On the other hand, Njel de Mesa did a very commendable job in adapting, directing and scoring the entertaining, visually striking Terangati. As last year's Mga Obra ni Maestra has proven, he can truly carve out a really big niche for himself in children's theater in the country.

So, after all that has been said and done:

BEST ACTORS: Joey Paras and Arnold Reyes, in Rogelio Braga's Ang Bayot, Ang Meranao, at ang Habal-Habal sa Isang Nakakabagot na Paghihintay sa Kanto ng Lanao del Norte (tie). (Runners-up: Jonathan Tadioan, in Tim Dacanay's Pamantasang Hirang and Tuxqs Rutaquio, in Floy Quintos's Ang Kalungkutan ng mga Reyna.)

BEST ACTRESS: Shamaine Centenera-Buencamino, in Floy Quintos's Ang Kalungkutan ng mga Reyna. (Runner-up: May Bayot for Layeta Bucoy's Las Mentiras de Gloria.)

BEST CAST: The cast of Carlo Garcia's Ang Mga Halimaw: JK Anicoche, Amihan Ruiz, Kristine Balmes, Alvin Obillo, Nar Cabico, Isab Martinez, and Oscar Garcia.

BEST EYE CANDY: Male: Diogenes Alejandro, in George Vail Kabristante's Ang Kuwento ng Menginga ng New York City na Kamukha ng Bee-stung Lips in Julia Roberts. (Runner-up: Joselito Riguerra, in George Vail Kabristante's Ang Kuwento ng Menginga ng New York City na Kamukha ng Bee-stung Lips in Julia Roberts.). Female: Mica Froilan, in Hase Hiroichi's Amoy ng Langit. (Runner-up: Tara Cabaero, in Hase Hiroichi's Amoy ng Langit.)

BEST PROP: The crown in Floy Quintos's Ang Kalungkutan ng mga Reyna. (Runner-up: the wooden paddle in Tim Dacanay's Pamantasang Hirang.)

BEST REPRESENTATION OF A BODY PART: Gem Padilla, as the Menginga in George Vail Kabristante's Ang Kuwento ng Menginga ng New York City na Kamukha ng Bee-stung Lips in Julia Roberts. (Runner-up: Vera's stiff cock, in Allan Lopez's Masaganang Ekonomiya.)

BEST USE OF MUSIC: Njel de Mesa, for his musical score for Terangati. (Runner-up: Floy Quintos, for his use of Judy Garland's Somewhere Over the Rainbow in his Ang Kalungkutan ng mga Reyna.)

BEST DIRECTOR: Floy Quintos, for his Ang Kalungkutan ng mga Reyna. (Runner-up: Njel de Mesa, for Terangati.)

BEST PLAY: Floy Quintos's Ang Kalungkutan ng mga Reyna. (Runner-up: Layeta Bucoy's Las Mentiras de Gloria.)

Plus, a special award from a well-known food company:

THE PUREFOODS FIESTA HAM AWARD FOR ACTING: Tommy Abuel, in F. Sionil José's Dong-Ao. (Runner-up: Charissa Litton, in Debbie Ann L. Tan's Mga Babaeng Toobright.)

MABUHAY sa mga organizers at participants ng Virgin Labfest 4!