Given the overwhelmingly optimistic response to “Eto Na! Musikal nAPO!” and the viewers’s clamor for it, it was inevitable that 9Works Theatrical would restage its extremely well-liked unique musical in 2019.
Director Robbie Guevara and his predominantly “older” millennial forged would sport the ’70s look once more to take their viewers down reminiscence lane in February at Maybank Theater in Bonifacio World Metropolis, Makati. It would run as much as March.
Those that noticed the unique run applauded its consideration to the historic particulars of the martial regulation period, the seamless method that the music of the enduring group APO Mountaineering Society was woven into the story, and the sudden wave of patriotism the musical generated on a really poignant, highly effective observe.
This rerun can be trustworthy to final 12 months’s run. There can be no main forged change, no script rewrite, no change in musical association, or completely different staging. As Guevara places it, the inventive staff had been suggested by well-meaning members of the viewers not “to the touch it.”
However then once more, on condition that it took a number of rewrites executed over a couple of years to provide the script, with the guiding hand of the APO—Jim Paredes, Danny Javier and Boboy Garovillo—one other thematic overhaul might need confirmed to be anticlimactic.
One main affect the OPM pioneers had on the fabric was the refined, creeping introduction of martial regulation into the lives of the characters, a motley group of upper-middle-class school college students in a Catholic college in 1975.
Guevara stated that, throughout the inception of the play, which was supposed to honor the musical legacy of the APO Mountaineering Society, his preliminary idea was simply “a fluffy musical. I didn’t need martial regulation talked about nor depicted in any respect. The APO members influenced that main change.”
By means of dozens of desk readings and rehearsals, the feedback of the APO, who would evolve right into a musical image of the opposition earlier than the Edsa Revolution, saved coming. Within the musical, the off-the-cuff references to curfew and secret pupil conferences would quickly increase and tackle new disturbing meanings.
Extra to life
The teenager characters—led by Mark Bautista, Jobim Javier, Alfritz Blanche, Jef Flores, Jon Abella, Vyen Villanueva and Jon Philippe Go—started to appreciate that there was extra to life than graduating, profitable the woman, and making it large in a pop track contest.
The sheltered middle-class setting of those children, who, come to think about it, had been already set for all times, additionally distinguished the musical from different Filipino productions set in the identical period.
JonJon Martin, a 9Works Theatrical stalwart who wrote the story with Guevara, identified that this was one side of the period that had been instructed not often.
Martin addressed the director’s preliminary reservations of telling his household’s personal expertise underneath the martial regulation authorities, and satisfied him to dramatize it in a single painful, life-changing scenario confronted by one of many characters.
Guevara added, “Which is why I didn’t need to contact on martial regulation in any respect. It was too private. However the materials wanted it. ‘I-kwento mo na lang yung nangyari sa pamilya mo,’ JonJon urged, ‘para malaman din ng tao na hindi lang ang mga mahirap and naging biktima ng martial regulation.’”
Past their private experiences, Guevara and Martin, who had been youngsters in 1975, buckled right down to analysis on the ’70s.
They scoured the web, talked to individuals who lived throughout the time, and made loads of notes on the tastes, habits, habits and way of life of the ’70s technology. No stone was left untouched. Child Boomers and GenXers, which Guevara admitted, had been their main viewers, may immediately relate to the jokes in regards to the hottest eating places, the flashiest manufacturers, and a newly constructed, nonetheless traffic-free main freeway.
Each writers additionally moved the unique setting of the musical from 1973 to 1975 to incorporate extra occasions that occurred that later 12 months.
“The goal market liked the present,” stated Guevara, “from the most important mentions like Freeway 54 and the Magnolia Ice Cream Home to the minor, like Love Bus accidents. I actually didn’t get any feedback from them about what wanted enchancment or historic accuracy.”
There was one quibble, although: the full lack of point out of the “Saturday Evening Fever” craze that despatched loads of younger folks dancing again to the disco home.
Guevara identified, “Dance fever didn’t arrive within the Philippines till 1976. So, no, there actually wasn’t going to be any John Travolta strikes within the musical.”
A couple of millennials this author spoke to needed to modify to the roles that the ladies, particularly the rising socialites, performed within the 1970s. Actors Rita Daniela, Marika Sasaki and Sab Jose gave humorous and shifting performances, however their characters’ goals and aspirations nonetheless moved round their fathers’ needs or their boyfriends’ consideration (or lack of it).
General, although, loads of the viewers born within the 12 months 2000 and onward did hum together with their elders throughout the musical. Guevara stated, “The very best remark I obtained after I requested millennials what they thought after watching our present: ‘APO is now a playlist in my Spotify!’” —CONTRIBUTED
9Works Theatrical’s “Eto Na! Musikal Napo!” will run Feb. 2 to March 17 on the Maybank Theater, Bonifacio World Metropolis, Taguig Metropolis. Ticketworld.com.ph.
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