Kuya Manzano

Tag: theater

  • Binondo the musical subjective experience at Solaire theater

    Congrats to the cast and crew of Binondo the musical closing tonight at Solaire Theater!

    This is gonna be a very personal blog post of my very subjective trip. And will write in random order haha.

    My Chinese friend Sam Tan enjoyed it more than the Lion King! And he is a musical theater connoisseur so that is a big compliment. Also being Chinoy it makes it very relatable.

    Most Filipinos have some Chinese and some Spanish blood mix, so this is a musical for every Filipino to watch. Hope they can rerun it in the future.

    Miss Rebecca Chuaunsu

    Giant effort by Miss Rebecca Chuaunsu to produce, put together, give birth to the story of her uncle. This is a Herculean task. I have produced and directed before and I can relate of the incredible amount of effort that that can be. So thankful for her patronizing iChill Theater Cafe for her auditions and workshops.

    I don’t speak Tagalog, I was hoping for subtitles for the Chinese or Tagalog lines hahaha. No luck. Tho I could follow the story line and I enjoyed seeing such talented artists on stage.

    Actress: Tuesday Vargas

    Surprised and amazed to see Tuesday Vargas on stage. Knew her from when I was invited as an actor to her TV serie Kano Luvs Pinay for TV5. Her performance in Binondo stands out. She really squeezes the juice out of her funny character. And that was a good lesson for me to watch. She is a star, an artist, a creator, and that shows!

    Director: Joel Lamangan

    Happy and honored to say hello again to director Joel Lamangan. We worked together in Enchanted Garden TV serie for TV5 many years ago and hadn’t seen him again since. Good job directing Binondo sir. A big cast, very different types of artists on stage (tv, dancers, musical theater actors) and a show born from scratch. It’s clean and understandable even for a non Tagalog speaker like me, so great direction!

    Writer: Ricky Lee

    Book by Mr Ricky Lee. Very loved in the industry personality. Mentor to many. Never worked together so far. Looking forward to it. Another big achievement because this is a 3 hour musical! And I could see how people enjoyed it and gave a final standing ovation.

    Actress: Ima Castro

    Big plus for me was to watch perform, for the first time in my life, Ima Castro. She was Kim in Miss Saigon London and that is a giant title that makes me bow. Great voice and acting.

    Actress: Sheila Valderrama

    Talking about great voice and acting we have to bow again for the leading lady Sheila Valderrama. Who is going to portray very soon the role of the Virgin Mary in Guadalupe the musical. So thankful to perform with her soon in that musical for the first time. I am a fan since I saw her perform in Noises Off for Repertory Philippines.

    My childish mind was screaming seeing her kiss so much on stage with leading man Arman Ferrer, coz she is the Virgin Mary in the next play hahahahha. And because I know the husband in real life, actor Lorenz Martinez! Jooooke haha this is my ADHD mind doing it’s thing!

    Actor: Arman Ferrer

    Arman Ferrer had a great performance. He has kept on improving since we alternated the role of Ibarra in Noli me Tangere the Opera in 2011. And he has bulked up physically so he is a good romantic lead role candidate. For that reason probably director Baby Barredo chose him to star in Guadalupe the musical next.

    Actor: Floyd Tena

    Met Floyd Tena, who plays the role of Carlos, the love loser guy we could say? Now I gotta follow his career forward, he was solid on that stage.

    Sayang they were not selling the CD coz my friend wanted to buy!

    Many friends in the cast, all so talented!

    The Artistic Staff 

    Book and Lyrics: Ricky Lee, Gershom Chua, Eljay Castro Deldoc
    Music Composition and Musical Direction: Von de Guzman
    Choreography: Douglas Nierras
    Lighting Design: Joey Nombres
    Production Design and Technical Direction: Otto Hernandez
    Production Management: Fullhouse Asia Production Studios, Inc.
    Original Story: Rebecca Shangkuan Chuaunsu
    Direction: Joel Lamangan 

    Cast 

    BINONDO, A TSINOY MUSICAL shall feature the country’s multi-talented artists from film, TV, stage namely:

    Shiela Valderrama Martinez & Carla Guevara Laforteza (Lily);
    Arman Ferrer & David Ezra (Ah Tiong);
    Floyd Tena & Noel Rayos (Carlos);
    Mariella Laurel (Jasmine); Ashlee Factor (Ruby);
    Ima Castro (Mrs. Dela Rosa); Jennifer Villegas dela Cruz (Lourdes);
    Dondi Ong (Mr. Chua); Kay Balajadia Liggayu (Mrs. Chua);
    Russell Magno (Mr. Zhang); Elizabeth Chua (Mrs. Zhang);
    Jonel Mojica (Matandang Tsino/Ge Lao);
    Jim Pebanco, Lorenz Martinez, Khalil Kaimo,
    Tuesday Vargas, Ellrica Laguardia, Rhapsody Li (Chorus);
    Philip Deles, Ivana Villanueva (Swing)
    Froilan Dabalus, Christaliza Dabalus (Principal Dancers)

    Ensemble: 
    Ryan Caraan, Carlos Deriada Jr., Rence Aviles, Paul Clark, Xander Pineda, Romcel Brinquis, Joseph Puducay, VJ Cortel, Daniel Cruz, Zyrus Imperial, Cheeno Macaraig, Roy Sotero, Dusty Suarez, Randy Rey, Precious Sementilla, Julia Chua, Janine Tolentino, Ronald Policarpio, Ric Mar Policarpio, Kate Jacob, Judy Anne Mendoza, JR Calumpiano, Joshua Orbasido, Divine Dacles, Cheska Quimno.

    Binondo company

    Again congrats all cast and crew for bringing up a musical from scratch to life!

  • San Pedro Calungsod the musical coming to Manila

    The musical dedicated to the Filipino saint comes to St Scholastica in Manila this August 27

    San Pedro Calungsod the musical
    Kuya Manzano as Padre Diego Luis de San Vitores

    Catch celebrity singer Gerald Santos in an amazing role that shows the vocal quallities that made him a star.

    All together with a talented cast and technical team that will give all our hearts to make you travel with us through the journey of the second Filipino saint Pedro Calungsod.

    Tickets on sale for 300php for show of August 27 2016 at 6pm.

    Reserve through the FB page and tickets will be under your name at the door one hour before the show.

    San Pedro Calungsod the musical
    Kuya Manzano (the mentor priest) & Gerald Santos (the saint)

    Future pictures and updates at https://www.facebook.com/kuyafanclub/ You can communicate in Facebook for details on the tickets.

    Watched it? Let us know your feedback please!

    Love and Infinity… Kuya Manzano.

  • Cancer in Space, theater thesis at Ateneo College

    Cancer in Space, theater thesis at Ateneo College

    theater phiippines

    Want to know who’s behind the curtain?

    Get to know the playwright of “Cancer in Space”

    Gabbi Campomanes has loved theatre since she was but a wee babe. She is currently the Company Manager of Ateneo Blue Repertory and is finishing her degree in Creative Writing. When she isn’t in the theatre, she can be found singing, sleeping marvelling at her sock collection, or reading about how to pickle okra.

    “After being diagnosed with an illness that could potentially destroy the planet, Julie is abandoned in a space pod 30,000 kilometers away from the Earth’s surface. In the solitude of outer space, Julie tries to keep things interesting. Even if she’s going to, like, die.”

    philippine theater kuya manzano

    The Ateneo Fine Arts presents
    CANCER IN SPACE
    By Gabbi Campomanes

    Part of the 2016 Playwriting Thesis Series

    Direction and Set Design by Jay Crisostomo IV

    Costume Design by Shawn Landayan

    Lights Design by Syd Alcantara

    Props Design by Carrie Server

    Featuring Jomelle Era, Kuya Manzano, and Justin Ayran

    Under the supervision of Glenn Sevilla Mas, MFA and Missy Maramara, MFA

    philippine theater kuya manzano

    2016 April 14, 16, and 22, 7pm | April 23, 3pm
    Ateneo Fine Arts Theatre, 3/F Gonzaga Building
    Ateneo de Manila University

    Running with KUBKOB by Carmel Ilustrisimo
    Tickets are sold as twin bills for P250
    For more information, please contact AJ Umali at 0915 266 7792 or fill up the reservation form http://bit.ly/ADMUPlaywriting2016

  • Theatrical Makeup: A Step-by-Step Stage Guide

    Theater makeup is heavier, more pigmented makeup that keeps an actor’s face readable under strong stage lights and from the back row. The basic steps are: clean the skin, highlight and contour, apply a foundation one or two shades darker than usual, add blush, define the eyes and lips, then set everything with powder. Here is how I’d break it down.

    Stage makeup has to be precise, because the character must look believable. Research helps make sure the look fits the period, setting and mood of the play, so get to know the script. Good communication between the cast, set designer, hair stylist and makeup artist makes the whole process easier for everyone, especially in the busy last days before opening night when costume fittings and rehearsals pile up.

    Before you apply theater makeup

    Find out what lighting the production will use. Coloured lights, yellow or red, change how makeup reads. On tour this changes from venue to venue, one of the lessons in my post on life on tour. Also know the distance between the stage and the audience. Makeup has to work from every seat, so features need to be defined so they don’t look flat or washed out by the lights. A makeup artist may sketch a plan of the final look first. You won’t need that for a kindergarten play.

    Tools for theater makeup

    Because the actor is on stage, under bright lights and seen from a distance, the right tools matter. Theater makeup is heavier and more pigmented than everyday makeup, so I recommend:

    • Synthetic brushes, which are easy to clean and handle oil-based products well
    • A natural hair brush if you use powder blush
    • Velour powder puffs and sponges
    • False eyelashes to put focus on the eyes
    • Several brush sizes: a big blush brush, two medium eye shadow brushes, a contour brush and a lip brush

    How to apply theater makeup, step by step

    1. Cleanse and moisturize. Always start with a fresh canvas. Makeup looks and lasts better on skin free of dirt, dead skin and excess oil.
    2. Highlight and contour. Highlight the areas that stand out, like the cheekbones, chin, forehead and T-zone, with a lighter foundation and white highlighter. Use a darker foundation under the cheekbones and at the temples to add shape and character.
    3. Apply foundation one or two shades darker than usual. Otherwise the lights flatten and fade the face. Blend well so no lines show under the lights, then set with translucent powder.
    4. Add blush. Powder blush blends easily and you can build the colour gradually, so the actor doesn’t end up looking like a doll.
    5. Match the body. If the costume shows arms, shoulders or legs, use body foundation to match them to the face. A damp sponge spreads it evenly without streaks.
    6. Exaggerate the eyes. In theater the eyes and mouth carry the emotion, so give them more colour than the rest of the face. Just don’t end up looking like a raccoon: avoid heavy black liner under the eye and use a soft brown, smudged, if you need more emphasis. You can make the top line bolder if the role allows.
    7. Curl the lashes and add mascara one coat at a time, letting each coat dry. Curling opens up the eyes.
    8. Line and fill the lips. Use a liner that matches the lipstick, and a lipstick a bit darker or brighter than you’d normally wear so the lips read from far. Follow the natural lip line and apply with a lip brush.
    9. Set it. Finish by dusting translucent powder where the makeup needs to stay put.

    Special effects: aging, scars and bruises

    A character may need to look older or younger, or have scars, cuts, bruises or a balding head. These effects take time and special materials, so plan them ahead and set aside time to research and practise. Aging is a big one for actors. When I played Kublai Khan, a father and an emperor way older than me, I had to look the part, and I did a lot of homework on the man himself for my Kublai Khan facts post. On the other side, in my review of August: Osage County by Repertory Philippines I noticed an actor playing a man of about 60 who was not aged, which I found a little weird.

    Makeup is only one part of the craft. For more, read my tips on how to be a good actor and how to have a career in musical theater.

    Theater makeup FAQ

    Why do stage actors wear so much makeup?

    Strong stage lights flatten and wash out the face, and the audience sits far away. Heavier, more defined makeup keeps the actor’s features and expressions readable.

    What foundation shade should I use for the stage?

    Usually one or two shades darker than your everyday foundation, blended well and set with translucent powder.

    What brushes do I need for theater makeup?

    Synthetic brushes for heavy or oil-based products, a natural hair brush for powder blush, plus a contour brush, eye shadow brushes and a lip brush.

    How do you make an actor look older on stage?

    Plan it ahead. Aging uses contour and highlight to suggest lines and hollows, often with special materials, and it needs practice time before the show.

    Follow me

  • The Acting Motif in Hamlet

    The Acting Motif in Hamlet

    Hamlet - Theater in the Philippines.
    Characters acting on top of duties they are currently acting. And all of these functions make it exceptionally tough to differentiate who is acting and who is real. The acting concept in Hamlet is mirrored through virtually every scene, and impacts virtually every character in the play. Lets analize the acting motif in Hamlet then.

    King Claudius is continually acting throughout the play to conceal his real self from those around him. Of all, the play begins out with Claudius acting as the grieving and excellent king after the loss of his sibling. The King just desires to keep Hamlet close by so he can keep a close eye on the genuine successor.

    Other apparently worried acts follow as the King asks Rosencrantz and Guildenstern to spy on Hamlet, and to return any details the King might make use of to assist his stepson. In addition, the King has compassion with Laertes about Hamlet killing his papa, Polonius. He is just acting this method to control Laertes into disposing of his biggest danger, Hamlet.

    Hamlet’s mom, Queen Gertrude, likewise does her share of acting within the play. She rejected the presence of the issue, and acted as if the only possible cause of Hamlet’s habits was “his daddy’s death and our o’erhasty marital relationship”. In other words, was Gertrude purposefully acting the whole time with the sense of guilt near the surface area, or did she bury this sense of guilt so far that she ended up being the character she was acting?

    In addition, Laertes is controlled by the King to act as a reasonable candidate in a friendly sword match with the prince, when, in reality, he and the King are preparing on killing Hamlet. Laertes acts in the sword match as if he has no mal-intent, however is in fact utilizing the act as a device for vengeance. At the wish of the King, Rosencrantz and Guildenstern act as close pals of Hamlet in order to spy on him and acquire favor with the King.

    Polonius likewise carries out acts on top of the act he is currently carrying out for the King. In addition, he likewise directs a number of other characters in their efforts to act. The only times that Polonius appears not to be acting is in Act 1, Scene 3, when he is talking with his youngsters, and whenever he is talking about acting, for example, with the gamers and Hamlet.

    Hamlet definitely acts throughout the play, it is tough to determine when he is acting, and when he is not. Hamlet may be believing that if he acts mad, he might be enabled more liberty to check out the information of the criminal activity, without being captured in the act. Was Hamlet acting in Ophelia’s bed room, in the Hall throughout his discussion with Ophelia, throughout the play, and in his mom’s chamber?

    The only major characters in the play who do not act are Horatio and Fortinbras. And Fortinbras does anything however camouflage his objectives through acting. Exactly what I discover fascinating is that in addition to being the only primary characters not to act, they are likewise the only primary characters left alive at the end of the play.

    In general, we have actually seen how the acting theme has actually impacted the major characters. The acting concept in Hamlet is mirrored through virtually every scene, and influences practically every character in the play.