‘Once’ again

Review by Vives Anunciacion

Once on this Island
Musical
Directed by Bart Guingona
Written by Stephen Flaherty and Lynn Ahrens
Featuring Raki Vega, May Bayot, Jett Pangan, Menchu Lauchenco-Yulo
Choreography by Denisa Reyes
Lighting by John Batalla
Musical Direction by Rony Fortich
Actors’ Actors Inc. / Silang
Onstage at the CP Romulo Auditorium, RCBC Towers
Feb 3, 4 and 5 at 8pm

The first time it was magical; the second was sheer joy. Actors’ Actors Inc. hits the high notes again in the third staging of the wildly successful musical Once on this Island. This time it’s pure fun.

Ti Moune (Raki Vega) is a peasant orphan in the care of adoptive parents Tonton Julian (Bodjie Pascua) and Mama Euralie (May Bayot). Her simple life is turned upside down one day when she discovers young Beauxhomme aristocrat Daniel (Gian Magdangal) in a car crash.

The gods of Earth, Water, Love and Death lay a wager on whether Love or Death would determine Ti Moune’s life. Believing the island’s gods have answered her request for a change in destiny, Ti Moune saves the injured Daniel and nurtures him back to his health, instantly falling for the dashing young man. Obsessed with her new love, she commits her soul to the god of death Papa Ge (Jett Pangan) if only to save Daniel’s life.

At the Beauxhomme Hotel where Daniel is revived, Ti Moune and Daniel develop real feelings for each other. But the fairy tale ends when Ti Moune discovers that Daniel is betrothed to fellow aristocrat Andrea (Cathy Azanza). On Daniel and Andrea’s wedding day Ti Moune attempts to kill Daniel to save her own soul from Papa Ge. But the goddess Erzulie (Menchu Lauchengco-Yulo) reminds Ti Moune of her love for Daniel, and she spares Daniel’s life. Ti Moune is thrown out of the hotel, where she pines for Daniel to her death.

The story of a poor peasant girl who saves the life of an aristocratic boy in the name of love, Once on this Island’s third staging is a triumph of talent and passion – the ensemble is so energetic on stage they must be having the time of their lives. And it’s only a small show.

It’s amazing how the stage is utilized to the maximum, considering the number of performers and the size of the stage. The four island gods are scene-stealers without meaning to – among them are the most experienced and powerful performers onstage. Menchu Lauchengco-Yulo is afire in dance and in song as Erzulie. Jett Pangan and Bituin Escalante’s powerful voices as Papa Ge and Asaka are practically larger than life. Michael Williams is playful as Agwe, and May Bayot is devastating as Ti Moune’s mother, Mama Euralie, particularly when she sings in Pray and in Ti Moune.

But there seems to be a slight imbalance with the young lovers’ cast. While Raki Vega confidently fills the auditorium with her sweet and powerful voice as Ti Moune, Gian Magdangal surprisingly appears unsure and nervous as Daniel in the song Some Girls. Considering his stellar performance as Willard in the recent staging of Footloose, it’s a wonder where the excitement went. Nevertheless the performance is still pulled off satisfactorily.

Choreography however is either confusing or inconsistent. For the stage’s size it was effective to make the cast play different roles, but movement in the dances is understandably limited and therefore comparatively less imaginative. Sometimes the stances are too Javanese or Indian for the Caribbean setting. Music is infectious as Madonna’s, especially in And the Gods Heard Her Prayer, and Mama Will Provide.

The story of Once on this Island is simple enough for kids, it’s like Little Mermaid on shore. The performances are generally superb – even from minor roles featuring Michael De Mesa and Gala Sanchez. The show’s popularity and feel-good theme practically makes it critic-proof. Once on this Island is a happy, colorful tale anyone can gladly listen to over and over again.

Wonderland

Review by Vives Anunciacion
Inquirer Libre

The Chronicles of Narnia: The Lion, The Witch and the Wardrobe
Directed by Andrew Adamson
Written by Ann Peacock, Andrew Adamson
Based on the book by C.S. Lewis
Starring Tilda Swinton, Georgie Henley, Skandar Keynes, William Moseley, Anna Popplewell
GP/ 140 mintes
Walt Disney Pictures/ Walden Media


Lion kings and closets and queens rule in this magical children’s tale about an enchanted kingdom hidden behind the doors of a wardrobe. C.S. Lewis’ The Lion, The Witch and the Wardrobe gets a triumphant big-screen adaptation from the magicians of Shrek and The Lord of the Rings.

For more than a hundred years, everything is frozen cold in the magical world of Narnia by the icy touch of the white witch, Jadis (Tilda Swinton), who declares herself the queen of Narnia. Always winter, never Christmas, as the inhabitants would say. The great lion Aslan, rightful ruler and creator of Narnia, gathers his army for the fight against white witch, but he needs four individuals to fulfill the prophesied task – two sons of Adam and two daughters of Eve. The humans will help win the war against Jadis and restore peace and freedom in Narnia.

Enter four curious children – the Pevensies – Peter (William Moseley), Susan (Anna Popplewell), Edmund (Skandar Keynes) and Lucy (Georgie Henley) and a mysterious wardrobe that leads into a wintry wonderland where animals talk and Father Christmas (Santa Claus) lives.

Edmund is entranced by the white witch by the magic of Turkish Delight and mistakes her veiled hospitality for friendship. When the siblings discover the white witch’s plans and decide to help Aslan and his army, Edmund instead goes to Jadis and betrays his siblings.

With the aid of Aslan’s soldiers, Edmund is rescued and brought to Aslan’s keep. But his treachery comes with a price: immediately after Edmund’s rescue, Jadis arrives at Aslan’s camp and demands Edmund’s life. It appears that an old magical law forfeits the life of a traitor to the white witch. As Peter prepares for the war against Jadis, Susan and Lucy are horrified to discover that Aslan has offered himself to be sacrificed in behalf of Edmund. But the sad fact is only brief. Spoiler warning: When the war is finally waged, Aslan rises from the dead in time to defeat the white witch.

The second book of The Chronicles of Narnia series, The Lion, The Witch and The Wardrobe is a tender tale of faith, forgiveness and magic set in epic proportions. Director Andrew Adamson (Shrek 2) and his New Zealand team faithfully adapt the classic children’s tale of faith and magic with spellbinding visuals and impressive effects.

But Adamson may be more adept with animation than with live actors, as practically all humanoid characters deliver frigid lines out of character. Only the immeasurable Tilda Swinton delivers spot-on chills as the icy white witch Jadis. The last time she surprised everyone with her character was when she played the Archangel Gabriel in Constantine.

The Christian undertones of Narnia are lightly handled (Aslan’s sacrifice and reincarnation for the “sins” of man, the female “logic” always in Susan always interrupting the male “reason” – Adam and Eve stuff; etc.), which is good for non-Christian viewers who don’t expect religious undertones in their shows. However, the themes are decidedly for young viewers and those expecting heavy action sequences may feel shortchanged.

The worst part of Narnia is the musical score – perfunctory, crass and forgettable – that it never seems to fit the frame or the moment. It feels out of place. Unless that was the intention, then it succeeds squarely.

Comparisons with Lord of the Rings are justified. Lewis and LOTR creator JRR Tolkien were best friends in Oxford University. It was Tolkien who convinced the atheist Lewis towards Christianity, hence Narnia and the Christ-like Aslan.

Narnia is the latest British series overrun by overhungry Hollywood (after four Harry Potters, three Lord of the Rings and twenty-odd James Bonds.) Fortunately this one is not a letdown. Narnia may not be as expansive or as colossal as Middle-earth, but it’s still one land full of many wonders.