The recovery of live musicals as reflected in Toff De Venecia’s directorial debut with Repertory Philippines
Prolific producer, statesman, and patron of the arts Christopher De Venecia, popularly known as Toff, returns to the director’s chair with his post-modern take on the classical piece Carousel.
Handpicked by Repertory Philippines’ artistic director Liesl Batucan-del Rosario, this is the directorial debut of Toff with the theater company.
In a review he wrote, Manila Bulletin Lifestyle editor AA Patawaran enthuses, “I love how your very ‘woke’ touch, Toff, honed from many theatrical projects dealing with our changing mores and perspectives, as reflected by—and intended for—the young, has brought something as classic as Rodgers and Hammerstein’s Carousel, a product of its time (a 1909 Budapest drama adapted to a 1945 musical set in late 1800s Maine), into the 21st century without changing the lyrics or manipulating the plot.”
The Pangasinan 4th district representative’s rendition is a nouvelle test on the 20th-century text. There is a sense of familiarity but newness, staying true to Toff’s millennialism style. Romanticism and complex themes from cycles of abuse to toxic masculinity, entrapment, and co-dependency are viewed through a lens through which today’s young now dissect every issue, from poverty to inequality, even the exploitation of natural resources.
The Broadway show, which one would normally see on a proscenium stage with set pieces, is stripped down to the bare minimum, presenting a vision of the theater in the post-pandemic world. “You can still very much tell the story without all those bells and whistles. We waited for two-and-a-half years. We don’t go back to that thing with business as usual,” explains Toff.
Instead of an orchestra, duo pianists Ejay Yatco and Joed Balsamo did the staging. The original cast of 35 was also reduced to half, led by stars Karylle Padilla Tatlonghari as Julie Jordan, Gian Magdangal as Billy Bigelow, and theater stalwarts Lorenz Martinez as Enoch Snow, as well as Mickey Bradshaw-Volante as Carrie Pipperidge. They are joined by Roxy Aldiosa, Red Nuestro, Cara Barredo, Steven Hotchkiss, Paula Paguio, Roby Malubay, Julio Laforteza, Kyla Rivera-Soong, and Czar Decena.
St. Scholastica College faculty member Mia Bolaños as Nettie Fowler does a fine job matching the high energy and lively performance of the younger cast, especially with many breakout segments, including the “spat” between secondary couple Enoch and Carrie that featured an explosion of smartphones, ring lights, selfies, and live posting.
In an interview with TFM (Theater Fans Manila), Toff says, “I used to gravitate very much toward visuals. I looked for off-kilter ways in which to present a certain scene. But now a new viewpoint into the work. All of a sudden I veered away from the hows and started focusing on the whys.”
Toff de Venecia’s rendition of Carousel is a nouvelle test on the 20th-century text.
Having a simpler mise-en-scène, the attention is turned to the dialogues, performances, and scoring, making them more striking and distinct.
Among the highlights is an enthralling dance sequence by Ballet Philippines’ Gia Gequinto who played Louise, the daughter of Julie. Another haunting moment is the exchange between the mother and daughter about being hit hard and not being hurt at all—a scene that pulls at the heartstrings.
The congressman confesses that the dialogue made the play “sort of a landmine.” The challenge was to find a way forward to tell the story unlike how it's been told anywhere in the world.
Toff’s adaptation of Carousel, as he puts it, is “an alchemy of limitations that gives rise to contemporary possibilities.”
Carousel runs until Dec. 18 at the Tanghalang Ignacio Gimenez, BlackBox Theater, CCP Complex, Pasay City. Tickets are available at the CCP Box Office, TicketWorld, SM Tickets, and the REP Box office. [email protected] | 0966-905-4013