No more disclaimers
I am every bit the theater insider as much as I am a fan and connoisseur of the stage. I started my journey in theater back in 2005 and realized seven years later that the industry I so love is just as together, strong, solid, and magical. It’s a small community and it’s inevitable to get to know everyone, or to have heard or worked with these creatives one way or another — whether by doing a show, or rehearsing for a raket, attending industry events, establishing the six degrees of separation which in this case is just one, or hanging out outside of rehearsals.
And yet, no matter how much familiarity (or redundancy) has been established over the years among stage pals and the like (the most popular conversation topics being which company is doing what, who’s doing what role and as always, do they deserve it, theater chismis — oh, the diva who just won’t get a clue, or the undeserving celebrity, and then the nth recapitulation of rehearsal anecdotes and show blunders that still somehow manages to churn out a laugh), the community manages to find ways to surprise you.
A few weeks ago, I stumbled upon myself surprised, honored and admittedly, kilig with the feeling that I’ve made it to the inner circle of the industry’s talented illuminati. It’s one of those mythical, magical things that every stage actor, including myself, dreams of — to be able to attend the annual birthday jam of renowned Hong Kong Disneyland musical director Rony Fortich. I am not exaggerating.
Singer, actor OJ Mariano says it best: “You usually just hear about it from common friends, or see photos of it on Facebook (most likely from the album of theater actor and photographer Raul Montesa).” Yes, I have fawned over these photos and YouTube clips on occasion. You know, where the likes of Lea Salonga, Bituin Escalante, Menchu Lauchengco-Yulo, Carla Guevara-Laforteza, Lana Jalosjos, Michael de Mesa, and Jett Pangan sing together on stage, cabaret style with the understated Rony playing in the background — being the music man that he is. It’s an experience you’d want to see on DVD if you weren’t there in the flesh, as theater columnist Gibbs Cadiz suggests.
On a previous excursion to Singapore, I asked Rony if I could insert myself (for the first time) on his next bash. (Yes, I put myself out there. Hey, what’s a guy to lose right?) One of the nicest and most talented people I know, he was quick to oblige and extend an invitation. Months later, I receive a private message on my Facebook with an invite to the party (OMG!), and then a couple of months later, there I was, entering Jill’s for his birthday jam. The night’s festivities summoned a feeling of nervousness among Rony’s friends who were slated to perform —yes even those who were “seasoned” and considered veterans of the stage. Who wouldn’t be when it’s almost like an audition, as Rony jokes on the mic. “Guys, this is your audition for Camp Rock” which elicited laughs from director Audie Gemora who was sitting in the audience.
Rony shares of the origins of “No More Disclaimers,”— the title of his annual birthday jam. “When I moved to Hong Kong in 2005, I really missed my friends. Moreover, I missed jamming with them. So when I turned 30 in 2006, I decided to gather all my friends in one room and get them to sing. I had such a blast and so I did it again the next year, but gave it a name this time ‘No More Disclaimers’ which means no one is allowed to throw in an excuse before they sing (something that as a pianist, I know singers so often do.)” Rony often asked for no gifts, just books that could be donated to schools. And since 2006, the party has grown quite a bit. “At the heart of it, it’s all about making great music with good theater friends,” he adds.
The night started with Rony’s cabaret rendition of No More Disclaimers to the tune of Jekyll and Hyde’s This is the Moment. Rony with his light baritone and all his well-wishers gathered around him in love and solidarity, the message was simple, “No more disclaimers. Just sing your song.” And sang they did.
From Jenny Jamora’s crowd-pleasing rendition of Old Fashioned Love Story to Mayen and Steve Cadd’s Umagang kay Ganda to Topper Fabregas’ uproarious I Believe from the Tony Award-winning show Book of Mormon, it was moment after moment of talent and sheer delight, painted with applause, and the occasion heckle from the lovable and talented Lorenz Martinez.
Seeing industry insiders perform and then be applauded by fellow insiders had planted the words “disbelief” and “star-struck” on my face. And as if star-struck wouldn’t suffice, Caisa Borromeo and Cris Villonco sang a rousing rendition of Let Me Be Your Star from SMASH that blew everyone’s brains out. Even The Company’s Sweet Plantado-Tiongson and Sheila Francisco were not ones to pass on the opportunity to tease Caisa and Cris’ for their Defying Gravity note and bravado, before ultimately singing their jazzy rendition of Where is Love?
That is precisely the strength that this man Rony Fortich so possesses — once an accountant, now noted musical director and composer of musicals like N.O.A.H. and Celebration in the Air, the theme song for the fifth anniversary of Hong Kong Disneyland. He has this inherent gift for pairing the right performers with the perfect songs, and over the years, has opened the gates of the “Best Place in the Universe” to Filipino performers who wish to work abroad. Rony is one of the reasons why Filipino talent is on the map.
Rounding up the night’s festivities was a rendition of I’ll Cover You Reprise which saw the original Tom Collins Michael de Mesa singing alongside Felix Rivera and Lana Jalosjos. It brought me nostalgia, and also it was heartwarming to see OJ Mariano, who played the same role in Rent’s recent revival, taking a video and then shedding a tear after. It was yet another magical moment.
My favorite was probably when Lana Jalosjos sang I’m Here from The Color Purple. It was the song that brought tears to everyone’s eyes. I have to admit, it kind of made me think of where I was at the moment — in good company of theater friends and colleagues I admire and respect, and of a man who has done more for musical theater that he himself probably knows. Rony is humble that way — you forget that he’s a big shot. “No Disclaimers” was definitely one for the books. Can’t wait for the next one!
