Unfortunately, years of being asked what poem I was reciting (while I was singing) and being diplomatically eased out of dance productions were enough to pound the facts into my head. No, I cannot sing, no, I cannot dance; therefore, I am in no position to say if other people are any good at singing and dancing. In my book, if you can dance without falling over halfway, then by gosh, you’re a dancer.
That being said, this is not a play review. It is the dazed rambling of an awed 21-year-old girl.
Last Friday, I saw Stages’ production of Footloose: The Musical. It’s the story of young city boy Ren McCormack who moves into the small town of Bolmont. The boy who "can’t stand still" is brought to an abrupt halt in the town where dancing and partying are against the law. He finds a kindred spirit in the rebellious Ariel Moore – a preacher’s daughter and the town’s heartbreaker, the girl who "might try to talk like she’s pure as the snow," who "blushes a lot," but will "never say no."
So there we were, four college kids fresh out of class, giddy with the thrill of almost-but-not-quite front row seats. The play was incredible; the choreography extraordinary. Although the opening sequence seemed slightly chaotic, with sounds blasting through the theater, the later scenes more than made up for the momentary mayhem.
Jay-R’s Ren was perfect. He literally couldn’t keep still; he walked like someone who would erupt into dance if given half the chance. Iya Villania was good as Ariel, although I’m compelled to say her acting seems stilted at times. Her one great number redeems her role. When she belts out "I need a hero – I’m holding out for a hero ‘til the end of the night," and races across the stage in her red cowboy boots, I fell in love with Ariel Moore. I wanted to be her. That one song built the character of a young girl looking for the knight in shining armor, not begging, but challenging him to come and take her.
Ariel’s three best friends (played by Caisa Borromeo, Nikki Valdez and Kyla Rivera) deserve much praise. The new man in my heart, however, is Gian Magdangal, who plays the naïve Willard Hewitt and Ren’s new best friend. For him, all the wisdom of the world can be found in what Mama says. "Mama says, ‘Don’t buy a chandelier unless you’ve got a ceiling,’ Mama says ‘Don’t use a toaster while standing in the shower,’ and ‘Don’t hold your breath for longer than an hour." His dancing is atrocious, his logic absurd, and his wardrobe a cross between farmer and cowboy. In short, he was adorable. When Willard walks into the stage, he makes it his – how many can say that about a supporting actor?
Much as I am reluctant to praise the creatures of the Dark Ages (in my book, roughly anyone over the age of 24) the older members of the cast are amazing. They stole the show so effortlessly it took a while to realize that it was their entrances that had us moving just a little closer to the edge of our seats.
I’ve spent the last three days raving about Audie Gemora (who plays Reverend Shaw Moore) to friends, family, and the occasional jeepney driver. The response, of course, is the same. "Malamang," along with a what-rock-have-you-been-hiding-under look. Carla Martinez is fantastic as Ren’s mother Ethel, and Agot Isidro’s performance as the submissive, understanding wife is so real I was ready to raise a hand and ask to be adopted.
Of course, I’m wasting column space. I know they’re brilliant, they know they’re brilliant, and the rest of the country knows they’re brilliant. But what the hey, on the slim hope that Gemora glances through my column, I’d like to make it known my firstborn son is going to be named Audie. Dee Dee if it’s a girl. You’re welcome to the christening.