Il Divino Michelangelo

The musical Il Divino Michelangelo is a brilliant, highly original conceptualization of a period by the much esteemed and respected Freddie Santos who not only directed it but also wrote the book and the lyrics. Von de Guzman composed the music and was responsible for the musical arrangement.

Freddie’s lyrics are pungent, clever and witty. There is a sting, a bite to almost every line. The music, melodious, lively and vibrant fits the lyrics. And vice-versa.

Complex and vast in concept, the plot encompasses both Italian and art history, particularly the Renaissance which involves Leonardo da Vinci and Raphael – each called ‘Il Divino’ in his turn – other painters and altogether too many characters who come and go in quick succession.

It appears that the material is much too large for a musical, and too many episodes and characters have been crammed into it where a narrowing of viewpoint and a trimming of episodes – in other words, a simplification of the story and its reduction to the barest essentials – might have made the musical more viable.

To begin with, the life-story of the towering Michelangelo, as delineated with its endless papal painting commissions and attendant contretemps, is mind-boggling. Dialogue touches not only on aesthetics but also on religion, theology, dialectics, metaphysics, astronomy and history – all of which could have struck most spectators as too obtuse.

To be sure, the musical signifies tremendously extensive research and serious study on the part of the erudite Freddie. But the over-all result seemed an overwhelming profusion of details that blurred focus. Through long stretches, so many things were happening simultaneously onstage, the theater-goer could not quite decide where to direct his attention, this leading to occasional tedium.

There were, of course, many moving sequences – the stirring monologues of the older Michelangelo, portrayed to marvelous perfection by Jaime del Mundo; most of the entrances and exits of the younger Michelangelo who was impersonated by Audie Gemora with intense conviction; the solo appearance (and singing) of Michelangelo’s young assistant Tomasso Cavalieri who was sensitively portrayed by John Mulhall.

The scene showing the two Michelangelos separately writing a letter to the attractive widow Victoria Colonna, while she sings opposite the younger one, also firmly held audience attention, as did the interaction (opening of Act 11) between the young Michelangelo and Cavalieri with its subtle overtones of the former’s homosexuality.

Viewed on its own – quite apart from the rest of the musical – Freddie’s creation of the two Michelangelos was masterful, with its sharply-etched contrast between the older artist (cynical, skeptical, disillusioned) and the younger one (idealistic, caring and optimistic).

The chorus consistently sang with effective staccato sharpness. The solo singers, how marvelous they were! Devised by Freddie, Del Mundo’s rage and fury – this climaxing the musical – was a terrific feat, doubtless one of the actor’s finest moments onstage. The authentic costumes by Ramil G. Mendoza infused color and ambiance into the presentation.

For the vastness of perspective, the Music Museum did not seem the ideal venue. The huge paintings in the Sistine Chapel and the sculptured pieces in the Florentine Portico being constantly, projected on the screen, the stirrings on the elevated studio loft on either side of the stage, the chorus and the assortment of characters – these made the Music Museum look rather cramped and crowded.

Various characterizations made a stunning impact but the cast members were not specified in the printed program except for the two Michelangelos. Being the only American in the musical and bearing an Anglicized name identified John Mulhall as Cavalieri. Such well-known theater personalities as Sheila Francisco and Pinky Marquez were among the chorus members. Other special participants, as listed, were Fernando Montejo, Chari Arespacochaga, Ana Liza Zialcita, Jennie Nuyda, Noel de los Reyes, David Khan, Ding Mercado, Jeremy Aguado, Meynard Peñalosa, Michelle Kahn, Jun Ofrasio, Roden Ara-neta and Alvin de la Peña.

Lusty congratulations to Freddie Santos for taking a valiant risk in staging so ambitious a production as Il Divino Michelangelo. The wonderful direction, acting and singing, which surfaced above the author’s expanded viewpoint, drew thunderous applause.