Jun Lana's Bwakaw - Small Town Hilarity

Rene (Eddie Garcia) is a grumpy old man living the twilight years of his life in solitude. With no family to speak of, he is in a protracted wait for his eventual demise. In fact, he has already bought himself a coffin (“Para ‘di ako ibalot sa banig”). His spare time is spent arranging his old magazine collection with idol Nora Aunor on the cover; getting free haircuts at a childhood friend’s beauty salon; volunteering for odd jobs at the Post Office where he used to work prior to his retirement; giving his best friend Alicia (who’s suffering from dementia) an occasional visit at a care home; and continuously updating his last will through an indulgent priest, Father Eddie (Gardo Versoza). Unlike most people his age, he doesn’t desire the “eternal life with God”. He detests “God” for making him gay, something that he belatedly accepted at the age of 60. In his advancing age, Rene has yet to experience intimacy, yet he refuses the young guys pimped by his childhood friend Zaldy (Soxy Topacio), the beauty salon owner.

But Rene isn’t so alone. A mongrel (stray dog) he calls “Bwakaw” has found her home in the querulous old man. Wherever he goes, Bwakaw follows. Rene is warming up to his amorous companion. Moreover, a miraculous Santo Entierro (a life-sized wooden statue hand crafted from Paete) lies beside him in his bed.  

One day, he befriends Sol (Rez Cortez), a finicky pedicab driver, who took him to a veterinarian when Bwakaw fell ill. Abdominal tumors were discovered. When the doctor suggested that Bwakaw be put to sleep, Rene balks. He takes her home to “recuperate”. Soon, Rene gets chummy with Sol who starts to help the geriatric gentleman repair his dilapidated abode. One day, he finds the burly (and happily married) trike driver asleep in his sala. Without much provocation, he steals a kiss on Sol’s lips. Sol wakes up and runs amuck. To make matters worse, Bwakaw’s condition worsens. She starts moving blood. What will Rene do? 

Director Jun Lana’s dramedy is a brilliant character study that pays homage to Lana’s mentor (playwright and children’s book author) Rene O. Villanueva. In fact, he based the story from the popular author’s character. More than homage, Lana weaves a tale rich with snippets of both unbridled hilarity and regulated emotional bearing. These small town attachments are so palpable you can’t help but sympathize with the plight of each character: parloristas Zaldy (endearing Soxy Topacio) and feisty Tracy (the amazing Joey Paras); fanatical neighbor Nitang (Beverly Salviejo); maton tricycle driver Sol (Rez Cortez); lonely mother Melba (Luz Valdez); and former girlfriend Alicia (Armida Siguion-Reyna). Each one is written with well moderated scenes. These characters helped move the narrative to an engaging finish without overwhelming the flick with needless character embellishment.  

Endearing scenes will easily thrust this flick among other crowd favorites. In fact, the temperament is similar to Topacio’s “Ded na si Lolo” – light, breezy, intimate, hilarious, and at times even sentimental. The scene involving Rene while he sleeps in his coffin - and Zaldy, Tracy and Nitang’s unexpected visit had me laughing so hard. Ditto to scenes at the beauty parlor with Rene hitting Tracy’s nose with a hair blower. Also, there’s Melba’s surprise party (she’s set to have her by-pass operation prior to joining her daughter in Canada) – and how she was given her “special” make-up and hair design after the celebrations. The film easily shifts to somber or warm, emotive moments, like the first night Rene lights up his ramshackle home – or when he finally allows the loyal canine up his home.

I didn’t expect much from Bwakaw because the impression it emits is one resonating with indulgent sentimentality. But this couldn’t be farther from the truth. The film actually avoids maudlin sentimentality and by doing so, finds its perfect atmosphere. Eddie Garcia is simply marvelous as the late-blooming homosexual. He masterfully circumvents the stereotypical picture of a washed up faggot. We last saw his brilliance in “I.C.U. Bed #7” and we feel honored to witness a level of artistry achieved only by years of insightful experience. Garcia is exquisite in his grief and cantankerous manner. He is delight nonpareil. Another out-of-the-box portrayal is turned in by Joey Paras, adorable and downright entertaining as Tracy, Rene’s “nemesis”. Paras evades exaggerations, a common pitfall for cinematic gay characters. Mostly, the ensemble is well tempered and unforgettable.

“Bwakaw” thoroughly entertains so please do yourself a favor. Don't miss it! The film deftly shares insights on how a solitary, but productive life is lived. More importantly, it inspires the hopeless soul.

Rene argues with Tracy and Mother Zaldy.

Rene finds a "best friend" in a stray dog he calls Bwakaw (the dog's real name is Princess who's brilliantly trained).

Rene and Alicia

Gino Santos' The Animals - Youthful Verve, Contemporary Lives

It’s another day in the lives of Jake (Albie Casino), his girl friend Trina (Dawn Balagot), and her younger brother Alex (Patrick Sugui) who navigate the frenetic, upper middle class environment of their affluent school.  There’s a kinetic buzz among the youthful crowd, each one is looking forward to another after-school revelry; a night of loud music, dancing, booze, hook-ups and pill popping! Meanwhile, Jake is engrossed organizing the aforementioned gig; something that would earn him big bucks (since people pay an entrance of P250). While Trina is looking forward for the party, her brother Alex is having cold feet showing up in school. All morning, he’s been memorizing names and slogans of the fraternity he’s entering as a pledge. Today, he would endure being slapped, paddled, punched and humiliated. It doesn’t help that his immediate superior (Carlo Cruz of “Balang Araw”) is as nasty as they get. As the hours pass, his fellow pledge Marco (John Wayne Sace) gets ordered a random act of violence (by hitting someone with a bottle on the head). What’s out there for Alex?

Night time comes. Party swings into full gear. Someone is assigned to document the event – and to “delete nothing”. While Jake is preoccupied running the “show”, Dawn and company turn their attention to heavily inebriated friend Cara who’s puking all over the place. Pierre (Bryan Homecillo) passes a spiked drink to his crush Trina who subsequently passes the “e”-riddled liquor to the already-tanked Cara (why a concerned friend would further feed a drunk classmate with more liquor is beyond me). What becomes of Cara?

When Trina gets back to the dance floor, she finds Jake flirting with another girl. Quarrel erupts and Trina walks out of the party. She runs into Pierre who offers her a ride home, but eventually whips out his swollen penis. Trina runs out the door, not realizing that her brother Alex is also in a moral quandary. He was told to punch the bejesus out of another guy! Would he do it or would he cop out? Meanwhile, Trina hops in a taxi. “Alabang po,” she tells the craggy faced taxi driver who intermittently takes his eyes off the road to check out her legs! Would Trina find her way home?

Director Gino M. Santos chronicles the stories (with co-writer Jeff Stelton) he’s compiled in his head. He’s lived similar scenes from his not-so-distant past, i.e. as a rabid party goer among the conios of La Salle. What transpires is a film that bristles with frenetic energy, youthful verve, and unscrewed momentum. He gets the pivotal atmosphere down pat. It was also wise that Santos and Skelton decided to focus on three characters instead of ambitiously apprising a hundred and one souls (a common blunder among neophyte directors) for his narrative. Santos occasionally delves into gimmicky strains (a truly offensive bathroom soaked with vomit, a stuporous girl dipping her hand in the toilet bowl, a scene showing a surely-prosthetized engorged penis of the crafty Pierre/Bryan Homecillo). New directors always try the “let’s-shock-em” tack to help move a narrative but this isn’t an absolute necessity. Of course it’s easy to argue that, as a film maker, one is compelled to show “authenticity” which easily translates into anything that flabbergasts or overwhelms. When you have a valid story, you actually don’t have to resort – or linger- on such narrative ruse. But I am merely nitpicking.

Fact is, though Santos is rough around the edges, he has an enviable cinematic intuition that isn’t exactly taught by a New York Film Academy workshop. You have it or you don’t. Film school doesn’t exactly teach you how to be a good film maker. Otherwise, Krizzie Syfu (“Tahanan”) would be a superlative film maker. Same goes to names like Crisaldo Pablo, Seymour Barros-Sanchez (“Handumanan”, who I heard is a film professor in a Makati college – that should make students shiver in their knickers) and his brother Sigfried Barros Sanchez (“Tsardyer”), et.al. Santos runs a visual pulse that, in midscreening, grips you with a sense of urgency. What’s better, his technicals are as delightful.

Now let’s meander into the individual performances. Albie Casino captures the contemporary teener who thinks of nothing more than the indulgences that a narcotic whiff may bring; the kiss of a besotted girlfriend; the exhilaration of flirtation and the empowerment of fast buck. He may have been a disappointment in “Aswang”, but Casino redeems himself in “The Animals”. While “good looks” is imperative in show business, it is the emotive ability that tides one over to his next project. Casino palpably thrives in his youthful environment.

While Albie more than passes muster, Patrick Sugui (former PBB Teen housemate) is a revelation. Sugui mopes like the cantankerous, albeit moody teenager. He inhabits Alex with decadent demeanor, deceptive in his tame facies; a predicament within himself. He saunters around with adequate gravitas even beside competent actors like John Wayne Sace and Bryan Homecillo. Dawn Balagot, on the other hand, graces the screen with a luminous presence. I don’t particularly like the narrative strain alluding to her kleptomania. It seems like a misplaced entity and hovers like a sore thumb where characterization is concerned. In fact, I’d say it’s mostly a dissolute idea because it disallows consistency of character. Having said that, Balagot is a charmer; she deserves to be on the big screen.

CANCELLED SCREENINGS

On a disturbing note, crowds have been turned away in Ayala’s Greenbelt 3 screenings. Several consecutive screenings (in both Greenbelt3 Cinema 3 and 5) ended with films that stalled 15 to 20 minutes into the film.  To have to brave the floods of the metropolis, disregard bed weather, and end up with a Saturday filled with screenings that don’t quite push through is a major hassle. Go elsewhere. A cinema that doesn't prepare well for their paying audience doesn’t deserve patronage.

Patrick Suguii plays Alex

Albie Casino plays Jake, the "party-maker".

The girls are out to party (above). Bryan Homecillo (who plays Pierre) has his eyes on Trina.

Carlo Cruz plays the mean frat man

John Wayne Sace is neophyte Marco.

Dancing like there's no tomorrow.

Albie Casino is Jake.

Patrick Sugui is Alex.

Dawn Balagot

Dawn Balagot

Young veterans John Wayne Sace and Bryan Homecillo

Director Gino M. Santos, the boy next door. Err, I mean director next door. :) 

Cleo Paglinawan's Bikini King - Funny for the Wrong Reasons

Ike (Ike Sadiasa), an aging gay man, is documenting his tale before a camera prior to committing suicide.He is a jaunty talent coordinator who scours the country for able bodied young men willing to join a bikini contest, promising fame, fortune and - if they sleep with him - the crown. The invitation is, of course, more artifice than anything else. It becomes clear that his invites are meant to lure these hopeful candidates to his concupiscent bed. With balding head, sagging skin and protruding belly, Ike walks from all over town with a camera hanging down his neck. One by one, he meets his wards.

There's Peter Asuncion (Jeremy Ian), pool cleaner by day, but moonlights as an exotic dancer by night. Though initially reluctant, Pete eventually surrenders himself to the wiles of his "mentor" just so he could grab the "bikini championship", something that Ike promised. On their 5th date, Pete insists, "Dapat nasa top 5 ako." But Ike is having second thoughts about Pete's talent who proudly declares, "Pilipit man ang dila ko, derecho naman etits ko." Ike's next proteges are construction workers Rey Gatdula and Leo Delgado (Rocco Mateo and Nico Baltazar) who were likewise circumspect about the contest. While deciding, something happens between Rey and Leo. "Ano'ng nangyari sa atin kanina? Bading ba tayo? Bakit tayo nag sex?" asks Leo. To solve their dilemma, they both decide to sleep with the neighborhood slut Jenny ("yung pokpok sa kabilang kanto" - played by Barbara Chavez). They magnanimously arrive at a conclusion: "Nag enjoy tayo kay Jenny. Pero nag enjoy din naman tayo sa isa't isa." How fetching, right?

Meanwhile, Ike is making hay, recruiting even street urchins playing basketball by the road side: Paul Gutierrez of Malabon (his motto: "Kapag may tiyaga, may nilaga. Kapag may nilaga, may hihilata!") Michael del Rosario of Caloocan; Leonardo Gatmaitan (his motto: "Di po ako naniniwala sa mga kasabihan kasi kung sinu sino lang naman nagsasabi nun - maliban na lang sa sinasabi ng nanay ko!") Finally, there's Jhustine Phaglinawan (Jerome Pineda): "I'm 18, and I'm from Cainta." His motto: "Ang lalaking mabait sa bakla ay may cash na napapala. I thank you" That being said, young and hunky Justin is desperate to win, occasionally warning his recruiter not to betray him or his father would hunt him down. While Ike gets infatuated with the charming looker, he soon learns that the Bikini Contest is shelved because of the paucity of sponsors. Meanwhile, his wards have been pressuring him about his promises. What's worse, his savings have dwindled and collectors are beating down his door. What to do?

Much as I'd hate to admit this, director Cleo Paglinawan's latest flick has more narrative flesh than any of her other works combined. In fact, a hint of sarcasm is held up against the exploitative nature inherent in such male pageants. However, satire only works when it's well executed or performed. Otherwise, the gnawing message gets lost in artistic subordinacy. This isn't saying that "Bikini King" is a superior work. I'd croak first if I were to say that. Paglinawan's artistic dearth is as discernible in the film's redundant scenes as it is in her ability to weave valid situations: there's too much shower and bathing scenes that seem to tie up the incipient vestiges of a story. If these aren't bathing scenes, they come in the form of nubile young men posing and parading around in their skimpy bikini briefs, getting soaked by a gush of water (all filmed in Villa Apolonia in San Mateo, Rizal).

Despite Paglinawan's fecundity of bathing scenes, you hardly find any peekaboo scenes in ANY of her films. Sure, the girls get to show their bumpers (Barbara Chavez wiggles her boobies in another shower scene and in her separate bed scenes with Rocco Mateo and cutie pie Nico Baltazar) but the guys merely tantalize with their bulge-heavy briefs - or backsides (at the most).

Jeremy Ian's very thick Visayan accent is bothersome. He says "eee-teets" for "etits", and isn't it hilarious teaching him how the word is pronounced? Try this, Jeremy: "eh-teets"! Once again, try it with feelings: "eh-teets". Got it? In another Q&A scene, Jeremy declares that the way to "ak-chieve" love is by world peace! No one on the set knew how "achieve" is rightfully pronounced? :)

Jerome Pineda, like in his previous cinematic effort, appears natural and comfortable with his delivery. Coupled with masculine good looks and youthful charm, Pineda should be able to "graduate" from these gag-inducing Paglinawan flicks soon! I am keeping my fingers crossed for this. However, the closing frame of the movie announces the production's coming releases: "Hubadero" and "Malasado". If you think I am kidding, think again! Oh dear heavens, how have you abandoned us. Indeed! :)

Like most of Paglinawan's ouvres, the element of carelessness is conspicuous. In a scene where Jeremy Ian is supposed to show off his acting talent, he declares: "Pinagtiwalaan pa naman kita! Bakit mo ako ginaganito? Pinagtiwalaan kita!" It is, clearly, "pinagkatiwalaan". These simple lapses are easily remediable, yet you find them in the final cut. Even simple sentences are met with great difficulty. Rocco (as construction worker Rey) asks Leo: "Kaya ba (3 second pause) natin talaga?" Scenes like these define the mind set of its film makers, don't they? In Paglinawan's stories, things just happen without due antecedent. They happen with no building narrative. It's like constructing a building with nothing but walls and ceilings, but there are no posts.

Some lines are too baffling to take seriously: "Ang tunay na Bikini King, kayang ipaglaban ang may katwiran!" Really? Your bikini makes you do that? Here's a funnier line from a contestant: "Naniniwala ako na ang taong masipag ay hindi tamad!" Ohmygoodness! Tama nga naman. 

In another scene, Ike is trying to convince Rey and Leo to join the contest. He says, "Rarampa lang naman kayong naka brief. Haharap sa mga tao." Leo asks, "Madali lang ba 'yun?" Ike replies, "Ang tawag dun, PASSION!" I fell off my seat and found the letter "f" down the floor. So that's where it was! Anything else on the floor? Guess.
    

Barbara Chavez as Jenny.

Adorable Jerome Pineda lures you to his boudoir. 

Monkeying around with Jeremy Ian (left) and Jerome Pineda (right).

The Dark Knight Rises - Brooding, Edge-of-Your-Seat, Exhilirating

Bruce Wayne, the billionaire philanthropist of Wayne Enterprise, has turned into a recluse. It’s been 8 years since District Attorney Harvey Dent’s (aka Two-Face) death for which Batman has assumed responsibility. While lamenting in his solitude, Bruce (Christian Bale) meets a jewel thief named Selina Kyle, known underground as the Catwoman (Anne Hathaway). Meanwhile, an underground army is gradually taking Gotham down its knees, headed by a warlord called Bane (Tom Hardy). He has effectively disarmed the city by trapping its 3,000 police force in the sewer tunnels. 

For 3 long months, the city turns into a chaotic society with no effective law enforcement. Moreover, a thousand of Gotham’s inmates has been released to the streets. What’s worse, they want to segregate Gotham and its 15 million populace from the rest of the world to destroy the “corrupt” ways inherent in the governance of the city, i.e. “to fight the decadence of Gotham”.  Bane eventually gets hold of the 4 megaton nuclear reactor which, when unstable, becomes a fully primed neutron bomb, with a destructive reach covering 6 miles. Needless to say, this becomes an urgent matter because Bane wants to blow the city into smithereens.

Bruce’s curiosity about the mysterious jewel thief has him donning his cape again, but this leads him to Bane and his minions. A rookie cop-turned-Special Agent John Blake (Joseph Gordon-Levitt) turns to the hibernating Bruce for help. He somehow knows of Wayne’s alter ego and the city is in dire need of a hero, what with Commissioner Gordon (Gary Oldman) falling ill. And would a dark knight turn his back on Gotham when its survival is on the line?

Bruce Wayne steps back into the spotlight. With Wayne Enterprise running bankrupt, Wayne has to rise up from his seclusion.

The Catwoman triggers the return of Batman.

Christopher Nolan’s final installment is an engaging ride into the psyche of retribution and heroism. Despite its contemplative tone, Nolan deftly covers the iconic bubble of these comic book characters, turning two-dimensional personas into real people with plausible motivations. Alfred Pennyworth (the resplendent Michael Caine), Bruce’s butler, is particularly heart-wrenching as he emotionally blackmails his “Master Bruce” against becoming Batman again. Selina – the Catwoman – oozes with mischievous and malignant charm as she slithers her “paws” around Bruce, et.al. She believes that she is beyond redemption, thus she moves around with nothing but self preservation in her mind. Tom Hardy (who gained 30 pounds for the role) is as menacing as the Bane that I knew from comic books. In fact, Nolan and Hardy’s depiction of this behemoth “beast” is astounding. He frightens me so. I am absolutely impressed by how this film is able to retain the essence of comic characters the way they were originally conceived.

SPOILERS!

There are moments of utter agony: when Bruce is overpowered by Bane, demasking him, taking him prisoner, then breaking his back (his vertebra protruding from his back). Bruce is left almost-invalid and thrown into a pit alongside other prisoners (this pit was said to have been partly filmed in the Indian city of Jodhpur). During a conversation with one of the inmates who asks him why he doesn’t fear death, Bruce replies: “I fear dying in here while my city burns.” Despite a lingering undertone of hopelessness, Nolan turns the exposition into one of endurance and optimism; that no adversity is too difficult to overcome. And that human beings – like Bruce Wayne – are capable of rising from personal and moral catastrophe.

Morgan Freeman is Lucius Fox who runs Wayne Enterprise fro Bruce Wayne. He also "suits up" Wayne's alter ego.

Joseph Gordon-Levitt plays John Blake whose fascination with the "rich orphan" Bruce Wayne gives him clues as to Wayne's alter ego. Blake was an orphan himself. What's more appetizing is how his character is primed to give us a possible follow up featuring a famous sidekick! 

Selina Kyle as the jewel thief.

Anne Hathaway as the adorably mischievous Catwoman.

Marion Cotillard plays Miranda Tate whose character I refuse to expound further as this will cramp  your viewing pleasure. She plays a pivotal role and gives you one of those "ohmygosh" moments!

The Batman

Bane: intellect and brawn in one scary package.

The Catwoman rides a bike.

Fisticuffs

The comic concept of Bane - sure makes you wanna return to buying those expensive DC Comics again!

Bane in one of his more contemporary comic depictions.

What's Gotham without its crusader?

RCS7 - A Magical Night of Music, Dance & High Concept Entertainment

Beautiful music makes me cry. I can't help it. It's a scourge and an embarrassment. It isn't even the lyrics of a song, but hearing a beautiful voice turn into a veritable instrument. A couple of weeks ago, I once again made a fool of myself. I cried unabashedly. With hundreds of people around me. It was the RCS7 show at the Music Museum!


I was more surprised to learn that the iconic musician Ryan Cayabyab's stable of performers called the Ryan Cayabyab Singers (RCS) have been in the business for five long years. Sure, I've heard of them, but they seem to evade mainstream consciousness, performing only for charitable events and overseas concerts more than staking their claim in the local entertainment spotlight. But July 7 was special! This was the day RCS stepped into their rightful limelight... and director Rito Asilo made sure they do just that!


The musical concert is curiously conceptualized like a "chamber performance" - with distinctly eclectic musical forms lining up the show. Most broadly, chamber music involves pieces performed by a small number of performers. That's how it was 200 years or so ago when people wanted to hear singing voices in a "private salon" with an intimate atmosphere. Thus Asilo puts his London directorial education to good use by fielding an entertaining, albeit free-sailing theatricality in a musical show that hasn't been seen in the local stage in quite a while. 


The show, in fact, ushers us to the evolution of the musical group: how each of them was picked from 197 hopefuls, and what better opening song than "Hard Work' (from "Fame" the musical) . You somehow start to think that this was a musical play than a mere run-of-the-mill concert! With a big video screen hanging down the back of the stage, "Kay Ganda ng Ating Musika" is heard in the background. A video starts to show Mr. C. His septet gradually takes the stage, looking up the screen while their mentor explains what he wanted in a group, and how he chose them. With kleig lights bearing down the singers, I had goosebumps as I watched them evolve from their passive stance into jubilant auditionees, declaring, "I pray to sing someday!" to "I made it!" And what a joyous moment it was when their voices eventually blend to a rousing: "I'm alive. I will survive. Show the world that I can take it!" You have never heard "Hard Work" played and performed this way! They've only just begun!


In another highlight, the singers were given spotlight numbers that declared not so much about vocal bravado, but how these performers were as different in style, temperament and technique from each other. No, sir, this wasn't a chorale, but a conglomeration of different "styles" of singing. Check out the repertoire: Vince Lim, possibly the most prolific of the group, delves into the burdensome Dave Brubeck classic, the cantankerous "Blue Rondo a la Turk" I was holding my breath as he studiously hopped from one staccato note to the next: "Round, round, round a melody; round, round, round a harmony..." It took the bejesus out of my nerves! Though the number wasn't seamless as Al Jarreau's version (Vince would end up breathless at the tailend of each phrase), but this was a showcase piece that could only be sung by very few gifted individuals. I doubt if Gary V or Ryan Fuentes can still do it. Vince would have fared better with "Spain" if it was mere scatting he wanted to show off, right? But this was a very brave performance that took my breath away as it did Vince. 


This was followed by Erwin Lacsa's (hold your breath) "E Lucevan Le Stelle" - a romanza composed in 1900 for Puccini's opera "Tosca". You have to remember that this was a song of a dying man, a painter who was to be executed on a roof. Though typically sung by a tenor, Erwin's version (he's baritone) is enigmatic, I actually fell in love with him from this rendition. Now tell me, which 1900 song is sung in a pop concert like this, tell me, tell me fast? Needless to say, I liked Erwin - a lot! Though it's clear that he's rough around the edges, he seems more than malleable where genres are concerned; and I just adore raw talent; the ones that possesses the capability of evolving into better artists. Erwin easily shifts from pop territory to classical singing, I turned into mush listening to him. Ohgawd! From jazz and opera, Kaich Tiuseco takes us to the contemporary world with Gwyneth Paltrow's "Forget You". At this point, I was ready to stand up and frolic with the crowd! Kaich's fun is so palpable on stage that she infects her audience as she sings: "I see you drivin' round town with the guy I love, and I'm like, forget you..." She occasionally loses herself in the song while intermittently twisting her neck and shoulders rather awkwardly. When you're in a fabulous gown and heels like that, some movements don't quite make the grade, but we're just nitpicking. 


VJ Caber then follows with a fantabulous and surprising version of Bamboo's "Alleluia". Suddenly, a familiar song sounds new and well, "urgent". I had goosebumps as dashing VJ wows the crowd with a ballad-styled "Alleluia". Among the guys, VJ could be the romantic balladeer. He is smooth and good looking, and he is emotional (in fact,he couldn't contain himself when they started singing "Tunay na Ligaya" for Mr. C - awww!) I just love guys who wear their hearts on their sleeves. You get these raw emotions from their singing, and I appreciate his sincerity. It doesn't hurt that VJ is such an eye candy too. As the concert winds down, you find him gyrating like a "macho dancer" in one of the latter numbers. Ooohlala!


Anezka Alvarez, sophisticated and playful, was given "Orange-Colored Sky". Though her low registers weren't as full and fetching as they should be, Anezka makes up for it with frisky, character-filled singing. Celine Fabie takes on the showstopping "As If We Never Said Goodbye". Celine is the group's belter so she was a revelation when she performed Maricris Bermont's "Narito Ako" - or Didith Reyes' "Bakit Ako Mahihiya" with sultry vocal bravado! Celine has a voice that soars so it's always a pleasuring listening to her. Poppert Bernadas was given Basil Valdez's uber-difficult "Sometime, Somewhere". Among the guys, Poppert probably possesses stratospheric range. His voice is full bodied, has excellent technique (able to sustain his notes easily) even when he's doing a falsetto. It's hard not to notice him. Having said this, Poppert can easily mask his colleague's voices, but he is able to control this beautifully.

VJ Caber and Erwin Lacsa

While we concentrated on their spotlight numbers, it's pertinent to mention that the repertoire flowed smoothly. There was a Motown medley; as well as the ridiculously enjoyable Metro Pop Medley (with songs like "Pain", "Isang Mundo, Isang Awit", "Hahanapin Ko", "Magsimula Ka", "Swerte Swerte Lang", etc.) which was easily a crowd favorite because it took us back to an era when great Pinoy songs lorded the airwaves. The 80's were indeed a treasure trove of wonderful music. Another number was a Medley of Novelty Songs: Yoyoy Villame's "Butsikik" evolved from a heart-wrenching ballad to the fun novelty number that it really is. Other novelties included Donna Cruz's "Rain", Edgar Mortiz's "My Pledge of Love", Vilma Santos' "Sweet Sixteen" and Victor Wood's "Mr. Lonely".

My favorite was the mash-up of Cayabyab's Mamang Kutsero (about a guy who's fascination with the horse drawn carriage makes him want to give his girlfriend away in exchange of the kutsero's kalesa) and Maroon 5's "Moves Like Jagger". Now how do you exactly hybrid these two divergent and contrasting songs? Moreover, they garnished this number with a dash of Riverdance footwork. When the group started tapping away sans music, I held my breath! Tap dancing over "Moves Like Jagger" and "Mamang Kutsero"? This unearthly number rocks, indeed, like Jagger!

Jolina Magdangal, a product of Cayabyab's talent searches, guests to sing the teen ballad, "Kailan". It was hard not to fall in love with Magdangal who sparkled like the star that she is. Her voice was clear, her singing emotive and sincere. I had to stop myself from singing along loudly, but then the whole theater was doing just that, singing their hearts out about an unrequited affection. Sigh.

SHARING BACK STORIES

I would have suggested a portion that told a little more about the singers' background. Where do they come from? What did they do before joining RCS? After all, this was their coming out party and it was imperative that we know a bit more about them for us to fully empathize with them as interesting personalities. If you want your audience to relate to you as a performer, you have to open yourself up to them; give them a piece of your personal history. This tack could have endeared them more to their audience. I personally wanted to know them better. Do they have day jobs? Do their parents sing like them? Does Mr. C train them himself? Does Erwin have a girlfriend? Ooops! :) But then that's just me!

RCS7 was a high concept musical concert that boasted of fully choreographed numbers and well chosen, brilliantly arranged songs. In which other concert do you get two high-adrenaline choreographers (Dexter Santos and Bim Ebol)?

By the time I got inside my car, I was still heady and dazed with the reverberating sound of Pinoy Disco. Rock, baby, rockin' in the year 2012! Such staggering, mind-blowing, toe-tapping, heart-pounding musical extravaganza in a single night! This definitely deserves a restaging!

Celine Fabie

Anezka Alvarez and Kaich Tiuseco

Poppert Bernadas and Vince Lim