Synopsis:
The times are changing. Political unrest enveloped the Philippines. The Cultural Revolution was in full swing in China. But in Manila's Chinatown during the 1971 Mid Autumn Festivaal and under one of the brightest moons ever recorded in history, Lily, a Filipina night club singer and Ah Tiong, a mainland Chinese scholar, meet at the celebration of the Chinese Love Deity Ge Lao. Lily, a hopeless romantic and Ah Tiong, a cynic about love and destiny, embark on a journey of love that defies all expectations.
But Lily's local Chinese childhood friend Carlos, who has long harbored hidden feelings for her will not make things easy for the star-crossed lovers as all three are forced to discover the different ways of giving and receiving love.
Spanning two decades and two countries, Binondo A Tsinoy Musical explores how love prevails even in times of racial prejudice, political turmoil, absence and longing. This is a story of a deep and enduring love that transform the lives of everyone who dares to put their hearts on the line.
- as provided through the press release given by Toots Tolentino and Mell Navarro
My Thoughts (based on press preview night)
Living in the 70's is no easy feat since it was a time of political unrest and dynamic changes both in the Philippines and in China. Mix to that the element of being star-crossed lovers and what you have is a story to tell that is both common and uncommon to ears of those who lived then and now; such is the tale woven and presented in Binondo A Tsinoy Musical.
As an original pinoy musical, Binondo is written and staged with all the right element there is in an emotional filled stage production. Add to that a well writ song and musical scoring, plus the choreography and excellent visuals and what you have is something worth your time and money. It is no wonder that a re-run of this musical was done just a year after it has breathe life on stage.
Personally I have no issues of scenes that may be visually similar in effect with that of other internationally known musicals such as Les Miserables and Miss Saigon, my concern is on the pacing and fluidity of the scenes in the musical. The similarity of scene effects with other internationally known musical is only a sign that we as Filipinos can indeed make a production of international quality. So what if it is similar? It only shows that we are already on the doorsteps of international quality and style in stage productions. If we can reflect and deliver the same effect, then it means that we are truly artist in our own rights and manner.
The musical scoring is good, really good. It is clean, clear and truly reflective of the culture it touches - that of being Tsinoy. The songs were well writ and truly tells the tale of star-crossed lovers during the period of great unrest. Though this is the only musical that I have encountered that love sustained and prolonged notes. It is a good thing that the artist (stage performers) involved are all well trained singers. Thank you for sharing your talent Von De Guzman.
I bow to the Master mover Douglas Nierras. His choreography is truly remarkable and expects precision from his dancers , which is delivered. The movements on each scene was clean and exact. Each wave of an arm, each swing of a leg, every head turn is interconnected, creating the story behind the dance and music. Despite size and shape of the dancer, when Douglas Nierras ask you to dance, you will dance to your utmost capacity and nothing less.
Whoever is responsible in making the Koro role, I so love you! They provided the humor and the needed transitioning in some scenes. If there are lead roles, they are the main supporting role in this production! They provided the right kilig factor in the Ah Tiong-Lily-Carlos love triangle. They gave the right emotional setting, making it memorable and markado. If you remember the Muses in the Hercules Animated Movie, the Koro is like that - placing the right emotional weight, humor and scene shift. They may not be pivotal characters but they are integral in the whole production. Hail to the KORO!
Honestly, I love the musical for the following points - the story, the movements, the music, the Koro and the emotion it present and shares to the viewers. Despite the technical gap (lighting) on a scene or two, it was still notably clean and exact. What truly got my attention is the pacing and fluidity from one scene to the next. There was a certain element missing in the cinematic and theatrical blend applied in the staging for there were a space gap on certain scenes. This the type of gap that is felt rather than seen.
In parts, I enjoyed the first act and got slightly confused with the second half. I love both the opening and ending production scenes. Love all the movements and was awed with how the performers hold unto their last notes. Love the jokes, especially that of the G.I. line!
As a whole, BINONDO, A Tsinoy Musical, is one production worthy of recognition as an original pinoy musical. It may not yet in the ranks of other acclaimed international musicals but it is going there - to be exact it is at the threshold of international level already. Prepare your heart and senses be captured by the magic of this musical staging and be the judge of its worthiness.
Congratulations to all the people behind this musical production!
