By Lea Salonga
May 30, 2012
Philippine Daily Inquirer

This last week has been a peaceful one, work-wise, save for one brief appearance in “Forbidden Broadway” (more on that later), and watching “The Sound of Music” (congratulations, everyone, for a successful run). With the goings-on in the entertainment scene (Lady Gaga’s Manila concert, for example), it has given me time to think.

One adage I like using is this one, attributed to Voltaire: “I disagree with what you have to say, but I will defend your right to say it.” In a secular society, that should hold true, whether or not we wholeheartedly agree, or vehemently oppose whatever has been placed before us. I like applying this adage to the arts.

The funny thing about art is that it’s in the “eye of the beholder,” if I’m to quote from another adage. How something strikes us artistically differs in so many ways. Whether it’s a painting, live performance or sound recording, one person could regard it as high-brow while another could dismiss it as a failed attempt at art. You just never know. Art is subjective.

Which brings me to the more controversial art forms that have found their way into the public consciousness. Yes, you could say that I’m speaking of Lady Gaga, but I’m also speaking of anyone whose artistic output has caused outrage (I recall a particular art show at the CCP where the protest against one piece caused the closing of the entire exhibition … I never got to see the exhibit, so I can’t comment on the piece’s merits or demerits).

Interpretation is a funny thing when it comes to art. As we’ve seen in the recent protests against Lady Gaga, there was music she wrote with an accompanying music video that sent enough people into a large enough frenzy to protest her concerts. Her song “Judas” was called anti-Christian and demonic, and the artist herself was labeled a Satanist with ties to the Illuminati.

I wasn’t going to jump on any bandwagon before doing a little research, and so I looked up the song and searched online for the video (I wouldn’t have, if the media attention hadn’t reached such fever pitch).

After watching the video, reading the lyrics, and finding interviews of Lady Gaga talking about “Judas,” I came to interpret the song as a metaphor for people who seem to always find themselves attracted to what is clearly not good for them.

I’ve found myself in that position before, so I can relate to what she was singing about. And finding myself in something another person created, the art then became very—intensely—personal.

What any of you think of her is truly your own business. You can love her or hate her. You can enjoy the music, but not go for the meat dress or the futuristic shoes. And yes, you can even choose to protest her work if you don’t agree with it, so long as it doesn’t stop anyone else from enjoying her art.

Let’s not stifle artists and their creativity, and their inalienable right to express themselves. We are a proud country of artists, and I’d like to think that, in being so, we welcome others from around the world to share in our joy and our enjoyment of all things beautiful, however each of us defines the word.

Thank you, Mother Monster, for visiting the country, and for doing what you do, especially your efforts for the LGBT community, antibullying and AIDS awareness. For all that, you are a gift from God, a true Christian in every sense of the word.

And now, Philpop

Does anyone remember the Metro Manila Popular Music Festival (Metropop)? Launched in 1978, it was the songwriting competition that ushered in a golden age of original Pilipino music, or what we call OPM. It was this competition that launched the careers of many composers and lyricists, or at least cemented their foothold in the industry.

Ryan Cayabyab began his career with the Metropop, penning the seminal “I love OPM” anthem—“Kay Ganda ng Ating Musika.” Jose Mari Chan and Dero (formerly Nonong) Pedero achieved success at this competition, with Chan’s “Hahanapin Ko” and Pedero’s “Isang Mundo, Isang Awit” and “Narito Ako.”

Freddie Aguilar’s “Anak” landed in the finals and, though it failed to win, went on to become the biggest-selling song in Philippine music history. It is also the only Pinoy song, so far, to become a global hit, recorded in dozens of languages worldwide.

Now, this same opportunity is being offered by the Philippine Pop Music Festival (Philpop).

Over 3,000 entries were submitted from around the Philippines as well as from Pinoys in the UK, France, Canada, Singapore, Malaysia and Hong Kong. From these entries, 14 finalists have been chosen. On July 14, these brand-new songs will be heard, and their composers revealed. Congratulations!

It is a very exciting time for OPM.

The top winner in Philpop will receive P1 million in cash, and two runners-up will receive P500,000 and P250,000. A people’s choice award will be given to the most popular entry as decided by text votes.

Philpop is jointly mounted by Maynilad, Philippine Long Distance Telephone Co. and Smart. Major sponsors are Meralco, Resorts World Manila and TV5. Other sponsors are Metro Pacific Investments Corp., Sun Cellular, First Pacific Leadership Academy, Metro Pacific Tollways Corp. and Philex Mining Corp. For updates on the results, visit Philpop.com.ph. 

By Lea Salonga
May 23, 2012
Philippine Daily Inquirer

 Ah, yes, my daughter has turned 6 years old. Instead of having a party, Rob and I decided to take Nicole to the happiest place on earth: Disneyland, on Lantau Island in Hong Kong.

I’ve written about Disneyland quite a few times before, but each time we visit, it grows even more magical for us. Perhaps seeing it all through our daughter’s eyes is what makes it extra special.

She loved the Winnie the Pooh ride that took her through the Hundred Acre Wood, as well as Philharmagic that gave her a 3D view of some of Disney’s more famous music.

She also enjoyed The Golden Mickeys, an awards show-type presentation featuring some of Disney’s heroes and romantic figures, and The Festival of the Lion King, which is about the legend of King Simba, complete with fire jugglers and ballet dancing flying birds.

Nicole wasn’t too hot on the Mad Hatter’s Tea Cups ride, and Rob avoided it altogether. However, I—along with Disneyland musical director Rony Fortich and our friend Natalie Lewis (a horn player for the Hong Kong Philharmonic Orchestra)—gave the cups a spin.

We weren’t able to ride any of the outdoor rides; there were thunderstorm warnings, so everything we did was either roofed or indoors. But the weather cleared up enough in the evening, which was when a glorious outdoor show would begin.

Our little group assembled on Main Street, far enough away from Sleeping Beauty’s Castle to get a good view of what was to come: Fireworks!

For about 15 minutes, fireworks blazed and danced above the castle, illuminating the night sky. It was the perfect way to end a fun-filled day.

Happy birthday, little princess!

Food capital

Since Hong Kong is one of the world’s foremost food capitals (for us anyway), we couldn’t leave without sampling some its cuisine. One restaurant is a place we frequently visit, while the other is a new one that, after some Rob-initiated Internet research, we decided to try.

Tasting menu

ye Shanghai (yes, the ye is lowercase) has been one of our favorites since 2008. Although great for dimsum, it also boasts more upscale fare.

If you’re undecided with what to try, check out one of their tasting menus. You get a sampling of some popular items, just enough to satisfy your palate. This is what we ended up doing and were so happy for it. For Nicole though, we ordered crispy noodles with minced pork.

Best ramen

Ippudo HK is one of the two Hong Kong branches of a Japanese ramen restaurant, which has spread from Fukuoka to the rest of the world (with branches in New York City, Seoul and Singapore).

Thankfully this branch was only a five-minute walk from our hotel. We picked something slightly spicy and wholly flavorful, with medium-firm noodles, flavorful tonkotsu pork broth, slices of pork loin and sliced mushrooms.

Without question, this was the best bowl of ramen I’ve ever had. I can look forward to visits to Singapore later this year, and New York City early next year, so for sure I’ll go to Ippudo then!

Shameless plug

Woo hoo, I’ll be in “Forbidden Broadway”! I won’t say which spoof I’ll be doing, but I’m very excited. Guest performers for this show’s final weekend are yours truly, Aiza Seguerra, Nyoy Volante and Rachel Alejandro. Congratulations to Upstart for a great run.

Atlantis Productions will start its run of one of the most awesome shows to even come to Broadway, “Rock of Ages.” It will also soon be released as a feature film starring Tom Cruise, Julianne Hough, Catherine Zeta-Jones, Alec Baldwin, Russell Brand, Malin Akerman and Diego Bonita as Drew.

The Manila production of the stage musical will star Nyoy Volante, Vina Morales, MiG Ayesa, Aiza Seguerra, Jamie Wilson, Jett Pangan, Biboy Reyes and Jinky Llamanzares. Chari Arespacochaga directs.

It opens June 15 at the Carlos P. Romulo Auditorium of RCBC Plaza, Makati.

By Lea Salonga
Philippine Daily Inquirer
May 16, 2012

This is being written aboard a PAL flight from Tokyo to Manila by an exhausted, sleep-deprived but very grateful passenger. Despite the slight snafus of the day, it has all turned out great.

I am on my way home after doing concerts at The Town Hall and Troy Music Hall in New York and the National Arts Centre in Canada. It’s been nearly two months since I last tread Philippine soil.

As eventful as my stay overseas was—cuddling with good friends, having dinners with new couples, witnessing heartbreaks, creating new spaces, clearing out junk, spending time with family (they’re everywhere), and singing aplenty—the next thing I’m looking forward to is lie in bed for a few days with my husband and daughter, who turned 6 on Wednesday.

My travel day began quietly enough. I hopped into a cab and headed for the Ottawa Airport. Checking in for the flight went without incident, with a very hospitable young lady from the Delta Airlines counter helping me. Security clearance was quick and painless. Even the wait was peaceful, as was the short flight to and disembarkation in Detroit, and the lovely walk to the gate to get on the flight to Narita.

But after boarding and settling into my seat, the head flight attendant and the captain started making announcements about the state of the plane. At first, we were that told the air-conditioning cart needed to be replaced. Later, we heard that a leaky fuel line and the auxiliary power unit had to be fixed before we could take off. The delay lasted more than one hour. This became a cause for concern.

Nearly everyone had a connecting flight to catch, whether it was to Shanghai, Hong Kong, Beijing, Taipei, Bangkok or Manila. Although the pilot said he would try to make up for the lost time, it was not to be.

The plane touched down at 7 p.m. Tokyo time, after many of the connecting flights had already departed. Just before landing, the captain instructed us to speak to the gate agent for details on our new connecting flights, what would happen with our baggage, and in which hotel we’d be staying.

For a while, it looked like chaos would rule. One lady lamented that she wouldn’t be able to see her daughter off to Berlin from Bangkok; another stressed that her family that had rented a van and driven from Bataan to meet her, and now they have to find a place to spend the night, as well as scrounge up van rental money for another day. Everyone was tired.

Fortunately, cooler heads prevailed. The very patient ground staff was able to attend to all passengers. We were all bused to our hotels without incident. A couple of young women actually made friends in all the hubbub, and went on to find an authentic ramen restaurant.

I got very little sleep; I was paranoid that my alarm clock wouldn’t go off or that I’d miss the bus, so I caught up with my family via FaceTime, took a long, hot shower, ordered some amazing tonkatsu from room service, and watched TV.

At 7 a.m. we all boarded the bus back to the airport and checked into this PAL flight. Peace and quiet at last, and here we are, headed for home.

The point of my seemingly insignificant story is that the universe will, at various points of your life, throw you a lemon or two—maybe even a crateful. You can choose to either whine and moan or make the best of the situation. Two people found an opportunity for adventure; a few others bonded with total strangers. There were more smiles shared than scowls. It’s a day like today that renews my faith in mankind.

Shameless plug

To Upstart Productions’ “Forbidden Broadway,” a hearty congratulations on a well-received opening weekend, especially to director Joel Trinidad and cast members Liesl Batucan, Caisa Borromeo, OJ Mariano and Lorenz Martinez. This long-running hit spoofs many beloved Broadway musicals such as “Les Misérables,” “Phantom of the Opera” and “Wicked.”

There will be guest appearances in the coming two weekends by Menchu Lauchengco-Yulo, Aiza Seguerra, Nyoy Volante, Cherie Gil and yours truly, among others. Catch it at the RCBC Theater until May 27.

By Lea Salonga
Philippine Daily Inquirer
April 11, 2012 

I found myself the recipient of an interesting invitation: the chance to sing the songs of composer Stephen Schwartz on the maiden voyage of the newest addition to the Disney Cruise Lines’ family of ships, the Disney Fantasy.

I wasn’t really a big fan of cruises. A few years ago, Rob, Nicole and I, plus members of Rob’s family, took a cruise around Hawaii. The experience wasn’t a lovely one, what with rude passengers, less than stellar food fare, and seasickness and diarrhea going around (one by one, members of our family got sick).

However, since it was Disney this time, I expected a better experience.

I was working in the West Palm Beach/Boca Raton area of Florida in the days leading up to our boarding the ship, so we weren’t able to stay for the full seven-day cruise. But despite the abbreviated time onboard, we had a wonderful time.

The day after our final concert at the Kravis Center for the Performing Arts with the Palm Beach Pops, we headed off to the Boca Raton airport to board a jet headed for Mahahual, Mexico.

‘Lucky lady’

A waiting van (along with Disney World representative Patty Kalber) then drove us to Costa Maya, the Fantasy’s current port of call. Once our luggage was brought on to the ship and we had all checked into our stateroom, we headed for a quick lunch at Cabanas (the ship’s buffet restaurant) before rehearsals with Stephen himself.

The concert would be an evening of his music, with a couple of my Disney songs thrown in.

Rehearsals began with Stephen acquainting us with some of his songs from “Pippin,” “Wicked,” “The Hunchback of Notre Dame” and “Pocahontas,” among others. His wife Carol then treated us to a rendition of “In Just No Time at All” from “Pippin.”

Then it was my turn to have a run-through with “Colors of the Wind” (“Pocahontas”), “That’s How You Know” (“Enchanted”) and “Someday” (“Hunchback of Notre Dame”), plus “Reflection” (“Mulan”) and “A Whole New World” (“Aladdin”).

Finally—and this was thrilling for me on very many levels —we got to rehearse “Defying Gravity” (from “Wicked”). It was a version that I was used to singing in concert, one specially made for solo performances. We did one pass, and that was enough.

I couldn’t help but talk about it on Twitter. Even if I never ever get to play Elphaba in “Wicked,” I consider myself a very lucky lady to have sung the song with Stephen playing it.

Backstage thrill

The next day was a busy one. We did a 2:30 p.m. sound check, and then we had to be back at the theater for two performances—one at 6:15 and another at 8:30. I thought that I wouldn’t be all that steady on my feet in my higher than high heels, but the seas were calm. Whatever the captain did to keep things peaceful most assuredly worked!

After our first show, Disney Animation honcho John Lasseter and his wife Nancy went backstage to see us. Rob was probably more thrilled than I was, and understandably so. John is one of the pioneers of Pixar, having directed “Toy Story,” “A Bug’s Life,” and “Cars,” among others, and served as executive producer of many more animated films. He is a very sweet man, and gave us generous hugs. According to Stephen, John is also a very gracious host to visitors of his winery in Northern California.

Little vacation

It wasn’t until the shows were done that we were able to enjoy a little vacation. We got off the ship at Castaway Cay for a little beach time (until the weather turned cool and cloudy, which prompted us to return onboard). We also whooshed down the Aqua Duck (a water slide on the ship), and watched “Beauty and the Beast” by the pool as my daughter swam and made new friends.

Rob and I were likewise able to partake of the amazing cuisine at Remy (named after the lead character in the movie “Ratatouille”). The dishes were sublime, and we were fortunate to have both head chefs in the kitchen preparing all the delicious food.

I was also able to take in a couple of shows over our stay—“Wishes” and “Believe,” both of which I enjoyed. I’m sad I missed “Aladdin” —it would’ve been fun to see it.

The seas were a little rough that evening, which made packing a bit of a challenge. But overall I was glad to have taken the cruise.

To the staff of the Disney Fantasy (including over 250 of its Filipino members), thank you for making us feel so welcome and for taking such good care of us! We will definitely return with the rest of our family, and this time, we shall stay for the full week.

By Lea Salonga
Philippine Daily Inquirer
March 28, 2012 

I’m writing this at a friend’s apartment—in a darkened room, while my daughter Nicole sleeps by my side. We’re in Miami enjoying some quiet time before work begins anew.

The weather has been nothing short of perfect, and from the apartment’s balcony we are able to see much of the ocean.

This trip started with a show, and what a show it was.

Stop one

Stop one was Dallas, Texas, for “Do You Hear the People Sing,” a concert that celebrates the music and lyrics of Alain Boublil and Claude-Michel Schönberg, creators of “Les Misérables” and “Miss Saigon.” We performed this show with the Indianapolis Symphony Orchestra (under the baton of Maestro Jack Everly) only a few months ago, so getting back into the swing of things was not at all difficult.

We performed at the American Airlines Center, home of the Dallas Mavericks (basketball) and the Dallas Stars (ice hockey). The venue seats around 17,000 people at capacity, but because of the stage orientation and the type of concert show we were doing, a lot of the seats were “killed.” That said the audience seemed to fill the place right up to the nosebleed section.

Rehearsals had taken place at Woodrow Wilson High School just outside the city center. Our conductor, Kevin Stites, (with whom I had worked on “Les Miz” on Broadway in 2007) spent two days with all of us—Terrence Mann, Stephanie J. Block, Peter Lockyer, Marie Zamora, myself, and a new addition to the performers’ lineup, Brian Stokes Mitchell.

We tightened group numbers (especially those that Stokes would be in), reviewed a few old songs, and ran through spiels. Nicole, who was with me, was given permission to “participate” by performing an interpretative dance while some numbers were sung.

Show day was very exciting. When we arrived, the seats on the arena floor hadn’t been placed yet. Neither was the orchestra fully set up.

YouTube proof

Our microphones worked though, so we used the time to run through our cues, one right after another without singing (it was early, and we weren’t caffeinated yet). A few caramel and black tea lattes, as well as some coffee later, it was time for an actual run-through with the Dallas Pops Orchestra. That went very smoothly. (The show was wonderful, as a few clips on YouTube will prove.)

Afterwards, it was time to see my family—first cousins Vernon Dye and Maria Ruwaldt, along with Maria’s husband Gary and their children Samantha and Brian, plus other guests, were at the hotel bar. It was great catching up.

Next morning Nicole and I headed off to Miami.

Tomorrow we’re off to Boca Raton, where rehearsals for concerts with the Palm Beach Pops begin. The shows run today (March 29) until April 3. I will be singing with David Burnham.

I am thankful that before leaving on this trip I was invigorated by having seen some amazing local shows—Repertory Philippines’ “Jekyll & Hyde” and Atlantis Productions’ “In the Heights” with the show’s creator, Tony Award-winner Lin-Manuel Miranda.

I was also in the special concert, “The Legends and The Classics.” My reserves are now full, as is my heart.

Right now as I lie in bed with my daughter by my side, I feel incredibly blessed.

By Lea Salonga
Philippine Daily Inquirer
March 22, 2012 

Monday night last week, I headed to OnStage Greenbelt to see an early technical rehearsal of Repertory Philippines’ production of “Jekyll & Hyde.”

The show was in its developmental stage. Costumes were incomplete and not yet distressed; not everyone was using makeup; wigs were being evaluated; lighting needed to be focused and properly cued; entrances and exits for the cast were not refined and finalized; the scoring and tempo of certain songs needed to be tightened; and other music concerns needed to be addressed as well. But the potential was decidedly there.

Brilliant as Jekyll

In this technical run, Jett Pangan played the role of Dr. Henry Jekyll who, after an experiment gone wrong, becomes the homicidal and psychopathic Edward Hyde. Michael Williams, who alternates in the role with Jett, had done a run-through earlier in the day and, unsurprisingly, had gone home to rest.

The vocal demands of playing Jekyll/Hyde would probably equal that of Jean Valjean in “Les Miz,” complicated by a split personality disorder!

Underscoring the performances were the huddled voices of director Menchu Lauchengco-Yulo and her assistant director Rem Zamora, as they exchanged comments over the wig of one actor (he no longer uses it), how John Batalla’s lighting design turned out to be gorgeous, and how another costume did not look quite right.

What seemed to be firmly in place were the following: Jett’s Hyde was brilliant. I look forward to his transformation in order to see Hyde in all his primal, sensual and ultimately homicidal rage. Cris Villonco as Emma Carew combined strength and sweetness (I could listen to her all day).

Kalila Aguilos debuts with Rep as the not-so-maidenish Lucy Harris, who has the unenviable task of singing the songs created for Linda Eder, which would stretch any female singer’s vocal chords to breaking point. Junix Inocian in his comeback appearance as Gabriel John Utterson, exudes regal poise and carriage. He cuts a dashing figure in those period costumes, at ease from years of wearing a variety of them on the London stage.

The strength and quality of the principal actors are impressive, and aside from the thespians mentioned above, the cast includes stars from many past Repertory productions, such as Liza Infante-Robinson, Cara Barredo and Topper Fabregas.

But as strong as the principal cast already is, it is the ensemble, with stalwarts Reuben Uy, Red Nuestro, Mayen Bustamante-Cadd, Jack Salud, Steve Cadd, Oliver Usison, Jamie Wilson, Jamie Inocian, Naths Everett, and James Stacey, that truly shines—providing mood, emotion, background action, and dazzling stellar vocals.

Tribute to Repertory

“Jekyll & Hyde” had an auspicious opening on Friday, we heard, capped with a huge standing ovation for its cast and production team, signaling the start of what should be a great run. Rep also celebrated its 45th anniversary on that opening weekend.

That special gala performance on March 17 (with Michael playing Jekyll) was followed by a special tribute to one of Rep’s founders, Baby Barredo.

We were told that Raymond Lauchengco, Audie Gemora, Miguel Faustmann and Leo Martinez serenaded Baby one by one, while the male ensemble went down on their knees as their voices soared into glorious song, in what seemed like a chorus of a hundred people!

The late cofounder Zenaida Amador must have been present in the room, by Baby’s side, looking with wonder at the numerous lives they had touched with their training and their faith, old and new talents, now standing before them on the stage.

To everyone at Repertory Philippines, I wish you a happy 45th birthday. I was unable to spend it with you that night, but I celebrated in the one way that felt most appropriate—doing what I love and was trained well to do, on the night that two of my most significant mentors, Bibot and Baby, were celebrated. In doing so, I hope that I made them proud.

Two-night stand

“The Legends and the Classics” concert was presented at the CCP on March 17 and 18. Facebook and Twitter have since been abuzz with many messages, both to and from the artists, dancers, orchestra, artistic and production staff, family and friends, and the audience.

The full-fledged concert combined three different performance art practitioners in one show: a concert pianist (Cecile Licad), a classical ballerina (Lisa Macuja-Elizalde) and a musical theater actress (yours truly). It grew from the kernel of an idea proposed three years ago by lawyer Katrina Legarda to ballet dancer Lisa Macuja-Elizalde. The two share a bond of grief over the loss of Katrina’s sister Terry and Lisa’s brother Jerry in the same car accident many years ago; at the time, both Terry and Jerry were working at Rep.

No one ever thought this would fly, but it did—in fact it soared! Congratulations to everyone!

By Lea Salonga
The Philippine Daily Inquirer
March  14, 2012

It’s Tuesday morning and over the past few days I’ve been running my brother’s medley demos on my music player whenever I can. Our first rehearsal for “The Legends and the Classics” is tomorrow. I know we’ll only be in practice mode; still I want to show up prepared.

The concert is this Saturday and Sunday. I’ve met Cecile Licad and Lisa Macuja, spent significant amounts of time with them, mostly laughing. The atmosphere has been relaxed thus far; no one has unfurled a music sheet, lyric sheet or choreography layout. At least, not with each other. Our interactions have largely been social.

I know the monsters (the good kind) will appear, as we each unleash the crazy (also the good kind) on one another, and on the people we’ll work with.

Fingers on fire

It must have been on television that I first witnessed Cecile play. She would have been in her early 20s (she’s turning 51 this year). I could see the intensity in her eyes, gazing alternately at the conductor and on the keyboards. She was wearing something that looked Filipino, and her hair was pulled up in a twist or a bun. I don’t remember the camera focusing on her fingers.

Fast-forward to a couple of years ago, when I finally got the chance to watch her live. Gerard was conducting FILharmoniKA. That’s when I saw how fast her fingers flew, how much fire there was in her playing.

I met her very briefly after that concert, and she expressed an interest in the two of us working together someday. Well, here we are, just days from making that happen, and I couldn’t be more excited.

For all the honors she has won for herself and the country as a classical pianist, it’s her person that I have found most impressive. She may be a lady of few words, probably preferring to let her talent speak for itself (and it does), but when she does say something, you listen. Her words ring of humanity, truth, artistry, musicianship and humor, of how less-than-perfect can make a performance more perfect. She has also mastered the art of unleashing the perfectly timed expletive to make a point.

I don’t remember when I first met Lisa, perhaps when she watched a past concert of mine, and she brought her two children Missy and Mac backstage.

I’ve seen her perform only on TV and YouTube, and I just did an Art2Art interview with her which aired last Sunday. The longest time I’ve spent in the same room with her has been for our photo session and press con, so I got to know her as a human being first, and as a dancer second. Which is fortunate for me.

In how she speaks of her training, her mentors, her ballet company, her children, her husband, her family … of the arctic cold in Russia and dancing on scarred, cut-up feet… of a steroid shot just to be able to perform for the fans that have been waiting to see her… of an experimental surgery on one foot to hopefully guarantee a few more years on her feet dancing… and of the discipline it takes to maintain her ridiculously amazing body (I kid you not… it is such a thing of beauty that I kept shouting to her at the photo shoot, “You’re so annoying!”)—I could see such a high degree of passion, drive, love and commitment for this most exacting art form.

Just the same

I feel like the slacker among the three of us. I don’t spend eight hours a day practicing (except when working on a musical), or do a full class before a performance. Maybe it’s because my art form depends upon these two little tiny vocal chords. That said, I do get obsessed and driven when it’s time to learn something new, or try to get my voice to sing a little higher. My only driving thought throughout the day then becomes this one song, finding the right way to sing it, figuring out how and when to breathe in order to get that note just right, and releasing whatever iota of fear there might still be left in me. And then feeling satisfaction when I unleash it at a show, knowing I devoted a good chunk of time to it.

We are three very distinct personalities (I think I’m the most talkative, Lisa is the most poised, and Cecile the most reserved) practicing three very different art forms. But we’re all passionate about what we do, and devote what can seem like an inordinate amount of time to our disciplines. We are all surrounded by extremely supportive families, and are grateful for their presence. We all want for more years doing what it is we love, and hope that we’ve made the country proud.

The Legends and The Classics. March 17 (8 p.m.) and March 18 (6 p.m.) at the CCP Main Theater. Roxanne Lapus directs. Gerard Salonga is our musical director and conductor. Tickets are available at TicketWorld (www.ticketworld.com.ph) or call 891-9999.

By Lea Salonga
February 29, 2012
Philippine Daily Inquirer

Allow me to celebrate my birthday once again by writing about the fun-filled week that surrounded it. A girl turns 41 only once; might as well make the most of it!

Rob and I, my brother Gerard and his wife DJ flew to Hong Kong on Tuesday, Feb. 21, in anticipation of the Hong Kong Philharmonic Orchestra’s (HKPO) fundraiser the next night. When we arrived, we were ready to party—except my poor husband, who had work-related e-mail to write, receive and reply to. So it was up to Gerard, DJ and myself to partake of the bar food and specialty drinks that we knew were waiting.

Our cab driver dropped us off in Lan Kwai Fong, where the Hong Kong Brew House was located. There we met up with a few members of the HKPO.

We ordered some buffalo wings, potato skins and ribs, as well as a beer for Gerry and cocktails for DJ and myself. Once midnight hit, out came a cake with a lit candle, and everyone sang “Happy Birthday.” The bartender proceeded to prepare a flaming tower of a blue drink (he had to do it twice; the first attempt crashed as I was drinking it!). We headed home at around 1 a.m.

On my actual birthday, Rob took me to lunch at one of our favorite restaurants, Ye Shanghai on Nathan Road. We had our favorite dim sum dishes and a pot of hot tea. Afterwards we walked around Ocean Center and Harbour City to kill time before the show.

The fundraiser, titled “Romancing the Night Away,” consisted of several well-heeled personalities in Hong Kong performing some of their favorite songs. Gerard had told us in advance that the singers wouldn’t be professionals, but that they would be going up there to raise money for the orchestra, and have a good time doing it.

Spirit of fun

I was most impressed by everyone’s chutzpah and spirit of fun, not to mention their numerous costume changes.

The orchestra, as always, sounded heavenly. I can’t wait until the next time I get to sing with these amazing musicians. I hope something similar could be staged in Manila to raise funds for our fledgling orchestras as well.

Post-performance dinner was at Le Soleil, a Vietnamese restaurant. At the end of the night, an ube-macapuno cake courtesy of Bonnie Gokson came out, again with a lit candle. Woo-hoo!

We flew home on Friday afternoon.

On Saturday, I brought my daughter Nicole to Lusso—one of my favorite restaurants in Makati—for lunch with a few stars from “The Kitchen Musical,” including Stephen Rahman-Hughes, Christian Bautista, Carla Dunareanu and Arthur Acuña (whose date was his lovely wife Maritina Romulo).

When we all parted, I headed to Damariñas Village to watch friends rehearse for Repertory Philippines’ coming musical “Jekyll & Hyde.” It was a treat to see director Menchu Lauchengco-Yulo in action, going at things with bound-less energy after obviously thorough research.

It was also fun observing Michael Williams work with Kalila Aguilos (in her first outing with Rep), hearing Trisha Amper-Jimenez’s clean and clear voice, and watching Junix Inocian make his return to the Rep stage after a long absence. Witnessing this creative process is inspiring. Sometimes, a rehearsal is more fun to watch than the real thing.

Strep throat

I had a mini-concert scheduled for Sunday evening at the Venice Piazza in Bonifacio Global City, but I had one slight problem: strep throat. It had started to bother me on Wednesday in Hong Kong (I mistook it for a cold that I thought would heal in a few days… hindi pala).

It didn’t get better by Saturday night, so I scheduled an emergency visit to the clinic of my ENT, Dr. Melfred Hernandez. Once I had my prescription for antibiotics in my hand, I felt I could breathe a little easier, knowing I’d soon be on the mend. But, would I be well enough to sing?

I’ve stressed out myself and my brother in previous outings (he once uttered an expletive and shuddered in fear for me when he heard my hoarse speaking voice after the first song), but he seemed calm today at the sound check.

I fed off his quiet confidence; after the sound check, my voice felt okay enough to withstand the demands of an hour-long show. As I warmed up while getting my makeup done, I recalled singing lessons in which my teachers would remind me about my posture, alignment, breathing, mouth positioning, and body support, as I would need all those techniques.

All went very well (thanks be to God, and to the many people who prayed for me, knowing I was sick)—my voice felt strong and supple. The weather was at its most perfect, with even the humidity level at optimum (yes, that matters!).

The best part: A thousand or so people singing “Happy Birthday,” accompanied by Gerard and our little orchestra, as two chocolate cakes came up on stage. I was touched. We served the cakes at our postshow dinner in Red Crab.

All in all, I had what I could call an amazing birthday week, filled with laughter, friendship and music.

Now I wonder what turning 42 will bring. Hopefully more of the same—it can’t get any better than this!

By Lea Salonga
February 23, 2012
Philippine Daily Inquirer 

I turned 41 yesterday! Years ago, I promised myself I would never hide my age, and that I would greet each birthday with excitement. Besides, given that my career dates back to when dinosaurs ruled the earth (he-he), I wouldn’t be able to deny how old I am, anyway. Might as well celebrate with revelry!

This vow has given me reason to look back and count my blessings—not just the obvious ones of a wonderful family, an awesome clutch of friends and a fabulous career, but of things I’ve been able to see as I grew up in this business. It is because of all these that I count my generation (composed of those born in the late ’60s to the mid ’70s) as a particularly lucky one. Pardon me now, please, as I wax a little romantic about the good old days.

We used to own a black-and-white Zenith TV (my mother still has a photo of me in my playpen watching Tito Pepe on it)… Then, later on, an early Sony color TV which one had to actually approach to change the channel. Each screen couldn’t have measured more than 15 inches, diagonal; now it’s the age of 60-inch behemoths, with high definition and a gazillion colors. But at least, back then, you got some exercise by going from Channel 2 to 4 to 7 to 9 to 13.

Yes, back when I was a kid we used to have only five channels. Strange thing is, I was always able to find something to watch, whether it was “Uncle Bob’s Lucky 7 Club” on Saturday mornings or “Spin a Win” (with Jeanne Young) on Sunday afternoons, and “Two for the Road” on Monday nights (when I was allowed to stay up, anyway) with Nestor Torre and Elvira Manahan. There were also the Japanese robot cartoons early in the evening from Monday to Friday, which would make for conversation among my classmates the next day or week. Oh, how collectively furious we all were when “Daimos,” “Mazinger Z” and “Voltes V” were unceremoniously yanked off the air. No offense to “Candy Candy,” which the young ladies also enjoyed, but, come on. Those robots kicked some serious heinie. Thank goodness for eventual DVD availability, albeit nearly three decades later.

“Flor de Luna” and “Anna Liza.” Enough said.

The Sunday-night variety show “Superstar” was a powerful show-biz force in the hands of diminutive Nora Aunor, who possessed one of the finest singing voices ever heard and produced. On Saturdays, we had “Discorama,” hosted by Bobby Ledesma and the Apo Hiking Society. A few other television programs beloved and missed are “Champoy” (with the team of Subas Herrero and Noel Trinidad, directed by Peque Gallaga), “Newswatch Junior Edition” (I got a kick out of seeing smart kids deliver relevant news) and “Penthouse Live” (first with Merce Henares, and later with Martin Nievera and Pops Fernandez).

I must make special mention of “That’s Entertainment.” I was on it during its first year, but what a powerhouse group Kuya Germs assembled. Sure, many people found it corny and even baduy, but camaraderie and professionalism needed to rule. We learned how to host as a team while aiming to still stand out as individuals; we performed countless solos, duets and group numbers which had to be rehearsed and costumed; and we learned how to give of ourselves if a member needed a bit of coaching from another in the recording studio during a session. We laughed a lot, although we worked very hard. I shall always look upon it with fondness.

Instant vocal recognition was common back in the day. Whether it was a male or female singer, local or foreign, one would often hear a unique singing voice on the radio. Think Karen Carpenter, Whitney Houston, Kenny Rogers, Michael Jackson, James Ingram on the foreign front; and Martin Nievera, Gary Valenciano, Kuh Ledesma, Zsazsa Padilla, Sampaguita, Sharon Cuneta, Freddie Aguilar, Florante, Ray-An Fuentes, Hajji Alejandro, Basil Valdez, The Apo Hiking Society, Jam Morales, Gino Padilla, Jacqui Magno, Joey Albert, Celeste Legaspi, Pat Castillo, Carla Martinez, Raymond Lauchengco and Keno on the Pinoy front. There are names that I know I’m forgetting—my sincerest apologies.

“Bagets”! I remember being a seventh grader trying to find a seat in a packed-like-sardines Greenhills Theater when a teenage Aga Muhlach appeared in the opening credits, dancing. The screams in the cinema were deafening, as his appeal was palpable and undeniable. He was able to incite many a preteen girl into playing hooky. Me included. I don’t think that movie could ever be remade, as there’s nothing quite like that collection of young men today (William Martinez, JC Bonnin, Herbert Bautista, Raymond Lauchengco and Aga). At least, not in my opinion.

The Sharon-Gabby love team phenomenon was a juggernaut no one could ignore. Yes, each of them had been paired up with other young actors of their generation, but nothing could compare to their chemistry on screen. Seeing them in their heyday was something special. As for what happened in their personal life, well, that’s an entirely different thing altogether.

There are show-biz gossip shows that abound on every channel today, but back then, there was only Inday Badiday’s “See True.” She would gather show biz reporters and TV/movie stars in one episode at one studio, and a live interview session would take place. I watched in rapt attention as most of the celebs bravely answered the reporters’ questions, some of which were a bit probing. A few stars were very outspoken in their replies (which I really enjoyed), while others were polite (which wasn’t bad, either). Through it all, Ate Luds remained calm, classy and “careful, careful.” She is most definitely missed.

By Lea Salonga
Philippine Daily Inquirer
February 8, 2012 

A friend recently lamented that watching TV had turned an otherwise perfect day into a nightmare. He had spent an afternoon enduring poor renditions of pop songs. I didn’t see the show—my afternoons are usually spent watching cartoons with my daughter—so I can’t say how it went.

But I trust my friend, and I commiserate with him. No one should have to hear bad singing. And here’s my question du jour: What makes someone a bad singer?

I can almost hear the “duhs.” But yes, there is an obvious answer—when someone’s off-key, of course. It seems to be the most glaring sign that the person singing should be put away. Now, if the person asked is a professional singer, the answer may not be all that simple. There is more to singing than staying in tune.

I’ve had my share of cringing as I watch a song being massacred on TV. My neck starts to twist and every muscle from my shoulders up stiffens. I can’t help it. My friends have seen this, so they know if someone is, to my ears, veering from the intended path.

Another thing that triggers it is lack of emotion. I’ve heard singers who hit every note as the composer intended, who can do all the licks and turns, and ad lib until the cows come home—and yet leave the listener unmoved.

But I’ve heard less-than-perfect intonation that nonetheless made me feel my heartstrings had been expertly plucked.

To give an example: Weeks ago, I sat in for a while during a recording session for “The Kitchen Musical.” As musical director, my brother Gerard supervises every session in Manila (the show is taped in Singapore). I had a rehearsal scheduled with him, so I decided to wait.

I said hello to Karylle, who was finishing up, and commented on how nice her recorded tone was. Next to come into the studio was Art Acuña. Now, Art isn’t a singer, but he’s a damn good actor.

Gerard had earlier spoken about Art, thus: “He’s intense, you can really feel what he’s doing, because he’s such a great actor.”

The song to be recorded was Four Non Blondes’ “What’s Going On.” From the moment Art opened his mouth, you could hear what was happening in his head and heart. He has the skill to infuse his performance with such subtext and emotion, you forget that he’s not, in the strictest sense, a singer. I was moved just sitting in that darkened room, listening. That was one great performance. (His intonation was spot-on, too.)

So, I won’t discourage would-be singers from lending their voices to a song. Just have enough control over it, cultivate a good tone and have a heart bigger than the Virgin Mary’s. You might have something special that will make people listen. I use the word “might” because, to be honest, no one really knows what’s going to make an audience feel something and sit up.

That said, I know a massacre when I hear one. And when I know that I’m about to see it happen on a TV show, I turn the darned set off. Or switch to a video game.

Shameless plug

James Ingram is coming for two shows and I will be his special guest! The singer of the classic pop hits “Just Once,” “One Hundred Ways” and “Whatever We Imagine” will be at Smart Araneta Coliseum on

February 17, and at the Waterfront Cebu City Hotel on February 18. This is sure to be something very special, and I am very excited!

By Lea Salonga
February 2, 2012
Philippine Daily Inquirer

I am happy to report that my daughter Nicole is back to riding her scooter, thanks to brand-new protective gear courtesy of her uncle Victor Lirio. Her skinned elbow is all fine and good, but something I wouldn’t want her to experience again.

***

She had her first ballet evaluation today. She’s at the most basic level possible, but already there’s an evaluation – in pink leotard, tights and split-sole ballet slippers, hair tied back in a neat bun. She wore the number 11 on the front of her leotard.

There were two teachers in the room: her regular teacher and the one evaluating the students. I couldn’t see very well from where I stood but, given that Nicole had taken lessons for only a few weeks, I think she did very well.

You’re probably wondering: Why ballet? Well, my first cousin, Maniya Barredo, is a prima ballerina. The title was bestowed upon her by another prima, Dame Margot Fonteyn. From what I’ve been told, no ballet dancer can call herself one – the title must be bestowed.

So, every girl in my family has to take ballet. I was a student for several years, as were a lot of my cousins. Nicole had to do it, or Maniya would never talk to me again. Gerard heard that from Maniya when he worked with her on “Romeo and Juliet,” so I expect his daughter Carmen in ballet class in a few years. She’d be a great “Carmen” someday; she already has the feistiness for it (translation: suplada and masungit… but very cute).

***

I was one of the many theatergoers who headed to the CCP Main Theater to watch “Mamma Mia!” I first saw it in 1997 during a working trip to London, and had a ton of fun. I had a ton of fun this time around as well. One difference? The audience in Manila was, interestingly enough, far more sedate compared to its West End counterpart.

If I remember right, in London, whenever the first few words of a most familiar song were sung, the audience would scream and clap. Perhaps they knew not to take it too seriously, and see it for what it is: a few hours of enjoyment with sentimental favorites from Swedish supergroup ABBA. The matching bell bottoms and platform heels enhanced the trip back to disco and glam.

Finally, toward the end, the CCP crowd got into the right spirit – on their feet, arms waving, singing and dancing along.

To the cast and crew, congratulations on a wonderful gala night, and break legs for the rest of the run!

Also, take the time to enjoy the islands if you can. Make sure to bring sunscreen (I noticed one of you was redder than a lobster … that’s gotta hurt).

***

My traveling days are coming again. That means landing at different airports. I am hoping that our own Naia will get itself out of the “world’s worst” lists. We may not have the nicest airport, but it’s not as bad as a lot of people say it is. Truth be told, I’ve seen worse. I’m optimistic that it’ll get better. Airports are the first places that tourists see. A good first impression makes for a great visit.

***

Speaking of things that need improvement, a few of our theaters could use a pick-me-up as well. I wonder if members of the well-heeled private citizenry would take up the cause of refurbishing our artists’ homes. When I see theaters abroad with brass plates behind certain seats, it makes my wheels spin. There are moneyed patrons who make a small contribution to fix a row of seats, replace the carpet, or have the dressing rooms painted. We keep going on and on about how proud we are of our artists; it’s about time we did something to justify such pride. Until then, we have no right to partake of the accolades they reap.

Shameless plugs

I will be performing at the Activity Center of Alabang Town Center tomorrow (Saturday), 6 p.m., in a show called “One Voice, One Community, One Cause,” a fundraiser for Tropical Storm “Sendong” victims. Other performers include Brenan, Julianne, College of Saint Benilde Chorale and Dr. Tonton Pascual. Plus Gerard Salonga and FilharmoniKa. See you all there!

This is the last weekend to catch Repertory Philippines’ “Next Fall” starring Bart Guingona and David Bianco. Directed by Audie Gemora. Head over to OnStage, Greenbelt 1! Call Repertory Philippines at 571-6926 or Ticketworld at 891-9999 for tickets and more info. 

By Lea Salonga
January 25, 2012
Philippine Daily Inquirer 

A few days ago, I tweeted that I had become that mom: the one who shuttles her kid to and from activities throughout the week. The one that my own mother was, back in my prepubescent days, when she took me to tapings, recording sessions, dance classes and theater rehearsals. It’s my turn now to take Nicole to art classes, swimming and ballet.

While I’m on my little hiatus, I’m trying as much as possible to spend time with my little girl. Kids grow up too fast—Nicole will turn 6 this May, and I find myself asking where the time has gone. Imagine the mountain of tissue paper I will have consumed by the time she turns 18, or on the day she gets married!

Drawback

Last Saturday morning, she decided to ride her scooter, which we gave her as a Christmas present. (We were in the United States last December and she wanted to ride her cousin Christopher’s scooter. She wasn’t able to, so when we got back to Manila, we got her a purple and blue Razor with a fuchsia helmet.)

She was sailing on her scooter smoothly up and down our street. Rob and I were beaming with pride at how wonderfully she has learned. And then, just as she was about to start up again, while practically standing still, she fell and scraped her elbow.

She howled in pain, shedding copious tears. Rob and I ran to her side, reassuring her that she would be okay. I hurried her to the bathroom to wash out the wound and put some antibiotic ointment. At that point we told her to lay off the scooter until we got her more protective gear.

Imagine our frustration when, on a shopping trip the very next day, we came up empty-handed. Not one elbow or knee pad in sight at either the mall or smaller bike/skate stores.

One sunny day at swim class, while being instructed to put her head underwater, do a series of kicks, straighten her arms and paddle, my daughter said, very loudly and clearly: “I don’t want!”

However, my trust in the teacher superceded Nicole’s screams of defiance, and as he coaxed her back into the water, I calmly sat and waited until her lesson was done.

As it turned out, she did exactly what she needed to, and had a great time at it. (Getting her out of the water is much more difficult now than putting her in.)

Flashback to my early days in Repertory Philippines: I was with a bunch of little kids rehearsing, while my mother sat in the background.

In a moment of frustration, the director let out a string of high-decibel expletives that would make even a sailor blush. One of the mothers, having had enough, stood up from her seat, took her daughter by the hand, and with a stinging “Come on, hija, let’s go,” marched out of the rehearsal. My mother, in a rare moment of silence and stillness, decided to tough it out and let me stay.

In another flashback, on the first day of my working with the dog that would be Sandy in “Annie,” I got nipped in the face, close to my eye. Yes, there was crying and I did my share of howling, but after getting my wound cleaned, I got back to finish work for the day. Thankfully, a trained dog replaced the one that got me injured. I guess that was my equivalent of putting on protective gear and getting right back out there.

Transcending the fall

It’s a lesson we’re trying to teach Nicole—to stick with something that you’re interested in, once a commitment to learning has been made. As a parent I cannot give in to the temptation to take her out of a class just because she says, “It’s too hard … I can’t do it … I don’t want to do this anymore.”

Whether it be dance or sports, I want Nicole to learn that it takes time to get better at anything. She’ll fall a few more times in the course of all that, but she’ll need to transcend the fall and get right back up again.

(I say this with the experience of skinned knees, blisters, sprained ankles, vocal injuries, bad reviews, even bad fashion choices.)

Oh, Nicole has now also expressed an interest in soccer.

Congratulations

I know this is belated, but congratulations to all the members of the newly formed Philippine Theater Actors Guild. It is an honor to serve as a member of your board of trustees.

By Lea Salonga
January 19, 2012
Philippine Daily Inquirer

In late 2003, I was privileged to be part of a Department of Tourism (DOT) campaign to urge Filipinos to visit more of our beloved country.

“Tara Na, Biyahe Tayo,” written by Rico Blanco and Mike Villegas, gathered 27 music artists who donated time and talent for the “Wow Philippines” campaign.

A new campaign was recently launched, with a slogan that has generated much attention, especially on the Internet: “It’s More Fun in the Philippines.”

I’ve been checking out people’s reactions to it. On one front, there has been quite a positive response, with Netizens creating their own unique spins on the slogan.

There is a photo of a Ford Fiera fleeing the wrath of Mount Pinatubo, with this caption: “Getaways. More fun in the Philippines.” I cackled when I saw it. It was so clever, I reposted it on my Facebook wall.

On the negative side, the slogan itself has been criticized as being lifted from a Swiss tourism campaign from the 1950s.

It’s a success

But if the Netizens’ various takes on the slogan are to be used as reviews, I think this new campaign is a success.

A lot of people have used their imagination in capturing what spells fun in our country: pictures of the Cebu prison dancers… waterfalls… girls and their surfboards…  lechon… a bahay kubo being carried to its new address… the Pahiyas Festival… a baby tarsier… a hill of barbecued meats and animal parts… and a lot of Donsol butandings.

Late at night, when I’m watching TV alone, I see the other Asean countries’ tourism commercials and wonder if we’ll have our own—one that shows our country’s staggering, unique, natural beauty and the abundant charm of our people.

Well, the new DOT campaign has shown both. And Filipinos have added a bonus: humor. Who else would look at that Fiera with billowing clouds of volcanic ash behind it, and still find something funny?

So yes, I count myself as one of those who really want to give this new campaign a break. There’s been enough negativity surrounding previous efforts (negativity that is tiresome and repetitive).

Our country isn’t perfect, but there is perfection that resides within it. A lot of wrong is going on, but also a lot that’s right, and a lot of good people who are working very hard to make this country great, and great to visit.

To the DOT and the ad agency responsible for creating the “Fun” campaign, congratulations on creating something that Filipinos have embraced, not just as an advertisement, but as a springboard for expressing what we truly believe is wonderful, funny and fun about our country.

Correction

I made a mistake in naming Tara Strong as the voice of Buttercup in the Powerpuff Girls series. Miss Strong was the voice behind Bubbles, while E. G. Daily played Buttercup. My apologies for the error. 

By Boy Abunda
January 14, 2012
The Philippine Star 

To this writer, Lea Salonga should be a National Artist. She should be officially nominated and if age is an impediment because some might say that she’s too young to be one, then she should be an exception. After all, she has broken glass ceilings that paved the way for actors who are now performing in the biggest theaters around the world.

She’s a national treasure. Her body of work is astounding. She made all of us proud when she snatched the Laurence Olivier and Tony trophies for Best Actress for her brilliant performance as Kim in Miss Saigon.

She inspires. She makes fledgling actors dream and believe that dreams come true — for as long as they put in a lot of discipline, hard work, focus and love into their craft — just as she did.

She’s gifted with enormous talent that she nurtures with passion and practice. She performs like it’s the last night of world. She takes you to the story of every song. When it’s about heartbreak, you feel the pain, when she sings “Goodbye,” you cry. Lea is a stunning performer even in her quietest moments on stage. She has a presence that is so formidable, not even Shamcey Supsup’s tsunami walk would distract the viewer. And when she takes on a role, she brings with her a sense of truth that’s so natural. It cannot not be a gift that has been nurtured by the human heart and spirit of one of the greatest Filipino performers of all time.

Today, the Tony Award-winning actress will return to the Philippine stage in July 2012 as Veronica in  Atlantis Productions’ staging of the Tony Award-winning comedy God Of Carnage, written by Yasmina Reza and translated by Christopher Hampton.

God Of Carnage won the Tony and Olivier Award in 2009 for Best Play. It is about two pairs of parents, one of whose child has hurt the other at a public park, who meet to discuss the matter in a civilized manner. However, as the evening goes on, the parents become increasingly childish, resulting in the evening evolving into chaos. 

It is also now a celebrated film titled Carnage, directed by Roman Polanski and starring Jodie Foster, Kate Winslet, Cristoph Waltz and John C. Reilly.

God Of Carnage will mark Lea’s return to a straight play, her last being Proof almost 10 years ago, also with Atlantis Productions.  She will be joined by Singaporean actor Adrian Pang (whom she performed with in They’re Playing Our Song), award-winning actress Menchu Lauchengco-Yulo and  Kitchen Musical star Art Acuña.  It will be directed by Bobby Garcia and is part of Atlantis Productions’ much heralded 2012 season.

On her return to the stage, Lea said, “It’s been almost 10 years since I last did a play, so I come into God of Carnage with a lot of excitement and fear. Excitement that I get to do this Tony Award-winning dark comedy by Yasmina Reza, and fear for that exact same reason.”

Her director, Bobby, who has directed her on stage in and concerts said, “Lea is one of the most fearless performers I know.  She will do a show precisely for the challenge it will bring her. She has always been one to break free of her comfort zone. There aren’t many as brave as her around. I have no doubt that she will excel in God Of Carnage, the way she has excelled in practically everything she has set her mind and heart on. I am thrilled to be directing her in this delicious comedy of bad manners.”

Lea said of her future co-stars. “I’m also excited that I get to do this with Adrian Pang, my partner in They’re Playing Our Song, a man with whom I couldn’t ever keep a straight face when doing a scene, and with Menchu Lauchengco-Yulo, a personal and professional partner in crime (we first worked together in Rep’s Fiddler on the Roof as members of the ensemble, a billion years ago, and have since sung, acted, and even coached together) whose body of work I have only the deepest and more ardent respect for, and I’m thrilled that Art Acuña will be with us, too. I don’t know him personally, but only by reputation, and a very good one follows him from show to show. Bobby Garcia, a frequent collaborator and dear friend, will be at the helm, which only guarantees more belly-splitting laughter at every turn of this creative process. I look forward to sharing all this in July when God of Carnage finally arrives in Manila. We hope you all laugh with us as we explore the baser, more primitive levels of seemingly civilized society.”

The production will also travel to Singapore in November 2012 for a three-week run with the Singapore Repertory Theatre. It has collaborated with both Lea and Bobby on numerous productions in the past.

God Of Carnage will have a limited engagement from July 13 to 22 at the Carlos P. Romulo Auditorium, RCBC Plaza, Makati City. Show nights are currently available for show buying and fundraising opportunities by calling Atlantis Productions at 892-7078.

By Lea Salonga
January 11, 2012
Philippine Daily Inquirer 

Over the last few weeks since coming home, I’ve rekindled my on-and-off love affair with video games—most notably, my Xbox 360 and what has become my favorite game, “Batman: Arkham City” (as well as its predecessor, “Batman: Arkham Asylum”).

One of the best features of the game is that after a long and arduous lump of time spent playing, you get a cut scene that brings you to your next mission. It can resemble an action-only sequence, or a full-on scene with drama and dialogue, with some excellent acting. I put my controller down and just drown myself in those deep, well-placed vocal stylings the way I would when watching a movie.

I would expect the same could be said of full-length films or television series where, for at least a half hour, amidst amazing, hand-drawn or computer-generated animated images, your ears are treated to some incredible performances.

I have often found myself so engrossed in those portrayals that I’ve headed to IMDb.com (while I’m playing or watching) to see just who those actors are. Some names are unknown to the world at large, but others are of the Juilliard-trained, movie star variety.

That’s when, in the way a superhero takes off his mask, I discover that Mark Hamill (Luke Skywalker in “Star Wars”) is the voice behind the homicidal maniac that is the Joker. But I’m sad that Hamill said “Arkham City” would be his Joker’s swan song.

I’m presuming that, since video games are themselves works of animation, the process in creating them is similar: The vocals are recorded first with sketches and story boards as inspiration for the actors, then the cleaned-up animations come later. Unless, of course, it’s a redub for a previously created work from another country (for example, the English or Tagalog dubs for “Voltes V” or “Mazinger Z”). I’ve been involved in both kinds, and they have been nothing but fun.

Unique thrill

One afternoon gave me a very unique thrill. I got a call to do a few lines on the Cartoon Network series, “Johnny Bravo.” Once I arrived at the studio, I met JB’s creator, Van Partible (unbeknownst to me, Van is Filipino, so that was thrill No. 1).

Then, after I did my solo bits (they wanted a Disney princess-type sound, and I was only too happy to oblige), I was in the same room as two out of the three ladies who voiced the Powerpuff Girls, also for the Cartoon Network: Tara Strong (Buttercup) and Catherine Cavadini (Blossom).

Also in the room were Jeff Bennett (Johnny Bravo himself) and Tom Wilson (Biff in the “Back to the Future” films, here doing various voices). I’m surprised I didn’t just geek out on everyone, as I was familiar with their voice work (I’m also a huge cartoon freak).

I gained renewed respect for them all because, as I found out, doing a cartoon voice is not easy. Oh, the singing thing was old hat to me after “Aladdin” and “Mulan,” but just speaking a character took a bit more than I thought.

But how fun it all was! And since this was a series, they got everything done in record time. I remember it all going by like a blur, it was over so fast. And the best part? You can do it all, literally, in your pajamas. Nice!

Silent scream

Seeing the finished product can be something of an interesting experience, too. At the work-in-progress screening for “Aladdin,” I brought along a few friends and family to come watch with me. When “A Whole New World” came to the screen, I couldn’t stop silently screaming. I was holding the hand of one friend, all the while whispering, “This is unbelievable”—not only because I could hear my voice coming from the speakers, but also because it was coming out of another form. I felt disembodied.

So, as I fiddle with my controller late at night trying to fight a host of bad guys in combat, seeking secrets in a cave, or gliding high above Gotham City, my brain starts to think about the forces behind those voices—sitting in a recording studio with script in hand, creating some of the most memorable characters that I’ll ever hear.