After the successful 90s Philippine teen drama series with actors John Lloyd Cruz, Jodi Sta. Maria, and Paulo Contis, ABS-CBN debuts the theatrical “Tabing-Ilog” with its colorful, lively yet unremarkable take of mental illnesses to LGBTQIA+ themes, which looked to serve a comedic effect rather than a cause.
From “Changing Partners’” award-winning musical composer Vincent De Jesus, and now actor-director Topper Fabregas—originally a book from Jade Castro, “Tabing-Ilog,” opens its curtains with a scene of seven teenagers who’d been playing by the riverside ever since they were kids and their journey of experiencing technology.
The musical play is lighthearted as it talks about young love, maturity, growth, and changes between family and friends. The story opens with the beautiful belle, Eds (Kiara Takahasi), singing alongside her friends George, Badong, James, Fonzie, and her boyfriend Rovic (Hanie Jarar). As their old childhood friend George (Miah Canton) comes home from the States, she brings Jerry (Justine Narcsiso), a model-like figure that forms a love triangle with Eds and Rovic. With struggles from the approaching graduation ball to Eds and her family moving for more financial stability; as well as the possibility of the government taking away the gang’s childhood and beloved riverside, the teenagers must overcome these changes to be able to maintain their friendship—or perhaps, learn to grow apart.
As expected from De Jesus, the musical gave the colors and pulse of the play. The choreography and blocking were impressively staged; with actors Jojit Lorenzo, with his comical designer role, and Agot Isidro, with her portrayal as the grandmother, they graced the night as audience favorites.
Despite the spectacular performance and stage play, this typical teen rom-com story tackled hefty issues about environmentalism, female empowerment, and LGBTQA+ (‘I’m coming out!’).
To add, one of its characters Fonzy keeps on challenging himself to jump off the river—the seemingly comical take on suicide comes off offensive as a portrayal of such a sensitive matter.
Moreover, the main characters, who were supposedly coming from a poor background, still act and dress up like mainstream artists wearing exquisite checkered shirts and slacks; without having a glimpse of poverty in them. With their elitist ‘conyo’ dialects, the inconsistency of the costume design lessened their character’s consistency with the musical, which is a group of friends residing near the riverside. There are too many plot points that the characters’ transitioning of stories makes it difficult for the audience to follow the main plot.
With its commercialized and mainstream approach, the characters aren’t charming—they’re bland, one-dimensional, they speak for comedy, and barely reveal truths about their roles. It may be fair to say that ABS-CBN’s first attempt for a musical-adaptation can still be forgiven—with the studio still not stirring away from their usual ‘live commercial’ formula. It is not the kind of play that keeps your heart racing to the next scene.
Despite its star-studded cast, lively music and extravagant performances, Tabing-Ilog implored various themes that did not allow the depth of the characters to surface. The brand of ABS-CBN shines more than the play, instead of letting the play speak for itself or let it be an opportunity to tackle unusual, or genuine Filipino stories from the heart.
With its Php 2,500 (VIP) and Php 1,000 (Balcony) ticket prices, ‘Tabing-Ilog: The Musical’ continues on its 3 p.m. show dates March 14 and March 15, April 18, and April 26 at the Dolphy Theatre, Diliman, Quezon City. Tickets are sold at Ticketworld.com.
Photos by Anne Valmeo
