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First Pinoy rap musical inspired by the music of Gloc-9 tackles big issues
“We are all squatters.”
That’s one of the many realizations put forward in the second half of the new rap musical “Kleptomaniacs” which is playing until the last weekend of July at the Tanghalang Aurelio Tolentino (Little Theater) of the Cultural Center of the Philippines.
But wait, there’s more. Homelessness, a people’s indolence, inefficient local governance and kleptomania also reared their hot-button heads during the second half of the play. If this were basketball, all the major premises showed up going into the decisive last quarter.
Inspired by Gloc-9
The play, billed as the first Pinoy rap musical, was written by Layeta Bucoy with music by Jose Carlo Frio and Nina Virgin, and directed by Tuxqs Rutaquio. It was inspired by the music of Gloc-9, who made himself available to the cast and crew for a Q&A prior to the staging.
The play is set in a slum community where everybody knows everyone else’s dirty little secrets and lies. It opens with two families engaging in a running word war over whether jobless Tabo, the main character, deserves to marry the daughter of a better-off neighbor whom he impregnated.
The verbal tussle raises sub-issues like abortion, poverty, and callous government officials. The arguments, delivered in rap mode, happen in an open court and all sorts of slum-associated personalities join in the dialog.
Motley crew
On several levels, “Kleptomaniacs” works out its kinks like an un-refereed and lopsided game of basketball.
There’s the trio of do-gooder Tabo, his younger brother and close buddy on one side up against a procession of unpredictable opponents ranging from his own parents to his two-timing friends, and the mayor.
Tabo and company keep the faith that love will conquer all although Tabo tends to vacillate against the full court press of misfits who’ve given up their own hope for a better future.
Tragedy
It sets the stage for the second and third quarters, in which tragedy befalls the hapless community.
Tabo goes into the final quarter bereft of friends and unsure whether he’s right in making a devil’s pact with the mayor.
Should he believe those who tell him that he’s setting himself up for betrayal? Heed his wife who calls the mayor a kleptomaniac?
Build up
The larger connection to kleptomania may come from common perceptions among the audience that in line with the current outrage over the Janet Napoles and PDAF scams, even small town politics has its share of thieving officialdom.
There’s no quarrel with the play’s relevance with the times. But the big word “klepto” gets dropped out of the blue like a huge heave from half court. It actually serves to break open the play’s various premises. What’s missing, however, is a build-up to the portrayal of a thieving government official.
It must also be a play where “putangina” must have been blurted the most number of times.
Kudos
In spite of a quibble here and a quibble there, kudos must be given to the endeavor for being the first musical of its kind staged in Manila.
All the performances were ace, especially that of lead actor Nicco Manalo, son of “Eat Bulaga” funnyman Jose Manalo.
And credit for the nervous energy of every scene should be given not just to the boisterous rapping but also to the robust musicality of the house band which delivered touches of progressive rock, electro disco, jazz fusion and lounge in the right places and the right volume.
“Kleptomaniacs” runs until July 27 at the Cultural Center of the Philippines’ Tanghalang Aurelio Tolentino (Little Theater). Performances on July 25, Friday, at 8 p.m.; July 26, Saturday, at 3 and 8 pm; July 27, Sunday, at 3 pm. Tickets at P1030, 824 and 618 can be purchased at the box office or at Ticketworld.
Scenes and images from 'Kleptomaniacs'
