By MARCELLA LICUANAN
THE setting is typical of the impoverished urban population– the plywood and planks nailed together for make-shift houses, worn-out clothes hanging on rusty wires, and the dirty estero cutting the stage in half.
Seeing the setting, one gets the idea that it’s would not be the usual musical with dazzling dazzling dance numbers and fabulous sequences.
Bit by Bit Company’s “Maxie the Musicale”, however, superbly contrasts the grayness of the slums lies to the colorful character of a gay teenager with his flaming leggings and a flowery headband in the musical adaptation of Aureus Solito’s multi-awarded independent film “Ang Pagdadalaga ni Maximo Oliveros.”
Directed by Dexter Santos, the play as with the movie centers on the slum life of Maxie, whose family makes a living out of pickpocketing. After their mother died of a disease, Maxie served as the mother figure – cooking them dinner and washing their clothes – for his macho father Paco and brusque brothers Boy and Bogs. Yet no matter how patriarchal the Oliveros family is, Maxie is beloved by his macho brothers adding charm to a not-so typical Filipino family.
The Oliveros’ illicit activity took a drastic setback when Maxie’s brother Boy stabbed a student while stealing her purse.
Complications arose when new cop, Victor, came and started investigating the murder.
Meanwhile, a special friendship developed between Maxie and Victor.
Maxie was faced with a dilemma when Victor questioned him about the murder. His priorities came to fore when he decided to tell his Kuya Boy about Victor’s interrogations.
The conflict between Maxie’s family and Victor became even more pronounced when a new police chief was assigned whose idea of peace and order is killing criminals “like cockroaches.”
The play is both funny and heart-rending.
Jayvhot Galang is impeccable as Maxie, no less outstanding as Nathan Lopez who played the role in the film.
Galang gives justice to the songs composed by William Manzano, JJ Pimpinio, and Janine Santos.
Impressive as well are the “Bekimon” gang of Maxie – Aaron Ching as Maxie’s bekfriend Nar.
Not far behind is the adorable 12-year old Nomer Limatog Jr. as Leslie.
A standard feature in any gay show is a beauty pageant, referred in gay lingo as “beaucon.” It is hilarious.
Roeder Camañag as Paco is superb, while the Nazer Salcedo’s rendition of songs expressing his love for his family even if it means going against society’s moral fabric, is heart-rending. Jay Gonzaga as the chiseled and blundering Bogs is adorable for his affection for Maxie, while Al Gatmaitan deserves the most praise for his acting of guilt-stricken Boy.
The true nature of Victor and Maxie’s relationship is left hanging. The playwright, Nicholas Pichay, said it’s intentional to intrigue the audience.
To what extent is Victor’s attraction towards the very young Maxie? “Hindi ko na masasagot ‘yan. Ikaw na as an audience will have to figure it out,” Pichay said.
He said though that in the play, “mas malakas (‘yung romance), unlike in the film na parang medyo pahapyaw lang.”
As with the film, the whole point of Maxie’s story is not on his romance over an alpha male cop. The play gives special focus on the culture of criminality that has served as a means of survival for impoverished families, on one hand, but has torn families apart with the state’s brutal force to curb lawlessness, on the other.
The story underscores the role of the community in raising the child. “Whatever the outcome of the child is because of the community that raises him, and the community changes because of how a child reacts to that community,” the Palanca award Hall of Famer playwright says.
Maxie the Musical is presented by the Philippine Educational Theater Association in New Manila Nov. 22, 8 p.m., Nov. 23 and 24, 3 p.m. and 8 p.m. For tickets, you may contact Sheba Productions (0915) 288-9470, Gay (0917) 518-3654, Lanie (0942) 355-1260, and Simoun (0917) 867-6016, or your nearest Ticketworld or SM Tickets outlet.