Theater & Arts
Coming back to the chaotic whirlwind of college parties seems to be a lifetime away from us now. When a whole generation feels as if their youth has been stolen from them, how might one try to cope? Party Worth Crashing, Ateneo Blue Repertory’s adaptation of a book by Marty R. Nevada, Ricci Recto, and Robert Gueco Tan does exactly that by providing an alternate reality away from lockdowns and quarantines, where everything was just as it was. The only thing remaining is the somber ritual of having to leave the party and wipe the mascara away.
It’s not an easy feat to conduct a theater production online. Theater, after all, draws its magic from its larger-than-life stage performances. Nonetheless, Robert Gueco Tan’s direction and Marty R. Nevada’s writing manages to deliver a cathartic portrayal of youth on the cusp of adulthood.
The generation that missed the party
“It’s the generation twenty-something, ascending,” the cast sings for the opening number “Twenty-something.” It’s a hopeful tune for stepping into the world of adulthood, but an ironic one as well. The story goes on to portray how finding yourself in your 20’s is rarely a linear path upwards.
The production is divided into two acts that begin and end in the same party, weaving in the stories of its multifaceted characters. With music and lyrics originally from Kait Kerrigan and Brian Lowdermilk, LJ Galvez’s scoring blends seamlessly with Maia Dapul’s musical direction in order to make sure every character gets their spotlight. Similarly, Arvy Dimaculangan’s sound engineering tinges the hopeful performances with poignancy using her simple but effective musical arrangements.
Much like a firework going off, Daniella Villa provides a soaring performance of Kelly in numbers such as “Freedom” and “Two Strangers.” In “Run Away with Me,” Jimmy Magtibay pulls off the nervous but eager-to-please Miggy.
A party isn’t without its down-moments, though. “Two Strangers,” as performed by Villa with Justina Estuar and Juliane Kuan, is a number about facing the splash of reality. Kezia Obbus nails Jessie in a soulful rendition of “Anyway” pulling the heartstrings in a reunion spurred by shared loss.
Giving every character a chance to shine is a generous feat that allows audiences to connect with at least one storyline, but this unfortunately also comprises depth. While the writing has some memorable one-liners, there’s a tendency in the script to wax poetic over developing its characters forward. This is especially the case with Alfonso, played by Veejay Atienza, as we rarely find out his deeper motivations behind being hellbent on grabbing an internship and being “systemic trash.”
Nonetheless, the writing has a great sense of empathy for its characters. No one is exactly a “bad person” in this production; maybe misguided or lost, but so is every twenty-something anyway.
A fizzling spark
Despite challenges in creating the set from different homes, production designers Shaun Ocrisma and Yanna Parpan triumphed with their gorgeous, glowing lighting that’s reminiscent of HBO Euphoria’s party scenes. Soft hues of pink, cyan, and red were masterfully curated not only as an aesthetic overlay but also as a way to capture the mood of each scene.
While the special effects sometimes come off as awkward—with editing being a new feature in the theater world—there’s also an endearing charm to how editor Ariel Ignacio uses it in lighter numbers like “Hand in Hand” as it compliments Inaki Rosello’s performance as the smitten and naive Shane.
Over in movement design, Evee Raypon strips down on all the flashy steps we’re used to and instead utilizes very simple choreography during closing acts such as “Not a Love Story.” Unfortunately, screens still limit the range of movement available for the cast. There are times when, instead of amplifying expressions, the movements seem subdued within a box.
Nonetheless, the opportunities to develop new movements for online production is still limitless. Party Worth Crashing is, after all, about a party. It’s a vibrant new venture that is much like its characters: Still trying to figure itself out as the world moves into a new era.
In a performance of “Holding On”, the cast chants, “The earth keeps turning, the light keeps shifting, and I keep holding on.” Underneath all the confetti is a heart that continues to beat for all the students watching it. Party Worth Crashing is a glowing promise; even if there’s a lot to figure out in the mess and wonder of our twenties, love, glitter, and a bit of Smirnoff will get us through.
Photo courtesy of Ateneo Blue Repertory
Exposé
