By Brontë H. Lacsamana, Reporter
Theater Review
Delia D.: A Musical Featuring the Songs of Jonathan Manalo
By Dolly Dulu
Directed by Dexter M. Santos
Presented by Full House Theater Company
THE power of drag, the Filipino obsession with rags-to-riches fairy tales, and the unenviable crisis of identity at an age of heightened scrutiny online all come together in the latest jukebox musical, Delia D: A Musical Featuring the Songs of Jonathan Manalo. Directed by Dexter M. Santos, the show is a cautionary tale about change that is both campy and empowering. Most of all, it’s brimming with the production’s sheer passion for music and performance.
Delia D. centers on the titular Delia (played by the irreplaceable theater star Phi Palmos), a drag queen from Ozamiz who dreams of leveling up from the Drag & Tell nightclub to chase stardom as a full-fledged singer. To do this, she joins Idols of the Galaxy, a reality singing competition not unlike The Voice and Tawag ng Tanghalan — except she bites off more than she can chew, considering the fact that she can’t really sing.
The Newport Performing Arts Theatre’s expansive stage starts off with nothing on it save for a large, glittering pink sign that reads “DELIA.” The show begins, and it lights up and rises to reveal Delia herself, clad in pink and surrounded by an ensemble of drag performers in neon wigs. They launch into the opening number, full of energy and setting up a night of campy fun.
It’s a musical that explores different facets of a chaotic life. One is the seedy yet lively Manila drag bar that is Delia’s second home, a stark contrast from the later, even more manic world of televised glitz and glam that she enters as an aspiring singer. Thanks to Lawyn Cruz’s cleverly conceptualized set design, the visuals of these settings match the narrative, mirroring how viral popularity and sense of identity can teeter violently in the digital age, as navigated by Delia.
In terms of direction, it’s clear that Mr. Santos has mastered the Newport theater stage, coming from the giant jukebox musicals Ang Huling El Bimbo and Buruguduystunstugudunstuy. More than ever, the actors move across the sets and through the songs naturally, and are not totally engulfed by the sheer weight of the big-budget jukebox musical.
One can attribute this to the fact that Jonathan Manalo, the award-winning ABS-CBN-backed songwriter whose catalogue was used for this production, worked closely with the team to weave everything together. He even added an extra few original songs just for the play (the most memorable of which is a heartfelt song sung by the drag queens in Act 2).
It’s worth noting that Manalo’s discography has never really been listened to as a singular catalogue, with his songs having been brought to life by various artists ranging from Morrissette to Vice Ganda to Orange & Lemons. Compared to the two aforementioned OPM musicals, there wasn’t really any pressure by a singular fanbase clamoring to see a beloved track list come to life.
Due to the nature of the story, the multimedia elements of the production also come naturally here. The two large screens to the left and right of the stage appear like reality television broadcasts, with the borders of the stage lighting up with social media reactions from audience members of the fictional Idols of the Galaxy, mimicking viral moments that are key to the narrative.
From “Gusto Ko Nang Bumitaw” to “Pinoy Ako” to “Tara Tena,” the song selections fit nicely in the musical, some slotted in as competition pieces of the various contestants in the reality singing show. Those who may be unfamiliar with a few of Manalo’s songs will warm up to them during the show, thanks to the cast’s impeccable vocals and engaging choreography. “Gusto Ko Nang Bumitaw,” in particular, is reprised quite a few times, each improving upon the last just like how Delia’s own story escalates into an emotional frenzy.
Aside from Palmos’ heart-wrenching journey as Delia, her co-stars bring in the heat. Shaira Opsimar as her rival in the singing competition, Kiki, appropriately showcases the best voice out of the entire cast. Floyd Tena lends some flair to his two-faced competition judge Sir T, while Mimi Marquez’s small role is a triumph for trans actors as she delivers an enthralling yet intimidating performance as network executive GVB. Omar Uddin, as Delia’s love interest Raymond, injects the needed charm and sweet voice for the role despite not having much material to work with.
One standout is Tex Ordoñez-De Leon’s snobbish diva judge Mamon, whose voice is full of the power to match her iconic persona, forming a character we’d love to hate. Another is showbiz veteran John “Sweet” Lapus, who takes on Mama Eme, Drag & Tell bar owner and Delia’s drag mother. It may be the actor-comedian’s first role in a musical, but the character is conveyed perfectly, with the humor, strong presence, and tough love required to add dimensions to the drag scene’s tender heart.
While it may seem like a wild ride (and it is!), Delia D. is ultimately a very Filipino story, with lessons about life, love, family, and friendships. It’s fun and digestible, but its downfall is how quickly it wants to hit all the dramatic beats and wrap everything up in the second act. Delia is already a big star by Act 2, her rags-to-riches fairytale shifting into a cautionary tale about ego, which would have been a commendable shift if it wasn’t executed so suddenly. Without spoiling anything, even the ending, which follows the cookie-cutter path towards a happy ending, feels remarkably rushed as a result.
Playwright Dolly Dulu captures the drama and humor that a musical like this needs, succeeding in enrapturing the audiences at many points. The best scenes are definitely the ones set in the world of the drag queens, the ensemble bringing their A-game every time. Though it’s also a story centered on friendship, Delia’s rocky connection with Kiki is under-explored, one of the elements that was regrettably rushed, especially in Act 2.
Choreographer Stephen Viñas and costume designer Mitoy Sta. Ana deserve kudos for sparing no expense on the high energy and variety of color and sparkle to be found in all the actors’ performances. It’s clear that they paid tribute to drag as an art form.
Ultimately, while Delia D. is a show about a queer person, it rings true for anyone who has experienced struggle and sought to chase their dreams. The televised singing competition could have shed more light on themes of performative authenticity, which is inherently also a reversal of how drag is perceived as a form of “faking” or “dress-up.” These are contradictions that the narrative presented without fully connecting them with each other in the structure of the story, falling prey to tried-and-tested criticisms of internet popularity. For a show about finding one’s identity, it could have dug deeper.
It’s a musical that follows an obvious formula: a character gets famous fast, finds out that they’re in over their head, and must learn difficult lessons and have a redemption arc within the last act. With that said, Delia D. gets away with it, because it feels empowering to watch, and the titular Delia’s imperfect voice and questionable ego endear her to us. It may not be perfect, but it’s fun, it’s campy, and it’s a beautifully done homage to underdogs who have a dream.
The musical runs until June 8. Tickets, with prices starting at P1,000, are available via SM Tickets, Ticket World, HelixPay, and Newport World Resorts Box Office.
(Sgd.)
