REVIEW: Much turbulence in ‘Going Home to Christmas’

REVIEW: Much turbulence in ‘Going Home to Christmas’

When we say Filipino Christmas, it conjures up specific elements. Unlike white Christmases, for example, ours is full of lights, inexorably linked to being surrounded by a plethora of family. There’s the manger, (more than Santa and his elves) the parol, young carolers singing with their tinny voices, droves of the devout attending Simbang Gabi. Of course, there’s also the dulcet tones of Jose Mari Chan singing ‘whenever I see girls and boys, selling lanterns on the streets…’

These hallmarks put most Filipinos in a Christmasy and warm mood, making one feel that it is indeed December and there is much to celebrate.

Repertory Philippines’ latest production, Going Home to Christmas, is its Christmas offering and also its first jukebox. Apart from it being a Jose Mari Chan musical (who is as indelible to Filipino Christmas as asking your errant ninongs and ninangs for aguinaldo), the show itself isn’t very Christmasy. 

Filipino, actually

Trading the warmth and color and holiday mess of a truly Filipino Christmas, Going Home is instead set in NAIA of all places (and all of an airport’s sad and stressful chaos), bringing to mind a cutesy ensemble romcom Richard Curtis might write than anyone closer to home.

Written by Robbie Guevara, Luna Griño-Inocian, and Joel Trinidad, the musical weaves together multiple storylines in the style of ensemble romantic comedies like Love Actually. The various narratives include a father-son duo dealing with holiday grief, overseas Filipino grandparents introducing their grandson to Philippine traditions, flirtatious baristas pursuing flight attendants, a long-married couple attempting to rekindle their romance, airport carolers, and a long-distance relationship maintained through role play. 

These characters and their stories are all consistently upper-middle-class, from the couple about to go on a transatlantic cruise to the well-connected carolers who will happen upon talent scouts.. The stories here feel removed from the typical Filipino Christmas experience, presenting what feels more like a Westernized and romanticized airport comedy transplanted into a local setting. Even the baristas are ‘burgis-coded’ with accents one might hear in Katipunan or Taft.

More to Jose Mari Chan

While the book felt like a departure from a more recognizably Filipino Christmas story, Ejay Yatco’s musical arrangement and direction does well to bring Chan’s music to the audiences. His work here successfully showcased even the singer/songwriter’s other well-known less Christmasy hits like “Can We Just Stop and Talk Awhile” and “Beautiful Girl” showing that there’s more to the man than “Christmas In Our Hearts”.

Curiously, the production makes several jokes about how overplayed “Christmas in Our Hearts” is–an odd choice for a show meant to honor Chan’s legacy– though the composer himself, present in the audience, seemed to take it in good spirit.

Uneven ensemble

Among the large ensemble, several performances shine through. Carla Guevara Laforteza delivers in the production’s strongest segment as Pat, bringing depth and authenticity to her role as a cabin crew supervisor navigating a long-distance relationship. Her storyline, shared with Noel Rayos, represents the show’s most cohesive marriage of direction, performance, and musical elements. Even if the role play element felt like a bit of a stretch.

Neo Rivera and Justine Narciso bring welcomed charm to their roles as young lovers, with Narciso particularly impressive as the cutesy Bisaya, Raya. Meanwhile, Floyd Tena’s rather joyless performance as JR, while perhaps intentional, adds to the production’s emotional distance. 

The subplot involving Tena’s character’s holiday grief feels clichéd and preachy especially as Mayen Bustamante-Cadd’s character sings “Christmas in Our Hearts” with heavy-handed religious messaging as a way to remind Tena and audiences belatedly that the season is about Jesus.

Rafael Jimenez and Davy Narciso provide some entertainment value as the pursuing baristas, while Krystal Kane stands out among the performers for her subplot. Neomi Gonzales and Lorenz Martinez offer perhaps the most relatable Filipino characterizations as the long-married couple. 

Unfortunately, other performances and storylines fare less well, particularly the awkward and poorly written elf carolers, which feels forcibly inserted to add holiday spirit. Their story were not helped by Julia Serad’s uptight elf and the comic relief talent scout affecting an exaggerated accent for easy laughs.

Needs more warmth

Ohm David’s airport set design works with its suggestion of NAIA’s panel windows and the occasional colorful kiosk set pieces but contributes to the production’s overall sterile feeling, lacking the warmth typically associated with holiday productions. 

Hershee Tantiado’s costumes does effectively give the characters more personality through their fashion while maintaining realism, particularly in the airline and barista uniforms, though Christmas elements are minimal except for the elf carolers’ outfits.

First-time director Jeremy Domingo’s staging rarely transcends the material’s limitations, failing to inject the necessary warmth and authenticity into the proceedings. The result is a production that, like its airport setting, feels transitory and emotionally distant. 

Going Home to Christmas demonstrates that having Jose Mari Chan’s music and a holiday setting isn’t enough to create a truly Filipino Christmas musical experience. The production’s bourgeois sensibilities and lack of emotional resonance leave audiences with a show that, while occasionally entertaining, misses the true spirit of the season it aims to celebrate. 

 

Tickets: Php 2060 – Php 4120
Show Dates: Nov 29 – Dec 15, 2024
Venue: Carlos P. Romulo Auditorium, RCBC Plaza, Makati City
Running Time: approx 2 hours (w/ 10 min intermission)
Company: Repertory Philippines
Creatives: Jose Mari Chan (music & lyrics), Robbie Guevara (book), Luna Griño-Inocian (book), Joel Trinidad (book), Ejay Yatco (musical arrangement 7 musical direction), Jeremy Domingo (direction), Ohm David (set design), D. Cortezano (technical director), Franco Ramos (choreography), Hershee Tantiado (costume design), GA Fallarme (projection design), Meliton Roxas Jr. (lights design), Aji Manalo (sound design), Davidson Oliveros (dramaturgy), Julia Pacificador (property design)
Cast: Carla Guevara Laforteza, Lorenz Martinez, Noel Rayos, Neomi Gonzales, Floyd Tena, Mayen Bustamante-Cadd, Neo Rivera, Justine Narciso, Carla Martinez, Alfritz, Roxy Aldiosa, Allan Dale, Johann Enriquez, Naths Everett, Juancho Gabriel, Sean inocencio, Rafael Jimenez, Gary Junsay, Krystal Kane, Sheena Lee, Davy Narciso, Pappel, Maron Rozelle, Basti Santos, Julia Serad, Zid Yarcia, Mika Espinosa, Onyl Torres