REVIEW: ‘Side Show’ walks a theatrical tightrope

REVIEW: ‘Side Show’ walks a theatrical tightrope

The Sandbox Collective’s staging of Side Show, directed by Toff de Venecia, is a bold, visually inventive, and thematically loaded production. Its creative ambitions are evident from its opening moments, yet the overall experience can feel muddled, despite clear stylistic flair. Amid uneven execution, some performances do stand apart, anchoring the show and offering the emotional truth the production occasionally struggles to capture.

Step right in

Side Show, with book and lyrics by Bill Russell and music by Henry Krieger, follows Daisy and Violet Hilton, real-life conjoined twins who became famous vaudeville performers in the 1930s. Exploited first as circus attractions by the manipulative Boss (Jon Santos), they are discovered by talent scout Terry Connor (Reb Atadero and CJ Navato alternating) and performer Buddy Foster (Tim Pavino and Vien King alternating). Their rise to fame brings dreams fulfilled and broken hearts, climaxing in a harsh reckoning with fame, love, and their unbreakable bond.

De Venecia’s direction certainly does not shy away from big swings. Choosing to mount a version of the 1997 production, (as opposed to the 2014 revival that Atlantis mounted in 2018) he opens the show with a montage evoking global political violence—seeking to parallel contemporary marginalization with Daisy and Violet’s exploitation. Yet beyond this opening, explicit political commentary largely disappears, replaced instead by a thematic allegory centering queer love or love that is considered outside societal norms and societal anxiety around difference.

Feast your eyes

Stylistically, de Venecia uses live filming and projections, streaming some scenes onto screens in real-time. It’s visually striking when successful, but unfortunately, the technology proves inconsistent—at times choppy to the point of incoherence, at others simply failing to work altogether. The ambitious concept occasionally collapses under its own technical weight.

Mark Dalacat’s alley-style set design effectively immerses audiences into the world of a traveling sideshow. Seating on two sides creates an intimate, circus-tent feeling, heightened by mirrored set pieces that occasionally reflect the audience itself, cleverly implicating spectators in the narrative of spectacle. Lighting by Gabo Tolentino capably supports this, spotlighting characters literally and figuratively at key narrative moments. Carlos Siongco’s costumes generally evoke the era effectively, despite minor anachronisms, notably a modern motorcycle helmet inexplicably worn by Boss in Act 2.

Main acts

Performances across the board are solid, though some clearly stand out. The alternating pairs portraying Daisy and Violet—Marynor Madamesila with Tanya Manalang-Atadero, and Krystal Kane with Molly Langley—each offer effective portrayals. Tanya’s nuanced portrayal of Violet and Marynor’s comedic touch as Daisy notably capture their characters’ differing personalities clearly. Their Act I finale “Who Will Love Me As I Am?” delivers one of the show’s strongest emotional moments.

In supporting roles, Reb Atadero brings depth and complexity to Terry Connor. CJ Navato, in the same role, gives a slightly mannered performance. Tim Pavino convincingly embodies Buddy Foster’s evolving emotions. Vien King, though visually fitting the same role, somewhat struggles to fully capture Buddy’s skittishness and inner turmoil.

Joshua Cabidalas gets his tragic romantic featured role turn as Jake in this production and delivers with much aplomb. Marvin Ong in the same role, however, might have given one of the year’s best performances. Ong’s powerful, emotionally resonant take on “You Should Be Loved” is nothing short of stunning, bringing genuine heart and profound vulnerability to the stage. His Jake emerges as the emotional anchor of the show, so powerfully rendered that it evokes a Phantom-like gravitas.

Jon Santos delivers an entertaining, flamboyant, storybook-like Boss, channeling characters reminiscent of the Emcee from Cabaret or Beetlejuice. Though his role diminishes narratively, his myriad roles become symbolic of exploitation, sometimes to great effect in the show especially towards the end.

Walking a tightrope

Ejay Yatco’s musical direction ensures strong vocal performances from the cast, despite persistent audio challenges at Power Mac Center Spotlight, which as in Sandbox’s previous production, they still struggle to fully overcome. JM Cabling’s choreography further enhances the circus aesthetic effectively, even though it doesn’t necessarily deepen thematic or character elements significantly.

Russell and Krieger’s original version of the story emphasizes emotional stakes rather than biographical detail, with its bleak yet harrowing conclusion underscoring the high cost of Daisy and Violet’s dreams. While the themes of exploitation and longing strongly resonate, notions of belonging and identity feel less clear. By juxtaposing the twins’ exploitation with contemporary political oppression through the opening video montage, de Venecia’s framing device ultimately muddles rather than clarifies, glossing over significant political nuances.

Ultimately, Side Show emerges as an intriguing, risk-taking production that often captivates visually, even if uneven in its storytelling and thematic execution. The lasting impressions come from its occasionally overambitious directorial choices that does make for an interesting night at the theater. The show may not offer groundbreaking new insights into marginalization, but it certainly provides theatrical flair and emotional resonance in its best moments.

 

Tickets: Php 2500 – Php 2900
Show Dates: July 26 – August 16
Venue: Power Mac Center Spotlight, Circuit, Makati
Running Time: approx 2 hours and 40 mins (w/ 15 min intermission)
Company: The Sandbox Collective
Creatives: Bill Russell (book & lyrics), Henry Krieger (music), Toff de Venecia (director), with Ejay Yatco (musical director), Mark Dalacat (assistant director and set designer), Carlos Siongco (costume designer), Gabo Tolentino (lighting designer), JM Cabling (choreographer)
Cast: Marynor Madamesila, Tanya Manalang-Atadero, Krystal Kane, Molly Langley, Reb Atadero, CJ Navato, Tim Pavino, Vien King, Joshua Cabiladas, Marvin Ong, Jon Santos, Arion Sanchez, Chan Rabutazo, Fay Castro, Daniel Wesley, Ian Hermogenes, Mikee Baskiñas, Pamela Imperial, Pappel, Raflesia Bravo, Red Nuestro, Reine Paisley, Rhap Salazar