Of pencils and oranges: A review of Terence McNally's 'Master Class'

By Philip Cu Unjieng

Published May 19, 2026 10:55 am   




Maria Callas was one of those larger than life figures who made an impact beyond the world of Opera, where the Greek-American first made a name for herself.

In today’s world of social media, La Divina, as Callas was known in music circles, would be famous for being shipping magnate Aristotle Onassis’ girlfriend right before he pursued (and married) Jacqueline Kennedy.

Callas passed away in 1977 in Paris, as a virtual recluse. But in 1971, with her voice practically gone, and in the twilight of her professional career, she gave a series of Master Classes at the Juilliard School of Music in New York City. The fact that she was conducting these Master Classes served as the inspiration for playwright Terrence McNally to write "Master Class," as a ‘what if we were a fly on the wall during these Juilliard sessions’?

Callas was notorious for being a diva, she was mercurial, imperious, and what we would call today, a ‘terror’. Could we match that image while showcasing her vulnerability, her life story, and the anguish and pain she would be experiencing at that stage in her life? 

The character study, "Master Class," premiered in 1995; and won the Tony Award for Best Play. It’s admired for its theatricality, and how it addresses themes of Art with the concomitant sacrifice and discipline; and chronicles the steep, uphill road to greatness - that many can aspire for, but only very few can attain. So, it was welcome news to have our Philippine Opera Company stage this very well-pedigreed drama once again. 

Directed by Jaime Del Mundo, and with Menchu Lauchengco-Yulo in the lead role of Maria Callas, the drama runs until May 30 at the Carlos P. Romulo Auditorium.

Supporting Menchu are Alexandra Bernas as Sophie, Arman Ferrer as Tony, Angeli Benipayo as Sharon, Nelsito Gomez as the Stage Hand, and Louie Oca as Manny.

Sophie, Tony and Sharon are the students who join the "Master Class," while Manny is the resident pianist who accompanies the students. 

The first Act is virtually a one-woman show, with Menchu firmly placing the audience - and the rest of the cast - in the palm of her hand. It’s masterful, it’s domineering, it’s subjugation; and we are willing, compliant acolytes. And I use the term acolyte because we literally enter this ‘Maria Callas Church’, and come out believers. That’s how entertaining, engrossing, and compelling this drama is. The lines are just wonderful, McNally has done his job, and its up to the cast to make the magic happen. 

Menchu interacts with the audience from the moment she makes her entrance. The ‘pencils and oranges’ phrase refers to when she was a 15 year old student of opera, and would always have a pencil on her for note-taking, and never have an orange because they couldn't afford it. So the pencil was an essential tool on her journey to artistic greatness, while the orange became a symbol for future success and financial stability. 

"Master Class" is a wonderful play to enter blind, as I did. I’ve read about it, but had never watched it, and the lines are magnificent. The interplay between her conducting a class and triggered memories are priceless, and presented with much drama. The shafts of humor are so engaging, like when she says, “When you’re fat and ugly, and I’m not saying you are…” Or when a student refers to contemporary Joan Sutherland, and gets a frosty reaction from Callas. And unlike other plays where so much is expended in the first act, then there’s a letdown in the second; this one kicks off on a sustained high note, and the second act only gets better. Book your seat, and be charmed by this production!  

A flock of sleuths: A review of 'The Sheep Detectives'

By Philip Cu Unjieng

Published May 9, 2026 06:36 pm   "The Sheep Detectives" is directed by Kyle Balda, who co-directed "Despicable Me 3" and two of the "Minions" movies. It’s that unexpected guilty pleasure, that’s best served with minimal of expectations. Really, enter the cinema without any pre-conceived notions of whether this film is good or bad, and you’ll be pleasantly surprised. It’s buoyed by smart anthropomorphizing of the sheep, the humor and light banter, and all mixed in with touchy-feely moments and feel-good sequences.

There’s a charm to the film that’s hard to resist, just don’t expect award-winning potential, or ‘take your breath’ away cinematic splendor - it has none of those; but it chugs along on it’s own bucolic and pastoral pace, and is blessed with some committed acting.

I say committed because it would be Hugh Jackman and Emma Thompson whose names one spies on the movie poster, and you’ll think they’ll carry the film - but Emma is more of a cameo, and Hugh is there more to set the tone, and convince us that we have not stumbled into the wrong movie house.

Jackman plays George Hardy, a shepherd in modern England; and he raises sheep only for their wool, not their meat. He’s super-attached to the sheep, and he lives in a trailer right there on the field.

George reads detective novels to his dearly loved flock, and what he doesn’t know is that they understand him, and have their own language - and they love him back. What the film does well is imbue each member of the flock with its own personality. Lily is voiced by Julia Louis-Dreyfuss, Mopple by Chris O’Dowd, and Sebastian by Bryan Cranston.

Set in the village of Denbrook, you’ll like Nicholas Braun as the local policeman, who is on the daft and simple, but well-meaning, side. Her appearance as Hardy’s lawyer is what Emma Thompson carries into the film, stamping it with a scene-stealing pedigree that only an Emma Thompson can create.

At its heart, this a crime-solving film that owes a lot to the Agatha Christie mysteries of yesteryear, and the more recent popularity of films such as "Knives Out." Here, the working concept is to blend such a film as "Death on the Orient Express," with "Babe." And if you’re one of those who rues the fact that "Babe" happened over thirty years ago, you’ll be engaged, and find yourself breaking into little smiles, throughout the film.

If I were to compare this film to a baseball game, this is one that doesn’t possess any home runs; but consistently comes up with effective base-running, and piles on the score so there’s more to like than dislike, when the end credits start rolling down.

"The Sheep Detectives" is showing now in cinemas.

 

By Philip Cu Unjieng

Published Mar 1, 2026 12:05 am | Updated Feb 28, 2026 04:25 pm

HEARD IT THROUGH THE GRIPE-VINE

The University of Santo Tomas Conservatory of Music celebrated it’s 80th Founding Anniversary in a wonderful manner the other weekend. Founded in 1946, right after World War II, the Conservatory’s current Dean, Professor Maria Alexandra Iñigo-Chua, PhD., was proud to open the evening with a few words on the first night of its staging of Rodgers & Hammerstein’s South Pacific at the Proscenium Theater, Rockwell Center. My most important takeaway from her speech was about the transformative and healing power of music - and that just as it was so important in 1946, as our country was in rehabilitation mode from the war, so it was important to have music in our lives today, during these troubled times that we face.

Directed by Paolo O’Hara, with musical direction by Daniel Bartolome; the cast was led by a vivacious Ciara Sotto as US Navy nurse Nellie Forbush. Jose Vera Perez took on the role of middle-aged French expatriate plantation owner Emile de Becque. The story takes place on an unidentified Polynesian island occupied by US forces during World War II. Besides the love story that develops between Forbush and widower de Becque, who has two children from a previous marriage to a Polynesian woman; there’s the other love angle between US Lieutenant Cable, and Liat, a native islander.

Curtain call of South Pacific, as presented by the UST Conservatory of Music, with Ciara Sotto leading the cast as US Navy nurse, Nellie Forbush, along with Jose Vera Perez, as Emile de Becque.

The reason I give that brief synopsis is quite simple. While most people of a certain generation, and those into musical comedy and Broadway shows will be very familiar with the songs of South Pacific; they may have forgotten how in 1949, when it opened on Broadway, it was considered highly controversial for directly confronting racism. The songs we all know include Some Enchanted Evening, Happy Talk, I’m Gonna Wash That Man Right Outa My Hair, Bali Hai, and Younger Than Springtime. Besides the two romantic narrative strands I mentioned, it was a lesser known song, Carefully Taught, that caught the ire of the conservatives and Southern states. That song’s lyrics basically said one wasn’t born ‘racist’, but it’s hard-wired into Americans as they grow up.

The Southern states voiced their opposition to the musical as Nellie Forbush proudly states that she is from Little Rock, Arkansas; and by the end of the musical, is ready to assume the role of stepmother to two Polynesian-French children. Their objections had to do with children of a interracial marriage now being mothered by a Southern belle. And of course, there was the issue of Liat becoming pregnant with Lt. Cable’s child.

Family support, from Ciara’s sister, MTRCB Chair Diorella Sotto-Antonio, and her father Senate President Tito Sotto.

And don’t laugh saying this is all ancient history, and merely reflects poorly in 1949. What’s happening in Trump America today with ICE, and even the social media furor over Bad Bunny performing at this year’s Super Bowl half time, shows us that today isn’t so far from 1949. That’s as sad an indictment of attitudes on race that prevail up to today.

Based on a James Michener book, South Pacific won 10 Tony Awards the following year of it’s debut on Broadway. So it’s definitely a wise choice by the Conservatory to stage it, as there is a relevance that’s hard to deny or ignore. While I’m certain the choice was made way before Bad Bunny performed on Super Bowl Sunday, it just goes to show how choices made can often be serendipitous, and end up looking like fate.

While this was my first time to watch Jose Vera Perez perform, I’ve watched Ciara Sotto in productions of Rent and Grease. To say she was a revelation here would be an understatement. I’m guessing she had a diction coach, as a Southern accent sprung out of nowhere; and I was not ready for a singing voice that would charm you out of your seat. More a member of an ensemble cast in the likes of Rent, it was great to watch her dedicated attack to this centel role of Nellie. Perez sounded to me like he specializes in light opera and Broadway songs, so he was a wonderful fit as well.

Thanks to the UST Office of Public Affairs, and to Micha Lagniton. She helped me secure seats for the performance, and was the first to greet me at the Proscenium Theater that Saturday evening. UST holds a very special place in my heart, as it’s been the site of two of our MB Sustainability Forum events. We began the Forum series four years ago, and thanks to the great work that the UST Office of Public Affairs does in terms of coordination and securing attendance for the Forum sessions, UST is one of the academic partner institutions that we at the Manila Bulletin are happy to call ‘home to the Forum’.

In fact, this April 30, our first Sustainability-related event for the year will be happening at the UST. Exploring and educating the youth on Sustainable Development has been so fulfilling with partners such as UST by our side.

Worlding Filipino imagination

By Philip Cu Unjieng     

The Philippine stand

With the rally cry of ‘Imagination Peoples the Air’, the Philippines opened the 2025 Frankfurter Buchmesse (Frankfurt Bookfair) on the evening of October 14, as this year’s Buchmesse’s Guest of Honor. As the world’s leading venue for printed and digital content, the annual event is where publishing experts and representatives of the creative industries, authors, journalists, and culture enthusiasts from around the globe gather to network, to exchange ideas, to negotiate and make decisions, and to discover and celebrate. There’s a little bit of everything during the Buchmesse, and this year was the fruition of a decade-old desire to see the Philippines take on the mantle of Guest of Honor.

Taking full advantage of this window to the international book community, the National Book Development Board of the Philippines worked hand in hand with Senator Loren Legarda to turn this year’s Buchmesse into a thrilling showcase of our literary diversity, of our creative voices, and our vibrant culture - across different forms and interpretations of what constitutes the Arts. To make all of what is cerebrally creative come to life in a physical manifestation of what is truly and uniquely Filipino, a colorful jeepney was even positioned on RoBmarkt plaza and transformed into a stage for encounters, cultural exchange, and workshops.

Sen. Loren Legarda

And at the massive Frankfurt Messe, where the Buchmesse is held, it would be fair to say that with the number of notable representatives of our creative industries who had flown in for the event; from Fiction and Non-Fiction authors, to publishers, to graphic artists and children’s books and Komiks writers, it became more a question of who had not showed up! It seems that no stone was left unturned in making this a glittering showcase of Filipino creativity and imagination, peopling the Frankfurt air.

Upon the invitation of the NBDB, I was fortunate to be among the handful of media representatives flown in for the Buchmesse, attending the Opening Night and the first day of the official Bookfair. Needless to say, the Philippines was making the most of the Guest of Honor status with a Philippine Pavilion where cultural performances and dialogues were scheduled throughout the day, with talks and lectures in the International Hall where the Philippine Stand was located, and with off-location activities - including a city tour that connected to Jose Rizal during his time in Germany, as led by Ambeth Ocampo.

The Manila Bulletin’s Yvette Tan, author and resource speaker at the Frankfurter Buchmesse

Manila Bulletin’s Yvette Tan was one of the authors flown in for the occasion, and she, along with Charlson Ong, led a discussion on The Chinese in Our Stories at the Philippine Pavilion, Forum 1. To make this both relevant and political, it was about integrating their Chinese ancestry in their writing, and how that has changed dramatically in the context of the ongoing West Philippine Sea dispute. I liked this connecting to geopolitical themes, as this territorial dispute is portrayed in Chinese media to the world as the Chinese ‘saving’ natural resources in the face of dynamite-fishing by Filipino fishermen.

Yvette would also be joining Dean Francis Alfar in a discussion on the very relevant topic of Speculative Fiction and AI Narratives. Known for writing about a technological future, these Filipino SciFi/Fantasy authors would be touching on the responsible use of AI in their creative output and the role it could play.

The world of Philippine Komiks

Over at Hall 5 and the Philippine Stand, one could not resist the symposium that was entitled "Philippine Comics at the Fair: A Tale of Many Pages," as it promised to unleash the raw, unbridled energy of Philippine Komiks, in all its forms and permutations. From satire, to superheroes, to love stories and heartbreak, to urban legends and monsters, to artistic depictions of the urban underbelly, and on to alternative universes - it seemed this was one rich avenue of possibility. The fervent hope is that our Komiks writers break into the mainstream to rival countries like Japan, which have made global industries out of their manga and anime. There was even to be a live drawing session by Ian Sta. Maria centered on the ‘Tikbalang in Frankfurt’.

‘What Moves Us’ Film and Literature: Tension and Translation was an engrossing presentation, with Angelo ‘Sarge’ Lacuesta and Tanya Yuson as resource speakers. Sarge talked about his short story "The Errand," its transition to a Cinemalaya film, and how it was shown at the Rotterdam Film Festival earlier in the year. Tanya Yuson is an international film producer whose anime series "Trese" is on constant rotation globally on Netflix. While Sarge was direct and honest about being protective of his short story, and ending up as producer of the film to ensure it’s proper ‘rite of passage’ to feature film, it was endearing to hear a German media person pipe up and enthusiastically ask Tanya if there was a Season 2 for "Trese" in the works.

NBDB’s Charisse Aquino-Tugade

Consul General in Frankfurt Ivy B. Abalos and Ani Risa Almario of Adarna House

NCCA’s Ino Manalo, National Museum’s Jeremy Barnes, and NCCA’s Eric Zerrudo

Xandra Ramos-Padilla, National Bookstore

What was particularly revealing was a tour we were given to one of the top floors of the Frankfurt Messe. As our guide explained, this was the real nerve center of the Bookfair. It was row after row of small tables where agents and publishers would meet to negotiate on global translation rights and representation. This was far from all the cultural presentations, author appearances, and symposiums going on downstairs. This is where the money is being made, and where deals are struck. In fact, the guide was frank enough to say that the Frankfurt Buchmesse is not so much a book fair for authors, as it is known for being one for agents and author representatives striking agreements on rights and multiple deals.

National Artist Virgilio Almario (center), with fellow poets Mookie Katigbak-Lacuesta and Paul Acoseba Castillo

This Frankfurter Buchmesse is truly about ‘worlding’ Filipino creativity and imagination, in the supreme hope of monetizing this, and making our creatives be recognized, and earning for their talent and gifts. We often wonder why there are waves of interest globally for authors coming from a particular country or region - like how there’s been acclaim and popularity for writers from India, stretching from the time of Salman Rushdie, Amitav Ghosh, and Vikram Seth, to today, and the likes of Kiran Desai, Arundhati Roy, and Aravind Adiga.

From Claude Tayag’s post, Lexi Schulze, and the author

And really, why not a similar wave for Filipino writers and creatives? And why can’t it be led by our Komiks writers and artists? It’s whatever gets us on the map, and if this Buchmesse participation as Guest of Honor was one step to making that dream a reality, then I’m all for it and throw my full support to the endeavor. I’m just praying no stone is left unturned in making this happen, and the serious business of making deals is also happening!

The NBDB has played its part in making the Philippine participation this year a noteworthy and memorable one. The creatives did their part in showing up and turning the Bookfair into a Filipino ‘fiesta.’ So we can only hope that their representatives and publishers have also done their homework, and will give our Guest of Honor status the ROI (Return On Investment) it deserves.

'Birit' is back: The Bodyguard, The Musical

By Philip Cu Unjieng

Published Oct 2, 2025 12:10 am | Updated Oct 2, 2025 08:15 am

The cast of 'The Bodyguard, The Musical'

9Works Theatrical Production introduces the public to the Proscenium Theater at Rockwell Center, Makati, via a nostalgic musical romp called The Bodyguard, The Musical. Inspired by the 1992 film that starred Whitney Houston and Kevin Costner, the musical has a Book by Alexander Dinelaris. It is directed by Robbie Guevara, with Musical Direction by Daniel Bartolome. It runs until Oct. 19, so book your tickets for this veritable memory-laden sing-along.

The musical stars Filipina Christine Marie Allado, who has established a name for herself in the West End of London. She was Peggy Schuyler in the award-winning production of Hamilton: An American Musical, and portrayed Vanessa in the West End production of In the Heights.

Playing the title character is fellow West End regular Matt Blaker, who has been in the productions of Phantom of the Opera and Jersey Boys. Here in The Bodyguard, Allado takes on the role of Rachel Marron, while Blaker is Frank Farmer.

The likes of Sheena Palad, as Rachel’s sister, Nicky, Elian Santos as Rachel’s son, and Giani Sarit, CJ Novato, Tim Yap, and John Joven Uy are among the many who support the two main characters. It’s a tight-knit cast, and as in the hit movie, it’s all about a former Secret Service agent turned bodyguard, hired to protect superstar Rachel Marron from a mystery stalker.

The book of this musical, I have to admit, leaves nothing much for those who have already watched the film. The scenes aren’t much more than devices strung along to bring us to the next song, the following production number. And that is for me the letdown in this musical adaptation. It really relies too much on the singing and belting of ‘birit’ tunes to turn the performance into a success.

Fortunately for us, Christine Allado is a genuine powerhouse, keeping the audience entranced and hanging on every note. Matt Blaker acquits himself well, proving he can sing and move with the best of them when given the opportunity. Sheena Palad, as Rachel's sister, also has a great set of pipes, and when the two sisters come together for one show-stopping production number, we are truly amazed. In the old days of Filipino musical acts, it would be like putting Regine Velasquez and Lani Misalucha on one stage, singing a song together.

The best scene for me would be the one in the karaoke bar. It’s genuinely funny, and the comedy and lightness are sustained. It’s a setting where you actually feel bad to leave, as you're having so much fun. Most of the other scenes are merely filler for the next song, a costume change, or a stab at drama. And I’d blame the material itself.

Still, the songs are without question the reason you bought a ticket to this show, and you won’t leave disappointed. It’s a true crowd-pleaser, and I won’t be surprised if there’s an extended run for this musical. Nostalgia, Whitney, The Bodyguard, and great singing - what more could you ask for in a musical? I was waiting for Tim Yap to belt out a tune, too!

The perfect band-aid: 'Walang Aray'

 

By Philip Cu Unjieng

Published Sep 8, 2025 01:45 pm   

With a run at the PETA-PHINMA Theater that lasts until Oct. 12, you have no excuse for not catching this wonderful third iteration of "Walang Aray!"

Jun Reyes, founder of Indie Go Media and legendary commercial director, first commissioned playwright Rody Vera to modify and make ‘hip’ the original classic zarzuela Walang Sugat, which was written by Jun’s great-grandfather, Severino Reyes. Conceptualized as a screenplay in 2007, PETA suggested adapting it for the stage in 2018, with the addition of original music by Vince Lim. Directed by Ian Segarra, Walang Aray returns after a highly acclaimed 2023 run, with tweaks here and there, from casting choices to additional topical lines, that make this a fresh and vibrant viewing experience.

I have enjoyed Into the Woods, am ready to watch The Bodyguard, but as a Filipino, you really owe it to yourself to make Walang Aray your must-watch. And I’m saying this in the context of being Filipino, and not just because you’re a Filipino theater fan. It’s Philippine history, it’s issues of the present day, it’s side-splitting comedy, it’s brilliant music, it’s teleserye country, it’s constant breaking of the 4th wall, and pithy satire - all couched under the guise of an updating of the zarzuela genre. There’s genuine alchemy in how Vera’s book is merged with Lim’s songs and sifted through Segarra’s deft directing, conjuring up these magical two and a half hours of sheer theatrical havoc and fun!

Ice Seguerra taking his bow.

With most of the action set in a late 19th-century Manila theater where the zarzuelas would have been staged, our main protagonists are the singing star Julia and the man who is courting her, Tenyong. Then there’s Julia’s mother, Juana - the stage mother from Hell; and there are Monica and Lucas, the help of Julia and Tenyong. Other main characters include the rich theater benefactor Tadeo, with his shifty son, Miguel; and the shadowy Padre Alfaro, a villainous Friar. The different locations have connections to the impending Revolution, and are where the Katipuneros would congregate.

So, yes, if you want to call this our Hamilton, I’m not going to argue with you as long as it gets people to rush and get their tickets. Besides, it’s so much funnier than Hamilton, and there are actually more memorable songs. Lim successfully explores pop, the blues, rap, and ballads in the course of this musical. And you’ll love how, in true PETA fashion, there are no ‘sacred cows’ in the book's attack - jibes at the Church and Governor are expected. Still, Vera also pokes fun at his own heroes and their foibles, as well as questioning the Katipuneros and their motivation and resolve. Wonderful to see everyone being satirized.

Jolina Magdangal as Juana.

On the night I watched, the performers were a shout-out to inclusivity and trans-presence. Lance Reblando took on the role of Julia, while Ice Seguerra was Lucas. Jolina Magdangal portrayed Juana, Gio Gahol was Tenyong; and with Roi Galilong as Padre Alfaro and Bene Manaois as Miguel, there were more precious comedic moments than there are stars in heaven.

I watched with some friends from the French Embassy, and thanks to the subtitles flashed on two discreet screens, they could follow the action and storyline. It was their first experience of Filipino musical comedy, and they loved the energy, the singing, the breaking of the 4th wall, and the political overtones. They weren’t getting all the jokes, conscious that others were laughing around them when throw away lines referring to sabungeros and flood control were uttered; but they were all smiles when we left the theater.

To be critical, the second half doesn’t work as well as the first half, and there is the classic quandary of a somewhat abrupt resolution to bring things to a close - but these are very minor qualms. By and large, this is a theater experience that we should all enjoy and spread the word about. Original Filipino material, a musical that works, and satire that succeeds - it’s guaranteed fun, and given the current state of the world, we deserve the break.

A 'from clasico to cuvee' evening

By Philip Cu Unjieng

Published Sep 5, 2025 10:55 pm   

A grand wine masterclass with Vega Sicilia and Macan wines was the fetching promise offered up by The Cellar at the Grand Hyatt. Ironically found on the second level of the BGC hotel, the watering hole is known for its solid and inviting interiors, and the Mediterranean-inspired menu, with a slant toward Spanish and French cuisine.

Cesar Roman and Ignacio de Mora

On the evening of the From Clasico to Cuvee launch, collaborator Txanton had put together a toast to Spain, with a guided masterclass of the heritage, nuance and bold expression of the vineyards of Macan and Vega Sicilia. Mr. Ignacio Calvo de Mora, the general manager of Macan, and Mr. Cesar Roman, regional manager for Tempos Vega Sicilia, were on hand to conduct the masterclass, and regale us with stories on the provenance of the two powerhouse wine brands.

The Jamon Iberico.

The special launch that had special guests of the hotel, and representatives from media, highlighted four of the estate’s wines: the Macán Clásico 2021, the Macán 2020, the Macán 2018, and the Macán 2014. The wines and the pairing of Messrs. de Mora and Roman represented the visionary partnership between Bodegas Benjamin de Rothschild and Vega Sicilia.

Besay Gonzalez of Txanton and Mark Hagan of the Grand Hyatt welcoming the guests

To complement the heady wine selection, we had live carving of Jamón Ibérico de Bellota by Txanton’s master carver, plus canapés from Diorella Ong, the Cellar’s chef de cuisine. Grand Hyatt’s F&B director Mark Hagan was our congenial host and kicked off the evening, before attending to the other major events happening at the hotel that evening, which included a Metrobank anniversary with more than 2,000 attendees.

The Jamon Croquettas and Cesar Salad

The pinxtos that accompanied our wine tasting truly enhanced our taste buds, adding to our appreciation of the estate’s products. First up were the Jamon Iberico croquettes topped with tomato chutney, and a wedge of Cesar salad, baby gem lettuce with idiazabal cheese, egg yolk confit and Jamon crumbs. I especially liked the tomato chutney garnishing on the croquette and how it rebooted our expectations of what a Jamon croquette would taste like.

Clockwise from top left, Boquerones, rib-eye, goat cheese, and pork belly

The next set of pinxtos was the quartet of the goat cheese with figs compote, the boquerones of marinated anchovies in vinegar with roasted piquillo pepper and olive oil, the pork belly with romesco sauce, pickled onion and chili, and the grass-fed rib-eye with chopped mushrooms and custard yolk. The goat cheese with figs, which I’m always partial to, would be my favorite among the four.

A main course of chicken and chorizo paella, accompanied by peppers, saffron, paprika and lemon, followed. Bringing the night to a close was the burnt Basque cheesecake with raspberry compote. You’d know what these dishes look like, so I did not bother with photos. I commend the generous serving of raspberry on the cheesecake, and how it added to our enjoyment.

Technically, I’m allergic to alcohol, so I could only sip the wines. But in terms of bouquet and flavor, I would recommend you join this masterclass while it’s still being offered, if only for the Macán 2014. The deep garnet color, the aromas of dark cherry, tobacco leaf, earthy spice and herbs are quite distinct, and make your head swim in a good way.

Had a wonderful evening, met some great new people, and I thank Francine Arias, director of marketing communications of the Grand Hyatt, for the invitation.  

Our hospitality industry, where it's heading!

 

By Philip Cu Unjieng

Published Jun 15, 2025 12:05 am

The HSMA, an association of hotel sales and marketing professionals, will be holding their third Sales and Marketing Summit this June 19, at the City of Dreams (COD) Grand Ballroom. Having attended the two previous iterations, I’m certain it will once again be an illuminating “snapshot” of our hotel industry – with speakers and panels discoursing on where the hospitality industry is headed, what improvements are needed, and what roadblocks still persist.

Entitled “Leading the Shift: Redefining Sales and Marketing for the Next Generation,” the media gathering held the other week was the HSMA’s teaser of what to expect, and why this emphasis on the next generation. Foremost in the mindset of the organizers was the recognition that the composition of the present HSMA Board are primarily filled with “veterans” and long-standing luminaries of the industry. While that is fine and good, the issue of succession, of enabling the next generation of leaders, has become a pressing concern. Plus, it is about making the Summit relevant to the younger HSMA members, who now make up the majority of the Association’s membership.

It’s about embracing innovation, and creating future-ready teams. It’s about seeking solutions from fresher minds, and new voices. The figures of our inbound foreign visitors for the first four months of 2025 remain sluggish, to say the least. We are tracking 2.1 million visitors for January to April. And to put it into perspective regionally, Vietnam had 7.6 million visitors for that same period, and Thailand 11.3 million. So you can’t pull out the “coming back from pandemic” excuse; and we have to face the reality that winning Best Dive Destination, Best Beach Destination, and all the awards we’ve collected over the years, have still not translated into a sudden upsurge in foreign visitors.

The visitors who come do spend when they’re here; and generally, are all praises for the Philippine experience. So I do hope the Summit will come up with an analysis, and some answers/solutions, on why we still get “trickles,” and what we should do to change that scenario. While one eye should be set on the long term, and most definitely include infrastructure issues and concerns; given the vital role tourism plays in our national development, some “quick fix” measures can be proposed and adapted. Otherwise, we’re looking at a hospitality industry and tourism sector that will remain too dependent on the domestic market, while we enviously cast our eyes at our ASEAN neighbors.

Nice to note that Manila Hotel’s Kim Tan is on a panel to be moderated by Jenny Santillan, HSMA Director of Programs, and Director of Sales & Marketing, City of Dreams.

Nice to note that Manila Hotel’s Kim Tan is on a panel to be moderated by Jenny Santillan, HSMA Director of Programs, and Director of Sales & Marketing, City of Dreams.

As it is, the one-day summit is packed with potentially illuminating dialogues and discussions. The Impact of Government Policies on the Hospitality Business is one such talk, and between the DOT, the DILG, the Department of Transportation, and even the DICT; it’s easy to observe that their policies impact on tourism and hospitality. Channel Management and Distribution Strategies should bring out experiential best practices, and how the Summit can act as a sounding board for adapting new strategies, and optimizing efficiencies in the industry.

Then there’s Revenue Optimization and AI Driven Marketing. This should be especially useful for those ready to embrace AI and technology, while appreciating how tenure, experience, and the human touch are still irreplaceable. There’s Leadership Development for the Next Generation of Professionals, and this echoes the growing concern about succession. Building Meaningful Industry Relationships that Drive Conversions is one broad topic, and would emphasize how the industry has to work as a community, and not so much as competitors. I’m sure Online Travel Agencies (OTA) will be called on as resource speakers; as globally, it’s impossible to ignore the reach and business generated by the OTAs.

“The HSMA Summit is where industry leaders and rising stars come together to shape the future of Philippine Tourism. The next generation of sales and marketing professionals must attend; not just to learn, but to lead. This summit gives them the tools, insights, and inspiration they need to thrive in a rapidly changing world,” says Loleth So, HSMA President, and Group Commercial Director of MEGAWORLD Hotels and Resorts.

Two other major activities of the HSMA each year are their September Online Sale, and the Virtus Awards. The Online Sale is a nationwide travel fair that’s popular for offering the best deals for accommodations. The Virtus Awards is the HSMA honoring their own, recognizing deserving individuals and stellar marketing campaigns.

Thursday, June 19 is the date; and there’s a discounted registration fee for HSMA members, while non-HSMA individuals can also attend. Just visit the HSMA official FB Page and Instagram account for details. It promises to be a lively discussion; with a ton of learnings offered up by those who are at the front line of the hospitality industry.

Happy Father’s Day!

When is a film festival successful?

BY PHILIP CU UNJIENG

Mar 16, 2025 09:58 AM 

HEARD IT THROUGH THE GRIPEVINE

Cannes, Berlin, Venice, and Toronto – these are considered the big four film festivals; and what’s important to note, is that the awarding, gala nights, and celebrity sightings are just the public face of these festivals. What truly drives these festivals are the deals, the negotiations, the distribution and/or co-producing agreements, that are threshed out in private meeting rooms, and at behind the scenes tableaus. These are the real lifeblood of any decent festival that’s out to make its mark, because the festival should be the medium to conduct and achieve business goals. If not, what are the metrics for deciding whether a film festival was worth mounting, or can be called an unqualified success?

I’ll be honest, these thoughts ran through my mind as I saw the social media feeds of the many who attended the recent Manila International Film Festival in Los Angeles last week. It preyed on my mind because the photos were all glam and happy faces, and uniformly, they were shots of the Filipinos who had travelled to join our First Lady, and the “usual suspects” of Filipino-Americans and Canadians who call Hollywood home – from Tia Carrere (a blast from the past), to Apl.de.ap, Manny Jacinto, and JoKoy. It was “dinner hosted at the residence of…,” Gala dinner at the Beverly Hilton, and “the premiere screening of…” – in short, the shiny tinsel and glittery sequins that accompany these festivals. 

MIFF BIG WINNER Song of the Fireflies, and I’m praying it has secured a global distribution deal, or is in the process of doing so.

And so, I was looking for the “meat and potatoes” photos that would point to how gears and wheels were grinding and turning, to address the business side of festivals. Photos of the bigwigs of the major Hollywood studios, executives of the new players like streaming giants Netflix, Disney, Apple, HBO Max, and Amazon, heads of the dominant talent agencies, of movie brokers who could forge distribution deals for our Filipino films. To prove to me that connecting with trade was happening. 

Sure, one would have to caption each of these photos to identify these “players,” but at least I’d know that the effort was successfully made to bring these Hollywood movers to our Filipino celebration – the second year this particular festival is happening in Los Angeles. For me, it would be proof that we weren’t just turning the weekend into a giant Filipino party – which I know we would be great at mounting, but misses the point. 

Who did I see on the MIFF social media posts that wasn’t Filipino (or Fil-Am), and could be relevant for these business metrics I’m harping on about? There’s David Shim, a Korean movie producer, who lists Oscar-winner Parasite among his credits. He spoke about current projects that he’s involved in here in Manila; and has been throwing his support to our First Lady Liza A. Marcos and our local film industry, since April of last year. So the current MIFF was not our introduction to David, and he’s not a new contact.  

THE POSTER for the MIFF Gala Night. Wondering how many seats/tickets were purchased. 

Author Kevin Kwan of Crazy Rich Asians was in several of the feeds, and it’s nice to see he was around, showing his love for things Philippine. But does he qualify as “trade”? I don’t think so.

The Philippines as a film location site, signed co-productions, international distribution deals for our films, or global representation for some of our creative talents – in my estimation, these would be the low-hanging fruit that a legitimate and successful Festival should generate. Am I asking for too much? I really don’t think so, as we constantly turn green with envy watching what happens elsewhere and nearby, and then sour-graping. 

Who is watching The White Lotus Season 3, as filmed in Bangkok, Phuket and Koh Samui; and isn’t internally wishing it was shot at Boracay, Coron, or Siargao? Thailand already leads ASEAN countries in foreign visitors, so you can imagine how this will only further boost their Tourism figures over the next two to three years, minimum. 

And we’ll say our beaches are nicer, our people friendlier, plus we speak English – and I keep saying that last argument of speaking English should be thrown out the window forever. For several decades now, it’s something we keep bringing up when it’s obviously not the deciding factor for direct foreign investment, or for decisions like where to shoot The White Lotus. 

Please don’t call me a party-pooper or killjoy for today’s column. I know money is being spent to make this festival happen, and I do want it to work – but I also want it to work along specific business parameters and goals; and not just making it a weekend of Hollywood happiness for the Filipino community of Los Angeles, and a La La Land adventure for those who flew in from Manila. Those should be the bonus values for mounting the festival. 

Just saying… as it would be such a waste of time and effort to have our First Lady supporting this initiative, and not producing substantive results. Let me know “good” things were happening in LA, and I’ll be the first among those shouting it from the proverbial “top”!

Creating the Filipino book experience

Presenting the Philippine Book Fair's opening day

BY PHILIP CU UNJIENG

Mar 13, 2025 06:56 PM

  

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With the battle cry of ‘It’s Not Just a Book Fair, It’s a Book Experience’, the Philippine Book Fair was launched March 13, and will run until Sunday, March 16. Mounted by the National Book Development Board, the Board’s Chairman Dante Francis Ang II, and Executive Director Charisse A. Tugade, welcomed the guests, participants, stakeholders, and publishing companies, to the grand opening ceremonies.
 

NBDB executive director Charisse A. Tugade 

Maria Karina Bolasco

 

Xandra Ramos of National Bookstore

 

NBDB chairman Dante Francis Ang II with Stephanie Zubiri

 

Andrea Pasion-Flores and National Artist Ricky Lee

The kickoff program was an exciting showcase of literature turned into a performing art, and it worked well in the transition; the audience appreciative of the performances. Present during the launch event were National Artist for Film and Broadcast Arts Ricky Lee, Maria Karina Bolasco, and Milflores publisher Andrea Pasion-Flores. Exec. Director Charisse Tugade provided the inspirational words, recounting the Board’s recent accomplishments and how they’re staying true to the mission vision.
 

WELCOME READERS The Manila Bulletin in attendance at the Philippine Book Fair

Aral Aklat, Kid Lit, Komiks, and Booktopia were the four main sections of the Fair; and on the first morning, the Fair was a truly well-attended affair. Head to the Megatrade Hall at Megamall to enjoy an encounter with Filipino creativity and literature.