HERE LIES LOVE

Review by Celia Ipiotis

Time to party with the Marcos family. Representing change and self-reliance, President Marcos (Jose Llana) scaled the political ladder gilding it with his wife’s beauty and ambitions.

Set in a disco of dreams and exile, Here Lies Love speeds through a compendium of Filipino history during Ferdinand Marcos’ reign from 1965 to 1986– a time when he ruled as a “constitutional authoritarian” and imposed martial law between 1972 and 1981. The attractive and enterprising Imelda Marcos’ (Arielle Jacobs) spectacular rise alongside her husband’s  ascent to  the pinnacle of Philippine politics is shaped by a storyline of adulation soured.

Intent on escaping a lower class life for more glamorous realms, she wins beauty contests and maneuvers to be noticed in powerful circles. All this action transpires inside a sound and movement casement forged by David Byrne, Fat Boy Slim, Annie-B Parson and Alex Timbers. A long time Byrne collaborator, Parson mates the movement to the music and Timbers animates the full immersion theatrical romp. 

The all-embracing set by David Korins mobilizes large rectangular platforms on wheels dislodging audience members who follow the action as if performing a massive bunny hop. Other members of the audience sit above in a horseshoe shaped balcony. But the dancers and ensemble members easily slip from downstairs to upstairs preening and shimmying within inches of your face. Positioned in the balcony, a sharp DJ (Moses Villarama) spins the tale and scratches in the details of a colorful couple out to win the world–a time when their influence shines mightily over the Philippines. 

When Here Lies Love opened at the Public Theater, I was in the audience, eagerly following the platforms from side to side, craning my neck to catch the singers and dancers on either side. This version at the Broadway Theatre, with its all Filipino cast, feels tighter, more focused, more intense and more fun.
By harmoniously synthesizing snazzily pedestrian moves in lock step with bubbly disco shakes, Parson presses the kinetic lexicon through a modern dance veneer. Parson’s choreography in tandem with Timbers’  seamless synthesis of the creative elements form a universe of intrigue soaring over visuals documenting the real time dynamics, historic victories and political overreach.

A totally sensual experience, Byrne and Slim’s cruising, rhythmic music, underscored by percussion and lyrical crooning, encased by the cinemascope projections and lighting by  Peter Nigrini and Justin Townsend seduce the senses. All the cast members deserve applause. An authoritative presence, Jacobs’ lyrical sweetness is all the more poignant when she falls from grace. An easily likable man who gobbles up political opportunities, Llana’s strong voice and agile body suit Marcos. Then there’s the dynamic, jazzy cool DJ, Moses Villarama, spinning songs, calling out the audience plus the skillful portrayals of Ninoy Aquino (Conrad Ricamora), Aurora Aquino (Reanne Acasio) and Estrella Cumpas (a potent Melody Butiu).

And for those who want to know — “no” — Byrne’s concept does not mention Imelda’s documented obsession with shoes, but there’s plenty of political history and personal drama punching out the 90 minute production. In the end, Here Lies Love delivers a theatrical experience unlike any other on Broadway.  

EYE ON THE ARTS, NY — Celia Ipiotis

*PHOTO CREDITS: Billy Bustamante, Matthew Murphy and Evan Zimmerman