Imelda

 Despite all the apparent sweat and labor spent on bringing the world premiere of Imelda, A New Musical to life, it doesn't reveal anything new or interesting about its subject, Imelda Marcos. Although this musical biography of the First Lady of the Philippines gets all its facts straight, the audience really doesn't care much about Imelda's rise to fame. At least, not in the way many audiences cared about Evita, a musical which basically travels the same route as Imelda. The rags-to-riches story focuses on Imelda as a poor but motivated young woman who uses her looks to snare a politically powerful husband. ethnically diverse cast includes a very pretty and talented young woman in the title role (Liza Del Mundo), and an exceptionally strong singer in her lifelong friend and confidante, Benigno 'Ninoy' Aquino (Antoine Diel). Although they share pleasant scenes together in Act I, the teenage Imelda doesn't seem to take the hint that 'Ninoy' is not interested in being her boyfriend. Instead, he finds a less beautiful but more spiritual partner in Corazon. Perhaps this is the reason Imelda has him gunned down in Act II, when his political star is rising higher than her husband's. However, this is never clear.

Imelda also suffers an identity crisis. At first, it tries to weave elements of Philippine culture into the opening number. Then it offers a playful parody of Imelda as a shoe freak (for which she is mainly known). A pull-out-the-stops production number, "3,000 Pairs of Shoes," has gaudily dressed cuties parading around the stage with silver platters carrying fancy shoes. In the background, a neon sign declares, "Imelda Marcos' Shoe Boutique." This fun-loving episode soon segues into a serious My Fair Lady sequence in which Ferdinand Marcos plays Henry Higgins to Imelda's Eliza Doolittle.

Things take a definite downward turn near the close of Act II, in which Imelda sings a ballad to her dying 'Ferdie.' A few minutes later, Corazon sings a similar tune over the body of her murdered husband, 'Ninoy.' Unfortunately (or not), none of the songs can match the power of Evita's "Don't Cry for Me, Argentina." However, the tunes are pleasant on the ear, a compliment to the songwriting team of Nathan Wang and Aaron Coleman (the program credits don't mention whether he is related to the late Cy Coleman). Possibly the musical's best number is "If I Had Raised the Butterfly," a thoughtful duet between Ninoy and Ferdinand.

On a final note, it is somewhat troubling that the musical does not treat the character of Ferdinand Marcos more harshly. In this respect, history seems to tell a different story than the one presented in Imelda.
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