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PART 1
 The Mansyon Story

 Summary of Reviews

 Show Commentary & Interview

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THE MANSYON
STORY

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Playwright Summary
The Setting
Located at Luzon‘s southern coast, a rustic town
with a landlord-tenant feudal past possesses
notable colonial heritage ‗plantation‘ houses.
By the onset of the 21st Century, diminished
appreciation for these heritage houses is evi-
dent. Due to shifts in economies and populist
policies of Government, landlord owners of her-
itage houses are no longer as wealthy and the
upkeep of their vintage houses has become a
hardship. Mostly, old vintage houses are now in
disrepair and where some have already been
replaced by newer structures, sold or gutted.

The Clash of Generations

In their struggle to maintain living standards
they are accustomed to, old elite families typi-
cally hang on to traditions. Santos is the Lopez
family patriarch who owns one of the better
ancestral mansions in the town. He wants his
grandchild Aya to inherit it under his terms.
Aya is however a youth of her generation who
prefers an independent contemporary role for The Mansyon Set (upper picture) and Casa Leon in
herself. The drama in the story is complicated Batangas that serve as the play‟s Inspiration
with the infusion of earthly desires from the Quijano patriarch Don Enrique and his spoiled
bachelor son Ricky. Through all these, Mak, Aya‘s American love interest, and now balikbayan
contributes his first world vision on the potential of vintage mansions.

Role of the Family Ancestral House

An ancestral house is a vintage town structure typically located in a prime location. The town‘s
old rich residents like Santos take pride in their ancestral houses which is interpreted as elitist
behavior. Not all vintage houses are appreciated in the same manner. Businessmen like Don
Enrique, who although they may belong to the elite, sees heritage assets more as an oppor-
tunity for commercial activities. In reality, the real obstacle to the conservation of vintage
mansions today is the indifferent attitude of the younger generation (i.e Aya). Vintage man-
sions are today mostly under the stewardship of a generation who have little empathy for old
dilapidated things that require special care and maintenance. This generation generally
view their inherited houses as being of little use and thus dispensable.

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Santos (BryleMondejar), Consing (Melanie Dejunco), and Padre
Domingo (Greg De Leon)
The Voices of Reason
Padre Domingo, the town parish priest,
and Consing, the Lopez family cham-
bermaid, act as the foil to Santos‘ over-
bearing ways. The two provide the
‗slack‘ that keeps Aya ever respectful of
the intractable Santos. When Santos
falls gravely ill and unable to tend to his
affairs, Aya is forced to temporarily
take over the care of the Mansyon. In so
doing, Aya discovers family secrets kept
in the house that affects her opinion of
Santos. Voices from the past come to
haunt her which makes her begin to see
Santos and his enigmatic ways in a dif-
ferent light.

Triumph of Values & the Mansyon

The turn of events opens bottled-up secrets of Santos including the fact that he may now lose
ownership of the Mansyon. At an impasse for solutions to his temporal problems, the frailty if
not vulnerability of Santos is exposed. Through his travails, Santos‘ defiant demeanour stub-
bornly persists which impresses those around him. Because of this, positive notions regarding
‗tough love‘, practical albeit exclusivist behaviour, and avid pride of place ultimately dawns
on everyone and makes issues clearer. This causes the reorientation of antagonists especially
when they are forced to view the ongoing conflict from the eyes of the Mansyon.

The procession scene

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SUMMARY OF
REVIEWS

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Review Excerpts
(of the March 18, 2018 Premier)

Rina David (PDI columnist)

A “Mansyon” of Memories
The musical left members of the audience pondering matters like legacy, history, and family
honor. The songs found heartfelt interpretations at the hands of the cast, particularly Bryle
Mondejar who played the aging grandfather and Ina Salonga who played the spirited grand-
daughter.

Gemma Cruz Araneta (Manila Bulletin columnist)

Mansyon, true to life
―Mansyon‖ is a musical about heritage houses; as you know, heritage conservation is one of my
passions. Congratulations to the cast, they were all superb actors and singers. ―Mansyon‖ was
so true to life, I cried when Don Santos died, but was consoled by the restoration project of
Architect Mak and Aya.

Nestor Cuartero (Manila Bulletin columnist)

„Mansyon‟, entertainment with a mission
―Mansyon: Isang Musikal,‖ is a refreshing original Pinoy musical play that anyone who appre-
ciates a song-and-dance drama presentation will definitely enjoy watching. ―Mansyon‖ is
pure, uninterrupted entertainment with a thought-provoking, nationalistic, cultural theme. The
play‘s central message is to promote preservation of Filipino culture and heritage through the
restoration of colonial Filipino homes.

Dot Balasbas-Gancayco (Philippine Star columnist)

A Mansyon-ful of Memories
Mansyon — an exquisite original Filipino musical with a golden cast, a lovely story, beautiful
music and valuable lessons on promoting and preserving our heritage and culture as Filipinos.
The songs were beautiful and remarkably portrayed under the musical direction of Lawrence
Jatayna. Kudos to Ruth Alferez for her excellent stage direction, the outstanding cast, sets,
music and choreography. All in all, I have to give this musicale a rating of 5 stars.

Felicidad Zafra Reyes (Times Journal columnist)

Mansyon, Isang Musikal – a Music Review
In all and in fine, Mansyon was a most refreshing musical. Our congratulations to Leon Mayo
and all who made this Musical available to us. A Zarzuela has come alive once more, com-
plete with romance, generational conflict, comic relief, flag-waving for love of country and our
Filipino values and a happily-ever-after ending. And we are all the better for it.

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SHOW COMMENTARY
& INTERVIEW

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 Show Commentary
(March 18 – April, 2018)
ZONE NARITO (STC alum, Batanguena,
NGO supporter) - Viber
The performance was perfect- the story which
brought tears into my eyes, the songs and the sing-
ers‘ interpretation, the dance and the timing of the
humour injected by some of the performers. I also
salute the luminaries in the cultural field present -
Raul Sunico, Nick Lizaso, Gemma Cruz-Araneta,
atbp.
********
REENA MANALO (UP architecture alum,
theater person) - FB
The play was, as tito red (tito onie‘s brother) said,
―unpretentious and moving‖. Being part of this
angkan from San Juan, and having grown up
amongst ‗ala eh‘ speaking (thinking, eating, drink-
ing) elders, I felt a strong affinity with the play‘s
story and stories within that story (name that chismis
ang peg). It was entertaining from start to finish,
the music was really good, and most of all it
brought across what heritage stands for and the
urgent need for its conservation. It would be crazy
not to let something this good not go on extend runs.
Monday na naman, this signals a shift in perspective
for most of us. For me, Mondays give me just
enough space in my head for organizing my
thoughts and feelings about tasks that have to be
done for the week, and takeaways from the previ-
ous one that can help bring those tasks to comple-
tion. I can talk a little about ―mansyon, isang
musikal‖ now with more ―familial detachment‖, and
highlight what I think serves a broader (and maybe
deeper) insight.
Perhaps more than being a creative promotion of
heritage conservation, the play is a critique of our
post-colonial condition, an entrenched feudalism.
From family generational misunderstandings to is-
sues of national unity, class struggle, and social in-
justice, ―mansyon‖ touches on real conflicts without
the antagonism nor sugar-coating, that usually ac-
company a particular political agenda. This leaves
the audience a kind of understanding that moves
them to forgiveness - of their heritage - and seek a
genuine path towards a better society. Yun lang I
thank you. Ps. Now, I really have to see ―larawan‖.
********
BOTCHI SANTIAGO (Quiapo ancestral
house owner and wife of Rocking 60s
founder) - Viber
Hi Oni! Congratulations! Titus and I enjoyed your
play immensely. Your music, Mansyon still keeps on
ringing in my ear. It inspired me to value the family
heritage we have that, I must admit that, I was not
giving importance to. I have learned so much! Thank
you again, Oni.
********
ORCHID CRISOLOGO (daughter of for-
mer politicians from Vigan) - Viber
Congratulations Billie and Onie!! What a wonderful
presentation!! Good music, good cast and storyline!!
Everything has been said by our Dazzlers and I
agree 110% to all they said. It‘s special with me
cuz vigan kept on being referred to and it remind-
ed me of my mom who disagreed vehemently with
anybody who ―tore‖ down anything old. Give all
your ―junk‖ to her and she will gladly accept it!!
It is such an overwhelming task as we try to put
them together esp. more so If we don‘t know any-
thing. Mom started things rolling decades ago but
we do have the same issues. No interest by the next
generation, restoration issues because if not done
properly it will be another issue and lastly - finan-
cial constraints because it does require a lot. Buti sa
play nadoon si mak -restoration specialist. And in
real life, architect Onie. What terrific play and
very palpable struggles and messages!! Issues be-
ing replayed all over the country that has old an-
cestral homes!! Am glad it as with a happy ending!!
Congratulations again, Billie and Onie!!
********
MIN SUNICO (Professor and former De-
sign Center Philippines Head) - Viber
Congratulations Billie and Onie. I share all the daz-
zlers‘ happy sentiments over the musical. I was
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deeply touched because this is what we need for
our young generation especially now with so much
confusion influencing our culture. The value I got is
that we have to choose carefully which learnings we
should let affect our development. So saving the
idea of mansion through restoration and tourism by
Mak indeed gave hope to the lone grandchild Aya
and the ending depicted the success of their en-
deavour . . it can be done the right way..!
And also very noticeable was the language used -
no colorful expressions. Bravo to this! We are look-
ing forward to more Onie productions to inspire the
next generation.
********
SYLVIA LICHAUCO (President Sta. Ana
Heritage Foundation & ancestral house
owner) – Text
A hearty congratulations! Full steam ahead! Do
keep me posted for future performances.
********
STC CLASSMATE – Viber
Did you know that a lot of people shed tears during
the play???!!! Oh my God, we did not expect this.
Congratulations, Onie and Billie. I was just glad to
have been there on its maiden presentation. The
entire show touched me because I was teary at the
end. To my surprise, I turned to my seatmate Jennie
and to Arit and Orchid who also had red eyes. On
the way out, I saw Min with obviously red eyes.
Meaning, the message came across and we could
sympathize. And we were also probably very hap-
py for Onie and Billie for such an Achievement. The
songs, the lyrics, and the entire music were beauti-
ful! Billie, were one with you in thanking God for
Onie‘s talent and giftedness.
********
VINCE BERDAN (Banker & CTK choir
member) – Viber
Bwisit ka Oni, pinaiyak mo kami.
********
ZALDY MARASIGAN (Bolboc Heritage
Group) – FB
A big congratulation to Arch. Onie Mercado Mayo
for a great play. Hope there are more runs.
********
GREEN & DEMI TRIVINO (San Juan Ba-
tangas native and balikbayan from NYC)
- FB
Wow, what a great show by ONI Mayo. One of
the best if not the best ―broadway‖ musical I‘ve
seen! The show brought nostalgic sound bites of San
Juan, Batangas. More power to the Heritage
Movement!
Casts of the ―Mansyon‖, a beautiful and awesome
musical show written, lyrics, story and produced by
talented Oni Mayo. Sooo proud and sooo lucky to
see this musical Broadway show during our visit here
in the Philippines. During the Q and A after the
show, people were demanding Oni for more show-
ing and future musicals. Just love it.
********
MARIA SALVE MANALO (Memorial Park
proprietor and housewife) – FB
We were there, Margo, Anna and I. We saw how
great the show was. The long trip from West Grove
was worth it. Truly an enjoyable evening.
********
CARINA FERNANDEZ MARASIGAN
(From San Juan Batangas) - FB
Congratulations Kuya Onie! Beautiful play and
beautiful music!
********
KATHERINE CAGUIAT (DLSU Alum, wife
of Taal heritage house owner) - FB
Apple I really enjoyed your dad‘s show. When your
tita Marivic asked me if I watched larawan. I said
yes but that I was enjoying mansyon more.
********
GODOFREDO MENDOZA (Balikbayan
from Toronto) - FB
Kuya Onie great show! Even the choice of cast and
crew was very well done. I‘d love to watch it anew.
In case the production does go to one of the bigger
venues, using a live orchestra/band may even give
it better justice! Would love to watch it anew.
********
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QUEENIE MENDOZA (UP Alum and pro-
fessional archivist from Toronto) - FB
I believe all these rave reviews. Congratulations
Kuya Onie. Hope to see this work one day
********
ESPERANZA VILLAVICENCIO (Maryknoll
alum, Taal heritage house owner) - FB
Congratulations again Onie! All worth the hard
work. My friends who watched it are asking when
next show is so they can ask their kids to watch.
********
CATHERINE HERVAS (Manila business
person) - FB
So cool! Congratulations to your Dad, Farah!
********
LUDY QUIZON VILLANUEVA (Native of
San Juan Batangas) - FB
Wish they have a video if it, Will purchase if there
is one…
********
TRAVELBUGS GALS – Viber
Forgive the mugto eyes...naiyak ako. The musical
was so inspiring and moving in so many levels...I
was very happy to know that I wasn‘t alone pala. I
was starting to blame it on my hormonal upcoming
cycle. Men, of position and age, spoke and admit-
ted that their eyes were welling up. So I am defi-
nitely not alone. It was inspiring because your dad
in his late years, had the passion to create some-
thing new, of something very close to his heart..
Family, Heritage, love for country..And the passing
of rights...I am so glad I watched Lotsky. You must
be sooo proud. Your dad is so passionate and su-
per talented. Of course when he was called on
stage..while walking down the aisle, he was looking
for your mom. I loooved it. Thanks for inviting
me/us. Naiyak ako sa deathbed scene, buysit ha-
haha and I love the songs…and to sing that Mahal
Ko ang Bayan song at a time like this means so
much to me…who loves this so in-turmoil country.
********
VALHALLA C SORIANO (STC alum) - FB
Repeat performances should be held at CCP. May
tour a MUST for my family! Please suggest to Onie
& Billie for repeat performances SOON!
********
GAYLE RAYO (CTK Choir member) -
Viber
Congratulations Oni! We super enjoyed your show!
Ang galing. My friend Brenda from Vancouver
loved it as well. Hope your musical makes a longer
run. It deserves to be shown to every Filipino.❤
********
RIELLE ALCANTARA (Tourism specialist
from San Juan Batangas) - Viber
Hi Sir Oni! Congratulations po for such a great show
tonight! I was with my mom and we enjoyed it very
much, especially the songs. We were even trying to
find out which house in Poblacion resembled which
in the story line (the commercial space of Don En-
rique seemed very familiar hehe).
We may not have a Mansyon in San Juan but it
gave me sense of pride knowing that it is part of
my family's heritage. If ever the local heritage con-
servation group need researchers or volunteers, I'd
be happy to extend my assistance and connect it
with our institute (AIT) in UP. Congratulations again
and have a good night!
********
RAFFY YUPANGCO (DLSU alum, busi-
nessman and Balayan ancestral house
owner) - Viber
MANSYON was a total success. Xavier, Mert, and
Vicky enjoyed the show and the audience many of
whom were heads of HERITAGE CONSERVATION
ORGANISATIONS. The songs were simple, melodi-
ous and easy to sing. Onie‘s story line hits the point
which you can easily relate to. The artists were so
good with the synergy among them that one can
easily recognize. Good work that took 5 years to
finished. There was an open forum and Onie was
called a genius for creating the story, composing
the original songs, and writing the lyrics. Congratu-
lations again!
********
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MANOLO CARRILLO (California, USA) -
Email
I‘m really very happy for your accomplishment.
Some of my golfing friends have gone to see it and
they all feel proud of having good, no, GREAT,
Filipino works. Willie Atienza (LaSalle College ‗69
Lia-Com) was specially impressed and posted it on
FaceBook.
********
EMI MASIGAN MERCADO (Theater per-
son, choreographer, UP Fine Arts alum) –
Email
Oni‘s ―Mansyon‖ is an absorbing family drama
about a head-strong grandfather and a modern
granddaughter. It is elegantly written with lyrics
that is soaring and its score finding its heartbeat in
the play‘s storyline…and into your hearts. The rap-
turous songs were accompanied with delightful
dances, its choreography modern and creative. The
cast and crew were stand-outs. Their love and fer-
vor for this project radiate with every beautiful
scene. Oni‘s play is inspiring! What a feat for
someone new to the theatre industry! CONGRATU-
LATIONS my friend, well done!
********
DINKY EINSIEDEL (Planner-Architect, UP
Alum and CAFASinger) – Email
My partner Onie is being humble. IT WAS A STUN-
NING SUCCESS!!! Being a premier showing, the
media were present and there was a Q&A ses-
sion at the end. But before that, it was a standing
ovation at the end of the show! In the Q&A, several
of those who spoke said they were very impressed
with the performance, especially the script and the
songs. One even commented Onie was a "genius"!
Another comment was for Onie to make a longer
run, and maybe even a sequel! Larry Henares, the
popular columnist, spoke twice and said Onie should
make it into a movie! A reported for The Star said
she had not enjoyed a show like this for so long and
will write a glowing review of it. Another popular
columnist, Rina David, also spoke but she didn't use
the mic so I couldn't hear what she said, but she had
written about the musicale in her column earlier.
Tong and I were seated next to each other, but we
hardly spoke during the show. We were so en-
grossed! The performers, especially the lead artists,
were very good! The only negative comment I
heard was that the choreography was distracting
and didn't seem to jibe with the songs, especially
the part where the ghosts of the ancestors came out.
But the overall "judgment" was that it was great!
So, CONGRATULATIONS to Onie for a job very
well done! BRAVO!!!
Now, can we get back to work??!!!
********
TERESA ESPIRITU – My Thoughts Re
Mansyon
Finally, an original Pinoy musical play that anyone
who appreciates a song-and-dance drama presen-
tation will definitely enjoy watching. No artsy-
fartsy, highfalutin pretentions of being intellectuallly
heavy and philosophically deep. MANSYON Isang
Musikal is pure, uninterrupted entertainment with a
thought-provoking, eye-opening nationalistic cultural
theme presented in a creative / imaginative combi-
nation of singing, dancing and acting that is light,
down-to-earth with smooth flowing narrative that is
easy to follow – no trying hard to be ―art.‖ And yet
I think that Leon Mayo has now made an indelible
mark in the field of Philippine Performing Arts with
his MANSYON Isang Musikal.
The whole message of the play is to promote the
preservation of Filipino culture and heritage thru the
restoration of colonial Filipino homes built way back
during Spanish times. The theme/message is seam-
lessly woven into the story/plot and artfully con-
veyed thru an impressive mix of music in every con-
ceivable genre.
The truly outstanding achievement of Leon Mayo,
the composer who wrote both the melody and lyrics
of all the songs, is the almost flawless way he was
able to put the whole show together – without any
jarring, or disturbing out-of-sync effect. The audi-
ence is simply swept away by what they are expe-
riencing, all the while feeling in tune, in sync with the
singing and dancing as they follow the drama be-
tween Santos, the owner of the ancestral house, and
Aya his balikbayan granddaughter, who has no
affinity with the deteriorating old mansion.
The overall impact is like that of a reality show –
the audience becomes one with the performers.
They are not just watching or witnessing, they are
part of the entire experience. This effect was fur-
ther highlighted with the ingenious utilization of the
auditorium area as the entire stage – actors would
go up and down the main platform, walk across the
front aisle, go all the way to the back, make a turn
and exit through the side doors.
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The procession scene in Act 1 in particular had tre-
mendous audience impact. The procession led by
the priest started at center stage, went down and
proceeded to the back, turned and passed through
the side aisle then exited through the side door, all
the while singing and chanting in their well- blended
heavenly voices, lighting up the dark with their can-
dles and evoking a spine-tingling, solemn, awesome
atmosphere.
Kudos to the director, for her dramatic execution of
Leon Mayo‘s original musical production. Her atten-
tion to detail worked to clearly and cohesively con-
vey the idea behind Mayo‘s inspired creation. Eve-
rything seemed to enhance/reinforce the message,
so that the play came across as a genuine art form.
Everyone collaborated to project one unified mes-
sage/ theme - like each one knew and felt strongly
what the play was all about and they all per-
formed to the best of their ability to dramatize
what Mayo had intended – not just the director but
also the actors – whether singing/dancing or talk-
ing/speaking - and the production staff - the set
designers, the light and sound crew.
There were no loose ends, no stone left unturned, no
dull moment. Even the love triangle angle was re-
solved satisfactorily, albeit very subtly, at the end
with the final handshaking gesture of peace be-
tween the two suitors of Aya. I was pleasantly sur-
prised that they had not forgotten to put a closure
to this part of the story. Here are just some minor
aspects that could be further improved to achieve
―flawless perfection‖:
Accurate/proper cuing of sound and lights - For the
matinee show, the opening scene was delayed and
the introductory remarks had to be repeated to fill
up the gap. The entrance of actors took too long
and the background music was too loud - it tended
to compete/drown out the voices of the singers.
Unlike in a movie that shows moving scenery during
the opening credits while the overture music is being
played, in a live production there is no movement to
engage the audience. Better to bring in the action
as soon as possible. But I commend the attempt to
make up for the lack of action and capture the at-
tention of the audience right away with the chang-
ing/dancing lights at the start. There was also a
scene wherein Aya and Mak were talking while at
the same time there was flashing/ blinking of lights.
(Was that intentional? or was it a technical glitch?)
Elimination of distracting movement/action within
the same scene – In Scene 3, as the Christmas tree
was being set up, the ―lambingan/ligawan‖ side
story of the household couple was quite amus-
ing/entertaining. It served as a welcome comic re-
lief. However, it also distracted/diverted attention
from the more important on-going conversation be-
tween Santos and Padre Domingo which should
have been the focal point of interest in that scene.
Aya has a pleasant singing voice. She just needs to
enunciate more when she sings so that the
words/lyrics will be better understood. Identity of
the ghosts – I found the interplay of reality and
imagination in the play sheer genius, the way the
flashback was enacted on stage. The identity of the
ghosts just has to be made clear thru repeated men-
tion or direct address– who each one is and his/her
relationship to Aya/Santos, the real person interact-
ing with the ghosts.
I am not familiar with any of the actors who per-
formed in this play. But based on what I saw and
heard and experienced during those almost two
hours of singing/dancing/acting, they all struck me
as professional theatre performers dedicated to
their craft with passion in their hearts and discipline
in their art. They didn‘t give the impression that they
were just acting their roles, they were the characters
themselves notably Santos, Padre Domingo and
Consing.
So credible and authentic were they that in Act II
Scene 3 when Santos was in the hospital, the grief/
sadness was palpable in the whole auditorium. Not
a few tears were shed by the audience when San-
tos breathed his last just moments after the reconcil-
iation with his granddaughter. So commendable
was their performance that, during the curtain call,
the stage actors were greeted with thunderous ap-
plause and a standing ovation to match!
Congratulations to Leon Mayo and the entire thea-
tre group who brought his musical vision into the
real world of performing arts. Let me end with just
these three words to summarize what I think of Leon
Mayo‘s MANSYON Isang Musical: simple, sensible
and sensational!
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 Leon Mayo Interview
(by Emmerson Evangelio)
April, 2018

1. How did you come up with this idea?

Creating a play was not the original objective; songwriting was. The idea of the play came
about to provide a ‗platform‘ for the music. The play story is about an ancestral house, some-
thing that I have some knowledge about.

2. Did you write the libretto?

If you mean the story of the play, yes.

3. I heard that you wrote 13-14 original songs. What inspired the music and lyrics?
I guess the inspiration was the urge to share in song to whoever might listen, notable sentiments
and life lessons that I have found worthwhile through the years. I think I am a frustrated
teacher in a sense.

4. Can you tell me about your early planning stages?

Admittedly, the idea of a musical play came only in the past year and a half. The creation of
the original songs was the biggest job. Having completed the songs early on made everything
else fall into place. The initial stage of this journey is a story in itself. After creating the raw
music and the story line, I thought I could interest theater specialists to help me launch the play.
I secured appointments with at least two of the mainstream theater groups who politely lis-
tened but were seemingly not interested in the project. I surmised that that the question in the
minds of many was: Who is this guy? I believe it more a case of who I am or what I have
done in theater rather than my material.

5. Can you tell me more about the story, the characters, the various conflicts, the solution
and the songs?
The Story
The story is essentially a play about life in my hometown and why ancestral houses there are
a salient part of its history. I thought that the town‘s past feudalistic socio-economic system
would in a way explain why people from there behave the way they do today and can de-
pict an interesting slice-of-life historical story of place. It would show life in that part of the
province (Batangas) and would promote the town (San Juan, Batangas).

The Characters and Conflicts

The characters in the play with their conflicts are actually true to life. However, the episodes
are mostly an amalgamation of various life experiences from different families in the town.
The story focuses on the lore, if not actual episodes in the life of these families and gathers
them within the purview of one family for the drama of it. The chapters in the story concern
matters of: genealogical lineage; elitism and social discrimination; diaspora and repatriation;
capitalism and nationalism; tradition and custom; and the advocacy of the play which is herit-

Page | 14
 age conservation and deep-seated family ties. An over-arching sentiment is the reality of the
cycle of life (shifting fortunes, changing attitudes, generational continuity, etc.) and the cycle of
thought (environmental conservation, intrinsic value of adage and life lessons, etc.); I believe
all very realistic feelings even today.

The Songs
As mentioned, the songs came first. Maybe because of my professional outlook to projects, I
had a project approach in mind when I started the song writing effort. The criteria I set for the
songs is that for the most part, they should have different themes, musical genre, and must
dwell on general prevailing sentiments rather than on particulars. Above all, they must be
original and unique songs. Hence the songs are generally about: gratitude, opportunities,
wonderment, brotherhood, nationalism, Christmas spirit, loyalty, good old days, and romantic
love. Because of the methodology adopted for their creation, the song material lends them-
selves well to the various sentiments of the characters in the play (when it was finally decided
that there will be a play) and seemingly avoided the pitfall of tending to sound like each oth-
er.

6. Who was your production and design team?

The production team, or the agency as they would like to call themselves, is a group of four
young talented artists and theater persons. These persons are a husband and wife tandem
who perform classical music and teach the same; a stage prod administrative person; and of
course, the director. Though they are young (average age early 30s, I believe), they are de-
voted professionals who have notable experience in theater presentations. The artistic team
that the agency helped me put together for the project are a pair of young professionals spe-
cialize in music arrangement and script work. After initial disappointment with other groups, I
was lucky to have met these talented young persons who believed and helped me profession-
alize my project material enough so that the play can be launched.

7. How did you audition and select the cast?

The audition for the cast was organized by the agency. Those who auditioned were either
actors who the agency members had worked with before or those who responded to their call
for auditions in social media. Facing the director and the music specialist, the actors were
asked to preview what they can do (singing, emoting based on readings, even acting). I was
asked, no compelled, by the agency to be part of the audition panel. They said I know the
play characters and music sentiments best hence I should to give my thoughts/ preference on
the selection.

8. What are your plans to show the play again? Where and approximately when?
I have watched theater performances abroad over the years, however I really have no handle
on the theater industry, much more the country‘s theater industry. I wasn‘t clear about future
prospects. My objective is not really ambitious at all; it was just to launch the play and hope it
entertains a select audience for the most part. I was happy just with that and have no real
plans for rerun. After the show, I must admit that some personalities contacted about the pos-
sibility of a rerun. Nothing is firm yet. I heard that based on industry experience, it takes at
least 6 months from premier before a new play is picked up and relaunched by interested
producers if ever.

Page | 15
 9. How did you finance your production?
At the start, I had the naïve idea that I could source interested financiers / producers early on.
I am a naturally positive person and, admittedly, shamelessly confident about the quality of
the material (story and music) for the play. After a frustrating year of trying to find industry
groups and people who may help me, I was given realistic industry advice: if I really want the
play to happen then I should ‗produce‘ it. That‘s what I did.

10. How did you advertise and promote your play?

Essentially, the people who patronized the one-day show were comprised of relatives, friends,
former classmates, and professional associates personally invited by me, my wife and our
families. Word of mouth extended to friends of friends who likewise came. Being drama and
music mentors, the members of the agency invited their students, family and friends. I took
comfort in the fact that our venue, Abelardo Hall, is after all not really a big place. The play
was advertised in social media and had a web page. I am especially grateful to the support
of Ms. Rina Jimenez David, Philippine Daily Inquirer columnist. She was first to notably write
about the play in her widely read regular column even before the show playdate. The play‘s
advocacy of heritage conservation and pride-of-place theme was an important factor.
Played out in the few promotional materials that we made, the play theme proved to an ex-
tent that there are many from varying generations who value heritage and tradition still.

11. Is it possible to obtain your promotional materials, posters, invitations, tickets?

Yes. I‘ll send some of them to you through email after this.

Page | 16
 PART 2
 Reviews Full Article

 Show Promotion

 Show Day Materials

 Behind the Play

Page | 17
 REVIEWS
FULL ARTICLE

Page | 18
A mansyon-ful of memories
000

MANILA, Philippines — I spent my early childhood with my

maternal grandmother in an antique house that was trans-
ported part by part from Ilocos to Kamuning, Quezon City. I
could still picture the grand, chocolate-colored furniture dot-
ted with crocheted doilies my grandma herself painstakingly
made; hear the creaking sounds of the old wooden stairs; feel
the smooth silky lines of the narra bannisters; and experience
the blast of cold air as my lola opens the shell windows by the
ornately-grilled window panes. Memories of living in our her-
Dot Ramos itage house came flooding my mind like never before as I
Balasbas - watched the one-night showing of Mansyon — an exquisite
Gancayco original Filipino musical with a golden cast, a lovely story,
July 10, 2018 - 12:00am beautiful music and valuable lessons on promoting and pre-
serving our heritage and culture as Filipinos.

Aptly shown at the ―deteriorating-but-needs-to-be-preserved‖ Abelardo Hall in my alma

mater, the University of the Philippines, the story of Mansyon, Isang Musikal by Leon Mayo
revolves around five central characters: the aging grandfather who was painfully dogged
by what he should and could do with the much-treasured-but-about-to-be-foreclosed an-
cestral mansion which he wanted to pass on to his granddaughter; the
young balikbayan granddaughter who desired an independent life in the US and was torn
between following her heart and obeying her grandfather who insisted that she marry the
son of a rich businessman to solve the family‘s financial woes and eventually enable them
to keep the family mansion; the old, trusted priest, who, because of his close ties with the
family, was the perfect spiritual counselor for the clashing lolo and apo; the loyal family
maid, who by a sudden twist of events, is revealed as an illegitimate heir; and the grand-
daughter‘s boyfriend who, in spite of feeling unwelcome at first, stuck it out with her and
provided the solution to the focal issue — what to do with the ―much-loved-but-debt-
ridden‖ ancestral house in the midst of a modernizing community that wanted to tear it
down.

The ancestors reincarnate

Page | 19
Other supporting but vital characters were the rich businessman who wooed
the lolo and apo for their strategically-located properties; his son who would have been
the ideal bait to merge the two families; the two household helps who turned up to be hav-
ing an amorous affair; and the ancestors‘ ghosts who each had his/her own story to tell.

Although there were many technical constraints, the actors were all extremely good and
well-prepared for a one-night show. I did not expect the elaborate choreography, the me-
ticulously-crafted sets, nor the remarkable musical arrangements. The use of ancient por-
traits coming to life was engaging as a technique for making the audience know the history
of the family and effective as a tool for reinforcing and understanding the grandfather‘s
resolve to preserve the ancestral home.

Ina Salonga, who played the granddaughter, awed me with her natural acting and pure
crystal voice. She had fantastic chemistry with both her balikbayan boyfriend (played by
Kevin Posadas whose fake American accent I loved) and the swaggering businessman-
suitor (performed by Vien Allen King whose haughtiness and exaggerated narcissism the
audience found endearing). These two men were my personal favorites because of their
remarkable stage presence and impressive comedic acting. The apo‘s mother played by
Christine Joy Mangahis was enigmatic on stage. My eyes followed her all those very few
times that her ghost popped out of the picture frame. The lolo (Brylle Mondejar) and the
priest (Greg de Leon) acted well their difficult parts. Being the loyal maid was perfect for
Melanie Dujunco. I only wish she was given more time to react to the life-altering and
earth-shaking piece of news that she got near the end.

The songs were beautiful and it is a wonder how such delightful music could have come out
of the composer/writer Leon, who is neither a professional writer nor a trained musician,
but a practicing architect. Kudos to musical director Lawrence Jatayna who, with his mar-
velous voice, I believe, should also be a member of the cast. Mansyon, after all, is a musical
that requires excellent singers and not just good actors.

Like many other heritage houses, my Lola‘s house was demolished to give way to a modern
building. Had we seen the MANSYON musicale then I‘m quite sure that our family would
have realized the heritage significance of the house which contained not only precious
memories but history and culture as well. I for one would have fought tooth and nail to
preserve it. It is this learning experience, educational value and historical ride from the
true-to-life story of Mr. Mayo plus the excellent stage direction (by Ruth Alferez), outstand-
ing cast, sets, music and choreography that I pray there will be a repeat, or better yet, a
much longer run. A movie? Why not? All in all, I have to give this musicale a rating of 5
stars.

Page | 20
Mansyon Isang Musikal: A Music Review
Felicidad Zafra Reyes
Former Times Journal Columnist
Once upon a time, I did music reviews for Times Journal
with Thelma Sioson as my editor. I had my fair share of
CCP presentations of operas, musicals, piano and choral
concerts as well as those in my old home grounds, Abe-
lardo Hall, UP. From a world of music it came to almost
a full stop when Times Journal shut down during Martial
Law time and only the legendary Baby Orosa survived
to tell us what was good and wonderful in our musical
world.

Now, more than 50 years later I have found the courage and animo to take up my musical
pen once more. Our village book club was invited to Mansyon: a ―musikal‖ by the sister-in-
law of the composer/librettist, an architect, now semi-retired – now free to follow his pas-
sion and his dream - Leon Mayo. There would be only two performances at the Abelardo
Hall, UP - a matinee at 2pm and the last at 7 pm on this Sunday, March 11, 2018. Half of
us chose the matinee, as did CCP bigwigs Nick Lizaso and Raul Sunico as well as Gemma
Cruz-Araneta.

There was no advance publicity. No write-ups in the papers about any big-name perform-
ers, no flyers nor posters plastered in supermarkets around. There was no mention of a live
orchestra in attendance, no society set or costume designer doing stupendous props or
clothes.

Mansyon was a complete Unknown to me. And I was totally charmed with it all. The play
dealt with a situation that is common to most of us today - that of a first generationer
clashing with the values and thinking of a third generationer with access to the high-tech
information of our world today. The give-and take of the spoken word between the Lolo,
Don Santos, and Aya, his only heir and grandchild newly arrived from the USA flowed with
ease and spontaneity in both English and Tagalog, as did the Lolo with his cousin, the local
parish priest, Padre Domingo.. A nostalgic touch was the true Batangueno ―punto‖ in almost
all the characters of Mansyon.

The young Aya sings with the timbre and tenderness of a young Lea Salonga, blending
beautifully with the richer and more mellow voice of Yaya Consing. The two young bucks,
Max and Ricky, all elbows and angles, sang with ease the music of today - campy and silly
at times. Ricky, in particular, delighting the audience with his Elvis‘ famous leg twitches. But

Page | 21
the songs of these two had more tonality... certainly a hundred times better that most cur-
rent songs with only four notes repeated 5 or 6 times ending with some sort of yodelling,
complete with grimaces and dainty hand flutterings thrown in. Best of all, they sang as
males should sound and not like male castrati.

In all and in fine, Mansyon was a most refreshing musical. What minor glitches there were
are entirely forgiveable and easily remedied; more careful control of the song accompa-
niments to allow the singer to soar above it, for one. Our congratulations to Leon Mayo
and all who made this Musical available to us lucky first generationers and our ―apos‖. A
Zarzuela has come alive once more, complete with romance, generational conflict, comic
relief, flag-waving for love of country and our Filipino values and a happily-ever-after
ending. And we are all the better for it.

Song scene: Ito‟y Ating Bayan

Page | 22
Mansyon, true to life
―Mansyon‖ is a musical about heritage houses; as you
know, heritage conservation is one of my passions,
maybe because all the heritage homes I would have
wanted to save were reduced to rubble in February,
1945, during the Battle for Manila. Secretly or per-
haps not so secretly, I envy those who have inherited
heritage houses and who have been able to save
them in order to continue living in them for genera-
tions to come.

Gemma Cruz Araneta This is about ―Mansyon,‖ a musical, the lyrics of which
Published March 28, 2018
were written by Mr. Leon Mayo, I think he composed
10:00 PM the music as well. Mrs. Mayo, beside whom I was sit-
ting during the musical, confided that producing
―Mansyon‖ had always been her husband‘s bucket list. Who would have thought that Archi-
tect Leon Mayo could write songs and compose a heart-warming musical about heritage! I
met him years ago through a mutual friend, Urban Planner Nathaniel von Einsiedel (truly
Pinoy despite the German surname) who twice invited him to lecture on the economics of
heritage conservation during the summits we convene yearly.

The plot of ―Mansyon‖ is familiar to all: These heritage houses are our version of the plan-
tation mansions of America‘s South, vestiges of the land-owner-tenant relations of a some-
what feudal system. Because of modernization, these exquisite structures are considered
obstacles to progress, thus diminishing their value. To make matters worse, local govern-
ment officials and the younger generation heirs refuse to recognize their intrinsic cultural
and historical worth. Moreover, many owners of such houses are no longer as wealthy as
their forbears and the upkeep of their vintage houses, now in despair, is an almost impos-
sible, if not an exorbitantly expensive task.

The setting of the musical is a town called Galban, which is supposed to be located in a
southern coast of Luzon, most probably Batangas. The play begins with Don Santos Lopez,
owner of the mansion in question, who awaits the arrival of his granddaughter Aya. She
had left for the USA five years ago and has never since returned to visit her grandfa-
ther. Aya‘s late mother, a battered wife of a profligate lazy man, was the only daughter
of Don Santos. The protagonist has a cousin, Fr. Domingo, the parish priest whose role in
life has been to temper the haughty and intolerant character of Don Santos towards his
peers, servants, and even his beloved granddaughter Aya, an independent-minded, self-
possessed yet respectful young lady.

She arrives with young Architect Mak de Luna, her fiancée, whom she met in New York dur-
ing a heritage conservation lecture. His parents are from the same town, but Don Santos

Page | 23
considers them socially unacceptable because they own the cockpits and other gaming
businesses in the province.

To make a long story short, Don

Santos is hard pressed to sell his
other properties in order to finance
the maintenance of the mansion,
which is already in hock at the local
bank. His attempt to interest Aya in
supercilious Ricky, the son of Don
Enrique, a wealthy developer and
bank owner, fails simply because
she is in love with Mak. One even-
ing, after an argument with Aya,
Don Santos suffers a stroke, falls on
a lighted candle that sets the cur-
tains aflame; a portion of the man-
sion burns. In the hospital, Arch Mak
and Aya tell Don Santos of their
plans to restore the mansion and
give it adaptive re-use as a bou-
tique hotel. The De Lunas had
pledged support to their son‘s resto-
Ricky (V. King) entices Aya (I. Salonga)
ration project; both he and Aya
promise Don Santos that that they will stay in Galban to restore the mansion and make it a
self-liquidating project. The USA can wait. Don Santos dies happily.

The audience was teeming with heritage advocates. I bumped into my old friends Serge
and Sally Naguit of Angeles, Pampanga. I have been a frequent guest of their home, a
heritage house Sally inherited from her folks. During my first visit, while we were having
merienda in the azotea, they told me that when both were living in England they noticed
that many heritage homes were being preserved, with the owners enjoying life in their an-
cestral houses. They decided to restore and conserve their house. After all, that was where
Emilio Aguinaldo had spent a night during those turbulent times. It is a stone‘s throw away
from the Pamintuan-Fabella mansion where Aguinaldo and members of the Revolutionary
government celebrated the first anniversary of the 12 June Independence declaration. Dr.
Jaime Laya restored it when he was governor of the Central Bank.

The Bautista-Nakpil house in Quiapo also came to mind and so did other heritage struc-
tures that have been given adaptive re-use instead of being sacrificed to the wrecker‘s
ball. To name a few, Manuel Padilla‘s house on R. Hidalgo, the Juan Luna building along
the Pasig, the Cobankiat building Hardware which restored the 100-year-old Shields
building, Orchid Garden Suites, Casita Mercedes in Poblacion, Makati. There is a list of
mansions in Iloilo and Bacolod, Batangas, and Laguna.

Congratulations to the cast, they were all superb actors and singers. ―Mansyon‖ was so
true to life, I cried when Don Santos died, but was consoled by the restoration project of
Architect Mak and Aya.

Page | 24
 „Mansyon,‟ entertainment with a mission
JUST A THOUGHT: ‗Anyone who keeps the ability to see
beauty never grows old.‘ – Franz Kafka

MUSICAL ON PRESERVING HERITAGE HOMES: Little did

we know that quietly, unheralded, a musical play that pro-
motes preservation of Filipino culture through the restoration
of colonial Filipino homes is playing somewhere, some place
near.

Nestor Cuartero The musical is as timely as news of heritage homes and

Published May 18, 2018 buildings being torn down to give way to more malls and
12:05 AM other places of commerce continue to hog headlines.

In recent times, we have seen the demolition of the old Jai Alai building on Taft Avenue
(now a supermarket), the Army Navy Club at Rizal Park (now a hotel), to name just two.
Those were landmark structures known for their period architectural design and history.

On the other hand, ―Mansyon‖ is just as relevant in the light of the million-peso restoration
currently being done at the Metropolitan Theater on Liwasang Bonifacio, central Manila. A
positive development, for a change.

Theater and arts lovers eagerly await the Met‘s reopening, said to be this year. How nice
if ―Mansyon,‖ whose theme the Met could easily identify with, could also play at the Met in
the near future.

CONFLICT BETWEEN THE OLD AND THE NEW: A reader, Coratec Jimenez, has informed
us about ―Mansyon,‖ an original Pinoy musical about a conflict between the owner of an
ancestral home and his balikbayan granddaughter, who has absolutely no affinity with the
decaying mansion. ―Mansyon‖ opened at the UP Abelardo Hall last March 18 in support of
Bolboc Heritage Group of San Juan, Batangas. San Juan town itself has several heritage
homes that face either restoration or destruction, depending on the need or circumstance.

Leon M. Mayo is credited for its story, music and lyrics. An architect by profession, he is an
advocate of heritage conservation. Others in ―Mansyon‘s‖ production credits include Ruth
Alferez (director), Lawrence Jatayna (musical director), Michael Bulaong (arranger), and
John Quintana (scriptwriter). Playing key roles were Brylle Mondejar, Ina Salonga, Greg
de Leon, Melanie Dujunco, Christine Joy Mangahis, Kevin Posadas, and Kevin Alen King.
Good to hear that Brylle, who started as a talented teen singer on ―That‘s Entertainment,‖
has transformed as a theater actor.

Page | 25
PURE ENTERTAINMENT: ―Mansyon: Isang Musikal,‖ says Coratec, is a refreshing original
Pinoy musical play that anyone who appreciates a song-and-dance drama presentation
will definitely enjoy watching. It has no artsy-fartsy, highfalutin pretentions of being intel-
lectually heavy or philosophically deep. ―Mansyon‖ is pure, uninterrupted entertainment
with a thought-provoking, nationalistic, cultural theme. The play‘s central message is to
promote preservation of Filipino culture and heritage through the restoration of colonial
Filipino homes. Many of these were built way back during Spanish times.

Coratec writes that for her, the procession scene in Act 1 had tremendous audience impact.
She says, ―The procession scene led by the priest started at center stage, went down and
proceeded to the back, turned and passed through the side aisle then exited through the
side door, all the while singing and chanting in their well-blended heavenly voices, lighting
up the dark with their candles and evoking a spine-tingling, solemn, awesome atmos-
phere.‘‘

―Mansyon‖ is available for staging everywhere. Its producers can be reached through
leonmayo@gmail.com and evmayo@hotmail.com.

„Mansyon‟ production team, cast and crew

Page | 26
A „Mansyon‟ of Memories
Early in its existence, Las Casas Filipinas de Acuzar, brain-
child of construction magnate Jose Acuzar (New San Jose
Builders), met with a firestorm of criticism for transplanting
ancient buildings from their original locations to his resort in
Bataan. If I remember right, the controversy erupted over
the attempt of Acuzar to buy an abandoned, deteriorating
church in Pampanga, relocate it to Bataan, and there refur-
bish it to approximate its old glory.

Rina Jimenez-David When I spoke with him, Acuzar said all he wanted to do
Published March 25, 2018 was to save old, abandoned structures, some of which had
historical value, and restore them. But then, given the pace
of development or deterioration in the surrounding areas,
the only way the refurbished homes and buildings could regain their dignity was to be trans-
planted to Las Casas.

A recent visit to Las Casas shows that Acuzar‘s vision has blossomed beyond even perhaps his
own imagination. The resort has been transformed into a small town, and there is inherent
charm in the neighborhoods displaying ancestral homes restored to ―almost-new‖ state.

But I can sympathize, too, with those who feel that the houses — and their original sites —
lost a vital connection when they were uprooted, to be enjoyed only by foreign and local
tourists who can afford to pay the entrance fee.

Out of its native context, does an ancestral home or community structure still retain its identi-
ty, its meaning, to the people and families who lived in it, loved it, and attach memories to
it?That is a question that crops up in ―Mansyon, Isang Musikal‖ which had its initial run the
other week at Abelardo Hall in UP Diliman.

With words and music by Leon Mayo, an architect and urban planner with an avocation for
music since his youth, ―Mansyon‖ tells the story of the surviving Santos patriarch who struggles
to preserve his family‘s ancestral home in the midst of forces—including friends and loved
ones—who urge him to sell his house and lands and opt for a life of easy retirement.

In the process of fending off temptations to take the easy and profitable way out, Santos
dredges up painful memories of his family history. And now, with the arrival from the United
States of his granddaughter whom he must convince to stay in the country and help him pre-
serve their heritage, he learns to cope with new ways and new attitudes.

Page | 27
I‘m happy to say the dilemma is solved satisfactorily, although not without some heartbreak
and conflict.

Clearly, this is a personal ―passion‖ project. In a sharing with the audience at the musical‘s
end, Mayo said many of the songs—in English and Filipino—had been written years ago,
although with no outlet for them, he had kept them secret from his friends.

The songs do find heartfelt interpretations at the hands of the cast, particularly Brylle
Mondejar as the aging Santos grandfather and Ina Salonga as the spirited granddaughter.
Stage direction is by Ruth Alferez, music direction by Lawrence Jatayna, music arrangement
by Michael Bulaong, and script by John Quintana.

The musical left members of the audience pondering matters like legacy, history, and family
honor. During the Q&A, several in the audience stood to express their own dilemmas regard-
ing their own ancestral homes that are expensive to maintain and thus serve as tempting lures
for their own demise, with younger members of the clan agitating to sell them off and exploit
their central locations. One even confessed that he didn‘t know what to do because there
were 16 primary owners, all in disagreement over the best way to cope with the challenges
of keeping an ancient structure intact.

The Christmas scene with the patriarch and the granddaughter

Mayo himself confessed that he had no choice but to buy off his relatives because he was
determined to keep their ancestral home in Batangas intact. But not every family has such a
wealthy and committed member. Thus, ―Mansyon‖ provides a blueprint for the future of her-
itage structures — that may end up in a place like Las Casas Filipinas de Acuzar.

Page | 28
“MANSYON, A Quick Tripping Into Our Own Heritage”

Okay. So we were once again given a chance to wit-

ness another work of art just last Sunday. Theater go-
ers and supporters were invited to check in to an an-
cestral house that has been trending in social media
these past few days.

MANSYON: Isang Musikal is a stage play produced

in support of Bolboc Heritage Group of San Juan,
Batangas. Directed by Ms. Ruth Alferez, it‘s a piece
Ronnel Hicarte that taught us the value of family and preserving not
Published March 19 just its original state but also the tradition that runs
and being passed from one generation to another. It
was held at Abelardo Hall, UP Diliman and from what I‘ve learned, last night‘s show is the
last show, so far.

I was excited to see the show and I got curious about how great Ms. Ruth is. I have
watched her play ‗Mari‘ in Artist Playground‘s ‗Happiness is a Pearl‘. Though I didn‘t have
a chance to meet her personally, I knew she‘s a great actor and person inside and out.

And so the show started. Aya (Ina Salonga) went back home from the US after studying
and staying abroad for several years without knowing that her grandfather, Santos (Brylle
Mondejar), holds a grudge after she failed to return home right away after studying. His
grudge grows when he learned that she‘s with her fiancé in the character of Mak (Kevin
Posadas) who happens to belong to a clan of gamblers in town.

Aside from the fact that he doesn‘t want his granddaughter to be involved with the said
clan, he is also arranging for her to be engaged to the only heir of one of the prominent
family in town, Ricky (Vien Alen King). Aya then thought of a strategy for that not to hap-
pen while their interest of preserving the mansyon is still met. Such an unpredictable plot.
One of the casts as well is Greg de Leon, who plays the role of Father Domingo, from
which I‘ve seen in Artist Playground‘s ‗Lagablab‘. A great actor and a great singer, I should
say. Also it‘s good to see two of my beloved friends from Valenzuela City Center for the
Performing Arts, Ms. Lodie Atis and Ms. Ellrica Laguardia. They really have come a long
way in the field of performing.

It‘s a one-of-a-kind experience being invited to watch such piece. The stage was set up to
have the front view of the Mansyon that, on a latter part, was opened (like literally) to all
the viewers. I personally felt I was carried away each time the mansyon facade opens up,
that it will really take you inside the ancestral house and you‘ll not just watch them, but

Page | 29
you‘ll be one of them.I was also surprised to learn that the piece was inspired by a true
mansion that exists in real life, as stated by the author and creator of music and its lyrics,
Mr. Leon Mayo. The setting was revealed to be in San Juan, Batangas and that the charac-
ters really existed though the names were obviously changed.

The message of the play is straight and direct. Though the story happens in present times, it
still has a touch of rural feels that will make a viewer relate how it feels to live in province.
Lines were not that deep (both English and Tagalog) and characters are conversing in ―ta-
glish‖ which made the past and present generation meet halfway. There was a comparison
though between the play and the movie ―Larawan‖, a MMFF 2017 entry. It might be a
blessing because I haven‘t seen that movie yet, which gave me nothing to compare about,
luckily!

The songs are genius, so as the lyrics. I should say the actors are really good singers as
well, like all of them! And the good songs were danced with a good choreography that
was synchronized to its music depending on its mood. I was amazed by the concept where
the characters are still linked to the past by having an indirect communication with the pre-
vious generation. I love how the portraits come to life and sing and dance with the present
generation.

Aya’s deceased mother (Christine Mangahis) pops out of her portrait to sing a duet with Aya in the hall

The side story of the maid Consing (Melanie Dujunco) is also interesting to the point that
some viewers were asking for a part 2 that tackles more adventures about her. But what
really took me away is that, I was expecting a different twist on one of the scenes. A twist
we normally see in some movies or soap operas. But that twist didn‘t happen in this play,
which made it a bit unpredictable towards the end. The finale was spectacular that when I
try to recall it now, I can see confetti falling everywhere. The inspiration and positivity it
brings will stay within.After the show, the casts and production staff were praised and

Page | 30
commended by the viewers in its question and answer portion for coming up with such a
masterpiece.

After the show, the Mansyon Team answers questions from the audience.

During this time I truly appreciate Mr. Mayo and his effort in creating this wonderful work of
art. Knowing that he is an architect, he still pursues his passion for the art without compromis-
ing his career. Even if it‘s just an ―extracurricular‖ for him, he still managed to come up with
a story that will inspire its viewers. Mr. Mayo was also asked if it‘s possible to bring the said
show to Batangas, where the story was inspired from, and was even suggestedif it‘s possible
to bring this play into silver screen. He is open to these possibilities, in God‘s perfect time,
according to Mr. Mayo.

Either way, Batangueños will surely be proud of it, especially the locals of San Juan. Hope-
fully, the ancestral house will soon be reopened to more guests and continue the legacy of
showing the true value of family in our culture.

Page | 31
 SHOW
PROMOTION

Page | 32
 Press Release Material

MANSYON, Isang Musikal is a new play advocating heritage conservation. Its story is set in
a provincial town harboring traces of a colonial past. While the drama is set in the 90s,
historical flashbacks explain the influences that make the concerned families there the way
they are today. The show music is new and consists of 13 OPM Tagalog and English songs.

The play scenarios revolve around one family‘s 100 year old ancestral house – the now
vague symbol of family pride and legacy. Through it all, the drama brings to light herit-
age values (concept of pride-of-place and importance of tradition and Angkan ties) within
the cultural context of a town waking up to a new socio-economic order.

Leon Mayo created the book, music and

lyrics of the play. The artistic team consists
of: Ruth Alferez (stage direction); Law-
rence Jatayna (music direction); Michael
Bulaong (music arrangement); and Oliver
John Quintana (script). The major charac-
ters of the cast are stage actors Brylle
Mondejar, Ina Salonga, Greg de Leon,
Melanie Dujunco, Christine Joy Man-
gahis, Kevin Posadas, and Vien Alen
King.

The musicale will have its premier show – a

one day 2-show event (2PM and 7PM) - on
March 18, 2018 at the Abelardo Hall, Col-
lege of Music, University of the Philippines,
Diliman. You may contact Leny or Val at
895-1812 for show details.

Leon Mayo with the Production Managers (J.

Jatayna and I. Delarmente) and the Director
(R. Alfarez)

Page | 33
 News Article Promoting the Play

The Red Summons

Rina Jimenez-David
Opinion.inquirer.net excerpt
Philippine Daily Inquirer / March 14, 2018

It isn‘t often that a brand-new musical, with new songs and an exploratory theme, comes
our way. Well, your chance to catch one such new stage presentation comes this Sunday
when ―Mansyon, Isang Musikal,‖ is staged at the Abelardo Hall in UP Diliman, with two
performances at 2 p.m. and 7 p.m.

A true OPM (Original Pilipino

Music) showcase, ―Mansyon‖
advocates for heritage
preservation and conserva-
tion, told through the story of
a family fighting to preserve
its patrimony and leave the
old house as a tribute to the
heritage of their small town.

What makes ―Mansyon‖ truly

an original artistic endeavor
is that its music was written by
an architect, Leon Mayo, who
throughout his youth produced
music with good friends and
classmates.
Show principal characters: Patriarch, the priest, and the heiress
Fleshing out the music and story
of ―Mansyon‖ is a cast composed of stage actors BrylleMondejar, Ma. Regina Salonga,
Greg de Leon, Christine Joy Managhis, Melanie Dujungco, Kevin Posadas, and VienAlen
King.

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 Show Posters & Webpage

www.facebook.com/MansyonIsangMusikal

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SHOW DAY
MATERIALS

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Show Tickets & Venue Posters

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Program Hand Out

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 Voice Over Credits (during the show)

2PM Show For Both 2PM & 7PM Shows/

Special Guests acknowledgement
Before Act1 and Act 2
1. Mr. Nick Lizaso – President, Cultural Center
of the Philippines Sponsors acknowledgement
1. PETRO GAZZ
2. Dr. Raul Sunico – Past president, Cultural
Center of the Philippines 2. Edgardo & Pacita Foundation for Taal
Heritage
3. Gemma Cruz Araneta – Emeritus Chairman,
Heritage Conservation Society (HCS) 3. FILOIL Logistics

4. Officials of San Juan Batangas - the town 4. Coffee Bean / Tea Leaf
that is the inspirational setting for Mansyon
5. CONCEP Architecture & Planning
7PM Show
6. CAPEX Capital Advisors
Special Guests acknowledgement
7. Paradores Hotel Group
1. Ms. Kara Garilao – Fundacion Santiago
8. Don Juan Taal Restaurant
2. Mr. Dinky Einsiedel – Past President Herit-
age Conservation Society
9. Ballet Manila
3. Mr. Melvin Patawaran – Director ICOMOS 10. Phelps Dodge
Philippines
11. Liwasan ng Ala-ala San Juan Batangas
4. Mr. Zaldy Marasigan –President, Bolboc
Heritage
Friends of Mansyon
5. Ms. Sylvia Lichauco – Director Ballet Manila
& Founder,Sta. Ana Heritage.
12. Mr. & Mrs. Jun & Chit Cariaso
13. Mr. & Mrs. Didi & Nore Lim
6. Ms. Carmen Prieto – President, Dagupan 14. Ms. Marcia Cruz
Heritage Commission.
15. Ms. Linda V
16. Engr. Alex Ledesma
7. Ms. Lydia Echauz – Past President, FEU
Social Media
17. ―When in Manila‖ and ―Theater Fans Ma-
nila‖

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 Show Photos

With Ms. Gemma Cruz Mansyon volunteer ushers from CONCEP

Friends and classmates from STC and UP

With Mssrs. Nick Lisazo and Raul Sunico

With Bro, Ray Suplido & Jay Calleja

Inside the Theater

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BEHIND THE
PLAY

Page | 41
 About the Music
by Leon Mayo

I decided to take on songwriting late in life. Having enjoyed music of others all these years, I
figured that writing original songs would be a refreshing change. It was also an impression
that the effort would consume just about the same amount of time it would take to cover study
someone else‘s song material.

In reality, it did not turn out that simple. But what it did was to provide the impetus for some-
thing else. The idea of transposing one‘s experiences, if not observations, in song became a
mission. What started as a simple and relaxed activity became a passion. Today, the results
of this effort are what is known as OPM songs (original Pilipino music).

The songs are: in English and Pilipino; of diverse musical genres; and are as follows:

1. Nung Unang 5. Sintang Martir 9. Chance Love Day

Panahon 6. On Christmas Day 10. Ako Ay Nandito
2. Passage 7. Brothers 11. Ulan Bagyo
3. My Days 8. Crazy Waiting 12. Ito‟y Ating Bayan
4. Who Can Say Game 13. Awit Ng Mansyon

The message of the songs comprises a range of beliefs and sentiments. The philosophy of the
messages nurture the notion that even destiny may be influenced if the approach to life and
living is appreciative and positive. On account of their distinct tunes and themes and because
they bespeak life, the songs have today become the music of ―Mansyon, Isang Musikal‖ - a
theater production about legacy and heritage.

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 About the Songwriter
Musical Material

An Architect by profession, Leon Mayo is also a songwriter. His compositions mainly draw from his
insights of the world and lessons learned from life situations. Most of his music are odes to life‘s
memorable sentiments if not travails, and are in the category of OPM (Original Pilipino Music)
pop song.

Musical Resource

Three things serve Leon in good stead when he makes music. The first is a fundamental ability
with the acoustic guitar. The second is fluency in both Tagalog and English (for expressing senti-
ments in both languages). The third is an acquired understanding of song structure and typology
stemming from his musical exposure even as a youth.

Musical Performance Experience

In the 60s and the 70s, Leon was a member of an erstwhile college singing group called the C A-
FASingers. Starting out as a folk singing ensemble, the group expanded their repertoire with the
adoption of new music that came along. Over a five year period after doing the campus circuit,
the CAFASingers regularly performed on larger platforms. Their performances include event
shows, big stage shows (front acts at the Araneta Coliseum, Rizal Theater, etc.), radio/television
shows, and on occasion, movie sound track and commercial jingle projects. The group disbanded
shortly after their graduation from college.

The CAFASingers: A typical Front Act performance for foreign artists at Araneta
Coliseum in the 70s

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 The CAFASingers

The CAFASingers at ABS-CBN studioin the 60s for a pictorial with Regrouped as the NeoCAFAs at the Music Museum in the 90s.
PilitaCorales and her “An Evening with Pilita” show

From the brochure of the first

CAFASingers concert at UP
Abelardo Hall in 1965.

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Brief On the Creator of the Mansyon Book & Music
Leon Mayo Early Years
Leon Mayo‗s roots is San Juan Batangas
where he was born during the Liberation
period. When he was six years old, he was
brought to Manila for schooling. During his
student days, he discovered the world of
popular music which became one of his
hobbies. Even as he embarked on his business
career path, he continued to enjoy guitar-
based music sessions whenever the
opportunity was there. Today, his friends of Live TV performance for Duet with Nonong Pedero at
long standing that he sees to this day are his DZUP in the 60s the CAFA UP Concert

former singing buddies from college. He is married to Elvira Villavicencio with whom he has three
children, Carla, Melissa, and Farah.

Leon Mayo Education, Profession & Present Day Interests

Leon Mayo‘s early schooling was in
De La Salle College, a Christian
Brothers‘ school. He completed his
degree in BS Architecture at the
State University (Diliman QC) and
his MBA from the Ateneo Gradu-
ate School of Business. Leon is a
licensed architect and environmen-
tal planner who has been in pro-
fessional practice since the 70s. He
Leon Ma yo i n the offi ce
is the president of CONCEP Inc., a
planning and design firm he co-founded with a college classmate. In the same light as his
stewardship over his firm‘s creative requirement, he today likewise tends to his passion pro-
jects involving heritage legacy, the fine arts, leisure sports, as well as family activities.

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