It’s another Saturday night, and I’m out of ideas on where to go or what to do. I already saw the season’s blockbuster last Friday. Tickets to that international R&B artist’s concert and that artsy-fartsy play are both sold out. And that hip, newly-renovated bar? Closed again because of another brawl.
Manila seems to be running out of fresh gimmicks—until I learned about Club Mwah, the extravagant entertainment club that’s been brewing on Bonifacio Avenue in Mandaluyong. On its own, the four-letter cutesy name does not seem to put it above other bars around.
Apparently, even Elvis Presley himself would have been proud. Las Vegas has finally arrived in the Philippines in the form of cabarets, costumes, and cocktails by the one and only Club Mwah.
The Venue
Going down the jeepney-infested street , I couldn’t imagine how a glamorous theater bar could fit in with the factories, carinderias, and thick smog that filled the road. But there it was: a grand staircase and an unbelievably bright sign that seemed to illuminate this side of urban Manila.
This five-storey building, aptly called The Venue, is an all-in-one theater production house. On one floor alone are five dance studios where rehearsals and warm-ups are held. Costumes and accessories take up a whole level. And the basement is the genesis to massive stage props, like the life-size walking baby elephant for the queen Buddha number, done by Club Mwah’s own craftsmen.
But the major part of the building is the Club Mwah theater bar. After the reception area and past the mini-curtains, it’s clear that Club Mwah is all about excess, excess, excess. Under the high ceiling of the main level are the stage and the dance floor, surrounded by tables paired with velvet seats and carpeting on every inch of the floor.
On one of the comfy couches in the upper balcony, I had a fuller view of the show, sans the overwhelming closeness to the action experienced by those seated downstairs.
Not only did I avoid being the ambush-interviewed audience member by the very gay and very kinky hosts, I also had easier access to the always-overstocked bar. All these elements come together to create an entertainment experience that emulates the aura of Studio 54 in New York and Caesar’s Palace in Las Vegas.
Given the opulence and finery poured into the interiors of Club Mwah, a first-timer would wonder how the show can compete with the décor for attention. Then the music begins, the curtains are raised, the showgirls, guys, and girl-guys come out (pun intended), and the Mwah virgin finally understands what over-the-top truly means.
Spectacular, spectacular
Maybe it’s the enchanting costumes that rendered the crowd in a state of awe. How their outfits manage to incorporate so many materials (feathers, sequins, satin, jewels) while at the same time reveal so much skin was a mystery. Even more astounding is how the showgirls never repeat costumes—not even a single accessory—for any of their numbers.
Each song, from the white-themed intro to the Miss Saigon recreation, has its own set of props (hovering helicopter), backdrops (yes, we were in Vietnam), and over a dozen costumes that are as brilliantly detailed as the choreography.
“I don’t want to shortchange our audience. We don’t scrimp on the budget for the costume, props, makeup,” shares Club Mwah Vice President Pocholo Malilin. “[It’s] all in the name of authenticity and quality.” The same goes for the Egyptian number, led by Queen Nefertiti and her pyramid, sphinx, and sexy servants.
The performers themselves are a whole other definition of larger-than-life. Though they were just lip-synching, their dancing more than made up for whatever they lacked in the voice department. Most, if not all, of the femmes were in fact trans-femmes—it was hard to tell, even with some of their partly sheer, tight mini-suits.
Behind their swan-like grace, the only giveaway was their construction worker-like energy and endurance. Perhaps this is the prerequisite for all who aspire to be ‘Follies de Mwah,’ as they are called.
My personal favorite would have to be their version of Chicago’s ‘Cell Block Tango.’ Dark and provocative, this act stood out, highlighted by the performers’ own interpretation of prison cell women. It was clear that they owned the stage.
But talent and grace can only go so far without expertise training. This is where years of international experience in the industry make the difference between world-class and Wowowee-class.
Behind the velvet curtain
Before setting up Club Mwah, Pocholo and Club Mwah President and Creative Director Cris Nicolas have been training professional dancers overseas. Now, they’ve succeeded in sharing the technique and innovative spirit of high-standard entertainment that will earn the industry the respect it deserves.
Because in truth, running a theater bar for five years is no joke. Every six months, Club Mwah challenges itself to present a new repertoire that’s better than the last. Now on their 10th Bedazzled show, Cris and his crew are under more pressure to keep their patrons interested even after repeated visits.
The larger part of their loyal supporters is in fact OFWs and their foreigner friends. “We’re even more popular abroad than here in the Philippines,” says Pocholo.
While it’s great that institutions abroad are supportive of their efforts—two of Club Mwah’s numerous awards are from the Asian Pacific Award Council, namely the Global Award of Excellence and the Outstanding Theater Club in Asia Award—what they need more is the support of the local market.
With overseas channels like ANC and TFC promoting Club Mwah, Pocholo wishes that the rest of the Philippines can see the potential in their work and let it flourish like the establishments in Las Vegas and New York.
It’s no different from Lea Salonga making her mark on Broadway. Or Manny Pacquiao dominating world boxing. Club Mwah has just as much potential in putting Filipino talent on the map for opulent entertainment.
Showtime
Between call time and curtain call, the performers follow a (flexible) schedule sequence every night.
5:00 CALL TIME
All dancers and actors arrive at the venue and do their warm-ups in the studio followed by a quick run-through.
7:00 DRESS-UP DOLLY
Costumes are laid out according to the performance sequence while the ladies have their hair and make-up done. Outside the curtains, dinner is served, and dance floor is opened.
9:00 CURTAINS UP
The hosts take the stage and welcome the night’s round of guests. They warm up the audience while the performers backstage do their final preparations, the real show will begin in 15 minutes.
9:15 LET THE SHOW BEGIN
The best of Philippine entertainment plays out on the stage filled with glitter and gold.
10:00 BREAK
After 45 minutes of non-stop dancing, the performers take a breather while the audience enjoy their cocktails and hors d’ouvres.
10:30 FIN
The final bow is taken, Creative Director Cris Nicolas takes the final bow with his showgirls. The dance floor is open again ‘til the wee hours of the morning.
