By Gibbs Cadiz
Inquirer
Last updated 01:05am (Mla time) 10/01/2007 

MANILA, Philippines –There was a time, before the onslaught of the TV-manufactured “Champions,” when singer Rachel Alejandro’s beautifully burnished alto dominated pop radio with hits like “Nakapagtataka” and “Paalam Na.”

These days, the dominant sound of the airwaves is much higher in both decibel and pitch—the aural fingerprint of a crop of younger singers who’ve been taught that belting, curlicue and melisma, no matter how undisciplined or superfluous to their talent, are the turbo trains to popular acclaim.

Singing as a blood sport can howl non-belters like Alejandro out of the fickle spotlight, as it has of late.

But there is one venue where Alejandro should feel most welcome any time: the stage. Her few forays into musical theater so far (“Alikabok,” “Larawan,” “Rent”) suggest that her gifts acquire greater luster when used in service to a musical character, as opposed to a conventional 32-bar pop ditty.

Her recent turn as Kate Monster and Lucy the Slut in Atlantis Productions’ “Avenue Q,” directed by Bobby Garcia and Chari Arespacochaga, supports this thought.

In this winsome staging of the 2004 Tony winner for Best Musical, which closed a weekend ago at the RCBC Theater but will be back in the same venue on December 14-23, Alejandro delivered a performance of remarkable control and versatility. Her pipes spun glittering sass one moment (in “Special”), precise heartbreak the next (in “There’s a Fine, Fine Line”).

Alejandro’s assured presence in this genial, tuneful, sharply mischievous musical—featuring puppets that cussed and boinked each other, for starters—was all of a piece with her co-stars’ joyously entertaining work.

Happy surprise

There’s Felix Rivera, showing himself off as a newly minted leading man with his good looks, limber frame and strong, expressive voice (already evident when he strutted as an alternate Chuck Cranston in Stages’ “Footloose” in 2005). If he keeps at it, Rivera should be in the big leagues by tomorrow.

Joel Trinidad juggled his multiple ventriloquist duties expertly, and was especially funny as Trekkie Monster. Aiza Seguerra, though you could quibble with her unsteady attempt at a black accent, was perfectly cast as Gary Coleman, if only for the resonant punch she brought to the line, “Try being a has-been at 15 years old!” And in small parts, Rycharde Everly and Teenee Chan gave deft support.

It would be an oversight not to devote a paragraph or two to Frenchie Dy, who was a happy surprise as Christmas Eve. The erstwhile “Star in a Million” champion aced her musical theater debut with much charm and confidence, plus the best voice in the ensemble next to Alejandro’s.

She represents hope—the bona fide product of gladiatorial vocal combat on TV transcending her birit beginnings to become an effective storyteller in song. Can she dance? How about “Hairspray” for her next time?

(“Avenue Q” returns Dec. 14-23 at the RCBC Theater. Call 8927078 or e-mail atlantis.productions@gmail.com)