IN IMELDA, Ramona S. Diaz’s 2003 documentary, former first lady of the Philippines Imelda Marcos stands over her autarch husband’s unburied and uncannily pickled cadaver, declaring that her own tombstone, when the time comes, should read “Here lies love”; little does she know she’s titling an immersive musical reuniting David Byrne and Fatboy Slim following their maiden 2008 collaboration, “Toe Jam.” In this pageant of camp and control, the epitaph becomes a maudlin self-own for a figure who transformed from a symbol of rebirth into one of vulgar opulence and theft, and an accomplice to Ferdinand