
Another year has passed and here’s a retrospective on what has happened to me in the world of Theater.
The year kicked off wonderfully with a two-night show of I Laugh You in CCP. Despite the busy schedule at work, I was able to squeeze this into a two-week preparation: one week to memorize the lines and another week for rehearsals (including blocking). This is my first time in this role, so unlike previous shows of Subtext, this one really needs memory-work and rehearsals. This was borne out of a predicament as the original choice for the role (who already started rehearsals earlier) could not do both shows due to a schedule conflict with taping his bit part in a telenovela.
One good thing going for me was that after so many years in Koine I had already seen many productions of this show, running since 2003, and I had frequently served as front of house for most of these. Hence, the lines weren’t new (although it’s probably the most lines I’ve memorized) and the blocking was familiar. I also knew where the funny lines are and when the audiences will be in stitches so I had an idea on how the audience would react. And I’m glad I had new people (too early to determine if I can call them fans already hahaha) in the audience, since this was my first outing as an actor in the new company. I’m grateful that friends were able to watch my first CCP show, and even more grateful that they were able to appreciate the work (“Sumakit ang panga ko sa kakatawa” – Onay).
The rest of the year seemed to go to a slow start afterwards, what with work starting to pile up, with the demands of my new role at work at its peak at around April and May. Fortunately, I was tapped again by Koine for a bit role in Terengati, another show in CCP but this time for Virgin Labfest 4. The good thing about this bit role is that it’s a musical (although I don’t sing except in the chorus at the end) and the memory-work is nil. I have lines, but these were already pre-recorded and synthesized to sound big since I was playing Hari ng Kalangitan.
Originally, I was supposed to be on stilts, something I thought would come naturally. Unfortunately, or fortunately for my body, the stilts idea for the role did not push through since 1. Stilts-skill did not come naturally, 2. I was supposed to be on stilts and standing still (which is more difficult than it sounds) while carrying gigantic hands, and 3. we started having a stilts shortage as the other character who did push through with using stilts ended up breaking them.
Artistically, this was not so fulfilling as the acting ended with the recording and the live-work was more for carrying the prop-hands. Still, I’m very happy to be part of this show since it was a really big hit with great music and great production value. We had an overture and a rousing finale number and we had kids headbanging to the score and audiences having their LSS of “Ada! Ada!” after the show. And we had people on stilts, we had a giant head and gigantic hands, we had a luminous falcon, and we had seven “naked” girls bathing by moonlight.
My next theater work was more of a racket, a thesis school production for the College of Saint Benilde. This was something introduced to me by a previous co-actor in Koine. The great thing about this is this is my first period piece and we dressed appropriately. It was also one of the few times that I get to do previously existing works (as I was usually accustomed to original plays). I ended up looking like Cogsworth, but so what?
There were some problems with the production, particularly the finances. But the problems led to great conversations and I ended up making new friends and making better friends with those I already knew. To elaborate more on the production problems, the shows were in August but I got paid September 30.
Incidentally, September 30 saw me doing another show, this time something familiar to me even if I had only done the role once before (as in one show). This was the binata role in the second segment in Subtext. This was difficult because of the age I was supposed to portray (high school-ish) but fun just the same as we ended up playing around with the role. Hell, I may not look high school but I’m definitely gonna act high school for this. It was also fun finding ways to throw my co-actor off her guard (and my knowing some of her kilig moments helped) and squeezing in mentioning Shake, Rattle, and Roll in the lines.
Another Subtext show followed, this time in Ten02 bar in Timog (the previous one was in Conspiracy Bar in Visayas Avenue) as we were rolling out Koine Bar Acts, an offshoot of Koine One Acts but this time (you guessed it) in bars. Time will tell if we will go on with hitting bars, especially with the economy and all.
So that was my year in theater. Despite the full-time work in the new company (and of course doing the usual newbie hataws) I was able to find time for four great productions. This will definitely go in my other resume. Now let’s see what 2009 will bring for me. Or better yet, let’s wait and see what I’ll bring to 2009.