Kislap and Algo ; The Art of Persuasion

 

CJ Navato as Kapre and  Kyle Napuli as Gabriella in Kislap  and Fuego Photo Courtesy of PETA 

Kislap at Fuego and Algo Double Bill was a twin-bill shot of Filipino art I never knew I was craving. PETA’s experimental works from 2024 returned to the stage with a freshness that’s hard to resist — bite-sized goodness built on depth and culture. One is fantasy, and the other is realism. One time travels to the past; the other mirrors our bothersome present. Kislap at Fuego unravels its message with romance and subtlety, while Children of the Algo delivers truths with cold, unflinching directness. Both fearless, both persuasive theatre.

Magic in a Black Box: Kislap at Fuego

Kislap at Fuego accomplishes so much within a restrictive black box theatre — never lacking in magic, content, or talent. Created by Palanca Awardee Dominique La Victoria, the play already implies a strong voice. I was so drawn to the material that I searched its origins. Kislap is adapted from the short story, “The Odd and the Ugly” by award-winning author Vida Cruz-Borja. Reading the original version made me appreciate Cruz-Borja’s intent, La Victoria’s respect for the original work, and the cleverness of Gentl Mapagu, who translated it. The result is refined, resonant, and palpable for live theatre.

The story centers on Gabriela, played by Felicity Kyle Napuli, who ventures into the forest to confront a Kapre (CJ Navato), drawn straight from Filipino mythology. She seeks to settle a debt her father left behind after stealing a mango from him. The Kapre resists her presence at first but eventually lets her enter her world. Together, they navigate getting to know each other , eliciting the magnanimous, warm applause of an audience who couldn't get enough of their onstage romantic chemistry.

As the story deepens, Gabriela reveals that — much like our own Gabriela Silang — she embodies the heart of a revolutionary. She longs to honor the works of José Rizal and the impact of his words, novels, and leadership. She dreams of change — of a Philippines liberated, free to love life in its fullest glory, bathed in freedom.

The Kapre, in turn, reveals his own painful truth. He was once human — a man consumed by greed and insecurity. He had everything and lost everything, including his great love, the diwata.

The closing revelation reframes everything. The story closes with Gabriella becoming the Diwata trapped in the human world. Her powers reach her fingers and ignite her soul, and she remembers everything about the past, the ills of the human world, and her love for Kapre, who used to be her beloved Ezekiel. They both simmer in their brokenness and take a step towards each other to express that indeed love will conquer all.

I sincerely loved the material. But what made it even more special was that the team did not merely present a beautiful story with a message — they accomplished so much more.

At the forefront, Felicity Kyle Napuli was a vibrant Gabriela. Her energy created an undeniable pull; she commanded the crowd with confidence. Her choices were deliberate, embodying a defiant and authoritative woman who felt startlingly contemporary — almost as if she had stepped straight out of 2026. There were moments when her performance bordered on the theatrical extreme, but this was intriguingly balanced by CJ Navato’s calming presence as the Kapre. His restraint grounded their exchanges, keeping the dialogue clear and engaging. Navato’s charm felt lifted from a Korean rom-com — rough around the edges, yet undeniably sweet and disarming. Together, they generated the kind of romantic chemistry that audiences crave.

Purposeful pauses with a whole lot of comedy were provided by Nuno sa Punso Leron (Ekis Gimenez) and Pipay (Carlon Matobato). Collectively, the entire cast’s competence in delivery, timing, and physicality caused delightful mayhem in the audience — bursts of gigil, waves of kilig, uncontrollable laughter rippling through the seats. According to the pre-show talk, only a handful of the audience had watched theatre before Kislap, so it felt like the biggest win ever to have converted busloads of people who were not too excited at the beginning into a cheering audience who couldn't help but love the material. That, in itself, felt like the biggest victory — a true check on the bucket list for the entire company.

The show also taught the crowd about history and culture. The insertions were so smooth that the audience didn't even notice they were being schooled on the presence of other folklores, traditional dances, and Philippine Literature. As it glorifies our roots, in its comedy, it also acknowledges the present life using gestures that mimic current events, TikTok”6, 7”, dance steps from Katseye's Gabriella.  These moments really baited the audience hook, line, and sinker.

Boni Juan’s fantasy setting, paired with lighting by Rafa Sumilong and projections by Bene Manaois, created magical, intimate moments, especially the shadow play on a small canvas.

Kislap at Fuego is fantasy, but it grounds you. When Napuli screams, “Ang mga librong ito, mas mahalaga pa sa buhay ko,” it is doctrine. Memory is protection. History, when remembered properly, becomes armor. Never forget.

Children of the Algo: Reality Check

Children of the Algo by Mixkaela Villalon felt like a satisfying rant about the hypocrisy of present-day life. Four influencer characters — Yani (Nyla Festejo), Jen (Frances Marie Akol), Owen (James Pe Lim), and Mark (Otep Madriaga) — expose the irony behind curated online perfection. Life is rarely perfect.

The format mimics online scrolling: vignettes with no interaction, gradually revealing a sense of dissatisfaction. Mark’s climactic monologue breaks the “ wall,” speaking of broken promises, corruption, isolation, and the lack of community for ordinary people.

Conceptually, it is strong — a slice of real life meant to shake the youth’s perspective. Mimicking the screen was a solid idea. The cast is talented, especially Madriaga, who was incredibly believable. But the execution could have been tighter. It felt like a drag at times because halfway through, you already understood the point and where it was going. The movement in the play was also limited, with the influencers taking up space on a moving scaffolding of sorts, so visually, there wasn't much to keep you hooked.

A Twin Bill That Persuades

Together, Kislap at Fuego and Children of the Algo prove that this twin bill is more than entertainment — it is persuasive theatre. Kislap grounds us in memory, reminding us of past struggles and cultural identity. Algo unsettles us in the present, exposing the performative, isolating aspects of modern life. Different in style, both bold and passionate, they ask the same question: what are we doing with the freedom we fought for?

Overall, it’s satisfying theatre. Bravo Filipino. 

Jamie Wilson Defies Labels

Jamie Wilson seems to make a habit of redefining himself in each chapter of his life. When people thought he was done acting, he reappeared. When people thought he was good, he became even better. When people thought he was at his very peak, he decided to shake things up by taking dual roles on stage and off stage as an actor and technical director. In a serendipitous twist of fate, he again surprised everyone by taking on the director's hat for  "Arsenic and Old Lace", a niche market play for Repertory Philippines. His evolution as an artist is truly inspiring because when one defies permanent labels in such a bold way, it means there is growth. His growth seems to be in full speed capacity and you can't help but question what vitamin helps him zoom away to the very top of the theatre food chain.

Wilson has acquired many glowing superlatives about his artistry through the years but as I write this piece, I refer to my own experiences with him. I have worked with him several times and each of those times, I was reminded to respect the craft. Wilson as a technical director, has time and time again stressed the importance of work ethics. He is very vocal about demanding respect for the material that we are performing, respect for the crew who are supporting us, respect for the tasks we are given. More importantly he demands discipline and humility on stage and off stage. In short he is very strict, like strict strict, like hide-your-phone-or-else strict, Ms. Trunchbull strict. I never really thought much about it because coming from the ballet world, discipline is a daily requirement. However, one day I came across an article about him that completely explained his very defined perspective about how theatre should be. He told the story of how he almost let acting slip through his fingers because he couldn't see the magnitude of the art. He only saw himself complying with a task (that he could do blindfolded).  Once he told me that he recognizes that everyone he's ever worked with has influenced him in some way. Designers, directors, actors, crew all have been  a teacher one way or another. Perhaps with the near loss, he realized the how art is a communal experience and not an individual journey. He realized what it meant to be part of the bigger picture. He realized that there is a responsibility that comes with the satisfaction you gain from the spotlight. I honestly believe that this was his turning point, a realization that made him focus more on what he could contribute. He  echoes PT Barnum, "The noblest art is that of making people happy". Perhaps with his near loss of the art, he found clarity in what his role in the industry could be. This renewed focus is such a blessing because I've seen him deliver only his very best in all the roles he has chosen to do. The theater community has so far been very grateful to see him at his peak.

Most recently he debuted as a director for Repertory Philippines. The story behind his new role as director is quite charming. He recommended  the Arsenic story during the Repertory Arts Council meetings and not only was it accepted, he was easily appointed as the storyteller. The play had mixed reviews but for me, it was a revelation. All my personal impressions were solidified by how the story played out. It was the little details that made the play mirror Jamie Wilson. Perhaps not many would catch the little things right away but it stayed with me. When the curtains open you see a decorated house with a sweet girly touch. But I noticed the walls had framed photos. The photos were theater greats who sadly have already passed away. To name a few, faces of Oliver Usison, Richard Cunanan, Bibot Amador were smiling at the audience. To me this spelled the words tribute. Again I could feel that in his own little way Wilson was determined to give respect to that stage, to the community and specific people who  have in one way or another allowed him to be the artist that he is. His cast choice was bold. I mean who chooses directors in multiples to be cast members?! How do you really tell several established directors how to do their job? It was bold but it was also genius. It reminded me that directors are at the core actors too and what better way to tell a story by allowing great minds to collaborate under his tenacious leadership. It reminded me that in art, humility and openness in collaboration is key. His treatment of the play was also sensitive to the material. The story line was very limiting but he didn't force anything commercial and remained committed to the text being the source of humor. While I admit not everyone will be able to understand the humor given the outdated references, I see the choice as reverence to the intellectualized black comedy. Any undue alteration would be cheapening. In a nutshell, his play reflected his values as an artist. He has gratitude, he has reverence, he has humility and he has boldness. Most importantly he understands the ins and outs of the industry and is willing to do the work just to contribute. Armed with a good head on his shoulders and a list of very important values, I really do believe he will continue to defy labels and will permanently be an evolving artist. The journey to me is inspiring and I just can't wait to see what's next.

Director Joy Virata 

Director Jeremy Domingo 

Director Joy Virata

Director Robbie Guevarra 

Here's a salute to Jamie Wilson

These are a Few of My Favorite Things

"Raindrops on roses, whiskers on kittens, bright copper kettles and warm woolen mittens,brown paper packages tied up with strings, these are a few of my favorite things. .......When the dog bites, when the bee stings when I'm  feeling sad, I simply remember my  favorite things and then I don't feel so bad." It was that song that made us think happy cotton candy thoughts. It was that soothing melody that was  transferred from generation to generation to cure all pains from cuts and bruises to feverish tantrums.  These feel-good lyrics  along with the a handful of songs from  the musical Sound of Music have been flawlessly integrated into everyone's childhood. Definitely it would belong to many families' favorite things. It definitely is part of mine. It has been 52 years since the movie that popularized the musical was released but a global cult following still exists. After having seen the recent staging in Solaire I now know why. 

The story is about a novice  Maria  Rainer who is sent to the Von Trapp family to be their governess so she can find her spiritual calling. The military run household is tamed gently by Maria through music. United by chance Maria and the Von Trapp family find love and peace at the most unlikely of times. The story is set on the onset of World War II and its political undercurrents were already conceivable. With the glorious music of Rodgers and Hammerstein the 30-strong international cast and Filipino add ons took on the challenge of ensuring the enduring appeal of Sound of Music lives on. 

During the media call of Concertus Manila's  "Sound of Music" most of the press asked the cast members what made SOM a household favorite. Some of them echoed my experience, it was the joyfulness  of the music and the story that drew them in as children. Zoe Bevon  who plays Liesl Von Trapp shared her insightful point of view. She quipped "You relate to different characters as you grow up"  I realized how true that was because it is a play with an age range so great that it can reflect people in different stages of their lives. The story has rebellious kids craving for attention, teenagers figuring out what love is, and adults who are figuring out their  convictions.  You find new things fall in love with each time you revisit the musical. Also interesting was the point of view of the adults who got to know and love the musical as adults.   Jonathan Taylor who plays  Max Detweiler in the music  didn't think there anything more than the fluff it was famous for. As he studied the material as an actor, he found darker and deeper layers into the Nazi  history. In essence he believed that its message was strong and relevant, lessons that every generation could and should appreciate.  The loving words from the cast intensified the responsibility to give justice to the epic story that everyone has come to love in their own special way. Thankfully, they delivered a delightful package of talent on that very same day. 

The Cast 

Carmen Pretorius as Maria Rainer was a refreshing sight. Having done Liesl prior to stepping into the role of Maria, her perspective of the characterization seemed full. She opted for a more contemporary feel far from the usual mimicry of Julie Andrews.  She animated the role with her own brand of subtleties.  Physically she was without the caricature excesses making her performance very natural and believable. Surprisingly her straightforward approach did not come across as stiff. Pretorius was witty, absolutely charming and most importantly warm. With notes like hers, I would be convinced too that music can fix every concern in the world. Her sustained energy kept the whole story intact. 

Opposite her was  Nicholas Maude as Capt Von Trapp. Similarly Maude stirred far away from Christopher Plummer's famous movie version. Consistent with the character his military style was strongly portrayed. What sets him apart  is his ability to soften up at perfect moments. I would call his ability to blush a cute shade of pink on command as an awesome addition  to his acting skill write up. Whether it's tears or love that commands it, it creates an atmosphere of sincerity. His pacing was almost too good, never a step ahead instead he reacts, skilled receiver. 

Zoe Bevon  as Liesl and Michael McMeeking as Rolf were good individually. Their sixteen going on seventeen was  a fun number. However the dancing highlights were painful to watch. It lacked grace and finesse and I was almost afraid that they would ruin the sets. 

Who can forget the children?! The Filipino cast was composed of Oren Soleta, Gwn Dorado, Dean Angelia, Krystal Brimner, Sam Lagman and Faline Dorado. Such vibrant and crystal clear performances from these children. Standing out was Krystal Brimner  who was fully intent on making the most of her  solo moments on stage. Her actuations were consistently purposeful whether she was in the background or foreground. Clearly it was their eagerness  that captured the hearts of many. 

The Visuals

The muted colors  were a good contrast to the colorful performance because it didn't overwhelm the audiences with comical colors. It instead allowed the audiences to focus on what was going on. It was like a coincidental vignette framing everything delicately. 

The Bottomline 

The strength of this production goes beyond the amount of talent they have  put on stage. What I believe is the core of this production is the clarity of the message. I have watched the movie hundreds of times and I have likewise seen and loved the musical versions but I saw something different with the treatment of the words and the scenes. The same words were uttered but I had a better understanding of its undertones because it was delivered with intention not to just  entertain but to educate. In the song "No Way to Stop it, the Baroness and Max Detweiler convince the Captain to compromise his ideals  because he can't do anything about it. They sing the words "Be Wise, Compromise" and "Just as long as I'm living there'll be nothing as wonderful as I". They weren't just conflict characters, I realized they were intended to reflect the ills of society. The reality of  people  choosing comfort over ideals. (I reckon this also stands out to me because it is a timely reflection of the Philippines but let's not talk about that). In the end when the Von Trapps flee, i realize that Jonathan Taylor was right when he said that his role and this play had layers.  At the very end Max  chose to be the sacrificial lamb, he learned to love and sacrifice  so that others could be free. He stood firm with his chosen conviction. The family , Maria, love changed him. It wasn't just music that cured everything. it was  the undeniable love that was so infectious and strong it could not possibly be denied existence. In the end, I believe the very intelligent direction of this musical paved way to give more purpose to all the transformations of the characters. There was a  way to stop the madness after all. 

The Verdict

This staging of Sound of Music is fresh and ready for the taking. It will be worth every penny. It will not only bring on the irresistible nostalgia, it will bring people so many new things to love. Test the concept. See you at the theatre?

Note :Photos of the cast show a different set of children as they were taken during the MEDIA CALL

Spamalot's Bright Side of Life

Upstart Productions  wants people to see the bright side of life and laughter is their game plan. They bring to theater audiences "Spamalot". Quite obviously a parody, it is a retelling of medieval times. It will bring to  life  familiar characters such as  King Arthur, Sir Lancelot and the Knights of the Round Table. Before you get the wrong idea that you know exactly how this show will go, let me tell you that there is no way it will be  how you imagined it to be (unless you've seen it of course). It's inspiration goes over and  beyond the original movie and crosses over to varied shades of life. Simply put, it pokes fun at everything and everyone. While it is unapologeticaly irreverent  and sarcastic,  the musical was created to fill theaters with sweet sounding laughter. So far it has been largely successful. It's one of those musicals who provide an escape because there is  really is no time to think about dreary stuff when every scene is knee-slapping funny. The amount of recognition it has received internationally should be enough proof that people can relate to the madness.  Needless to say this Broadway hit has  something for everyone to enjoy. 

Directors Joel Trinidad and Nicky Trivino seem to be committed to giving this comedy justice. They have successfully recruited some of the funniest theater actors to join their assemblage of medieval crazies. I can't even imagine how they manage to rehearse the scenes without cracking up.  Veteran comedians in the cast include Noel Rayos, Lorenz Martinez and Chino Veguillas. Adding oomph and star quality are effortlessly glamorous ladies  Rachel Alejandro and Carla Laforteza who will reportedly be wearing eye catching Francis Libiran creations.  So far it looks  like it's a recipe for success, I can't wait to see the cast play with this material. I just  can't wait to laugh. See you at the theater?

The show opens this July 28 2017 at the Carlos P. Romulo Auditorium in RCBC Plaza. It runs until August 12, 2017. For inquiries you may visit https://www.facebook.com/upstartproductionsinc/

Starring (in alphabetical order): Roxy Aldiosa, Rachel Alejandro, Reb Atadero, Rachel Coates, Domi Espejo, Carla Guevara-Laforteza, Lorenz Martinez, Noel Rayos, Bibo Reyes, Dean Rosen, George Schulze, Edrei Tan, and Chino Veguillas.

Directed by Joel Trinidad and Nicky Triviño.

Musical Direction by Onyl Torres

Choreography by the Martinez Sisters

                         

REPERTORY PHILIPPINES, The Show Goes on.

Alice in Wonderland Photo By:  Mommywrites.blogspot.com

Twelve years ago, I received a call from our dear friend, Maritoni  Tordesillas. Repertory Philippines was in need of a dance couple to perform the Nutcracker Grand Pas de Deux as part of their Cinderella production. I had just quit Philippine Ballet Theatre and at that time was still healing from the heartbreak of leaving a place I called home. Ate Maritoni  reviewed the sequences with us to make sure we had something to show. After which she brought us to Repertory's old office in Pasong Tamo. We were presented to the artistic team.  It was my first time to meet  Ms.  Joy Virata who was ever so energetically mounting Cinderella's transformation.  Her energy was infectious making everyone giddy. Midway, Ms. Baby Barredo came in and almost everyone stood up straighter and taller. Actors spoke louder and moved bigger. That was when I was hit with absolute terror. Here is a duo who's passion is unquestionable. Five minutes in and I knew they would never tolerate mediocrity. The waiting game was horrible. My legs were getting cold, palms sweaty. Finally it was our turn to dance. Right before the auditions Tita Baby said "Maniya Barredo is my cousin. I know ballet" (or something to that effect). I swear the butterflies in my stomach multiplied tenfold.  The couples performed turn by turn. I remember giving the biggest smile and the biggest port de bras (movement of the arms) I could produce. I was too afraid to fail because in my mind, if I didn't get it it was a sign that ballet was no longer on the table. Also I was afraid of being eaten alive. After the performance which was of course far from perfect, Tita Baby goes, "That was lovely!" It was a moment. "The" Baby Baredo said I was lovely (ok fine "WE, my husband and I " were lovely). I had to keep myself from jumping up in glee. That was my first day in Repertory soil. It was for me very memorable beginning. 

It didn't take long for friendships to blossom. After a gazillion shows, everyone suddenly felt like family to me. That production was followed by several other productions. Before I knew it,  I was the resident ballerina.  Each production affected me in so many ways. In celebration of Rep Phil's fiftieth anniversary Id like to share some of the lessons they have taught me. There are lessons that you hear about and then there are lessons that you gain from experience. Here is what experience has taught me. 

Sleeping Beauty 

1.  The show must go on. 

This is a common phrase in theater. You must perform despite personal struggles,illness etc. This is a rule I have learned to accept even as a child training to become a ballerina. But there is a difference between surviving a show, winging it, nailing it and killing it  During my years with Repertory I witnessed some of the best examples of sacrifice and professionalism.  I will never forget seeing both Bito Aguilos and Oliver Usison shivering backstage during our Alice in Wonderland production. It was flu season and almost everyone had caught the bug.  They were both very very sick for a long time but no one could cover them at that time. I could see them containing their energy. Vocal rest strictly implemented. Cold sweats visible in their forehead, muffled coughing within hearing range. When their scene came, they transformed  into perfect beasts.  Our  queen of hearts   belted "Off with your head!!" with so much energy and commitment that it seemed like she brought fireworks with her. Our King of Hearts  performed with his usual impeccable physical comedy to the delight of the audience.  While I have performed sick many times and seen others perform sick many times, it is not simply the will  of these brilliant people that I see as exemplary. It is the   the bravery to push  for more than 100% when they could easily take it a notch down without anyone knowing. It is after all a theatre  that is often times  filled with  pre-school children.  No child would have criticized a lower octave or a missed joke. But you see respect for the craft and the audience  is far more important to these people. In fact some of their best shows were performed during that bleak flu week. Lesson learned, the show must go on and everyone must deliver at par with Jojo,.... I mean everyone's expectations. No missed lines. Energy through the roof. No complaints. Deliver because every audience member out there deserves the Rep experience. 

Awful photo by yours truly

                            

Awful photo by yours truly 

2. Art is a sanctuary 

I have found that art heals on stage and off stage.   I have shared  dressing rooms with veterans, newbies, kids and I cherish the beautiful memories  that have served as happy pills. What I love  most about my family is that people  take the time to be kind even if each performance is a blur. A couple of years ago, I had returned on stage coming from the hospital because my child was confined. I had just been given awful news. My head was spinning from   worry and so I chose to be silent and focus on each task I needed to do to survive the 3-show day. There is after all no space for personal issues on stage. I forgot how the others found out but one by one, my dressing room friends took the time to just hug me. Reducing me to mush, I remained silent putting on my make up. Then one of them said out of the blue "Iiyak mo na yan. It's ok to cry but know that It's gonna be ok. It will always be a happy ending because mothers will always be strong for their children no matter what". And so i cried and laughed as they shared  some of their good and bad motherhood experiences while piling on make up. I had tears that day but it was accompanied by healing laughter. I survived that show day because kindness made me stronger. I did not ask for comfort that day. I did not expect it. But this family was there for me embracing me with love.  This experience has always reminded me that it takes so little to help other people perform  better. While art itself is a sanctuary, you can also be a source of sanctuary off stage. Kindness goes a long way. 

Pinocchio

3. Learn from the best

Repertory Philippines has  a lot of big stars. Seeing how the big stars work has always provided me with so much inspiration. In ballet (at least in the Philippines), you perform one big show at a time. Some of our actors perform different  productions  at the same time.  I was always constantly impressed with how most of them found it so easy to do. What is even more impressive is how they give importance to each show that they do. I was lucky enough to have performed on multiple occasions with theater veteran Ms. Pinky Marquez. At one point she was doing three big shows and as much as two different shows in a day (at least one of them in an accent and the other in Tagalog). Tita Pinky  as we fondly call her would show up way  early, put on make up very quickly and do a whole run of the show before the show. While this is not something unusual, it was the extra things that she would do while doing her pre-show runs.  While she remained fully commitment to  how the scenes were rehearsed she constantly innovated and improved her show bit by bit. She would test her improvements during her pre-show runs and would ask, "Was that funny?" More importantly she respected the show so much that even after having performed at least fifty shows, she would approach our stage manager and consult her  about her scenes. She valued corrections and feedback.  I mean this is a star who constantly wows the audience with whatever role is given to her (even her adlibs are greatly appreciated)  yet she has the humility to constantly work and work herself to the bone just to create magical moments on stage.  This reminds me that there is always space for improvement. The greats are great because they work on being great. 

Cinderella 

4. R-E-S-P-E-C-T

Respect is demanded by all companies. In the case of Repertory Philippines, it is not simply demanded on set. They have developed a culture that makes sure everyone understands why respect is essential. This goes beyond the usual strict implementation of rules. Every production eventually leads to an explanation of how valuable each member of the team is. Instinctively or intentionally one of the artistic team members always explains how  each role is essential. Onstage or offstage, each member should be loved and respected. People actually get reprimanded when there are instances of disrespect. Rep is a place where backstage staff are empowered and respected.  Jojo Amboy our stage manager for children's theater  is always referred to as our Boss and ate Tess  Andalazza, the ultimate costume encyclopedia.  Tita Ely  is masterfully in charge of the  magical transformations. I call them the constant of the theater equation. Of course actors are not always angels on set. But at the very least there is an effort demand respect in the workplace.  It is not difficult to see that  productions have unsung heroes too. This reminds me to work always with gratitude and respect for people who support us in our goals. 

                                      

                                                                                                          

                                             

5. Laziness is indifference 

Repertory Philippines has been regarded as a triumph in the industry. It is where it is now because it valued  art over everything else. They courageously staged their first ever production in 1967 with only seven people in the audience. These seven people were the reason they continued to persevere despite losses incurred and dwindling ticket sales. They were headstrong  determined in making theater a viable option for audiences. Here we are celebrating Repertory's history. They did not get here  without making sure that their vision of theater is clear to all who join the family. I have only been with Rep for a little over a decade. But in this time I saw how our directors were adamant in making it clear that laziness is not part of theater life. I remember vividly how Tita Baby would tell actors how lazy they were.But she would not stop there. She would take the time and talk about the craft. Laziness is indifference because it  means you do not care about the material or the audience.  She would tell them not to be satisfied with interpreting material on the first read. "Read it, reflect on it, make every emphasis on a word, every pause, every movement  purposeful. Don't just deliver a line that sounds good" Tita Joy would also say, "This is Children's theater, we do not find magic for the show, we create it. Use your imagination" The founders created Rep because they wanted to make theater great. To this day, they maintain the same resolve, they would never tolerate good enough efforts. Each show has to be a product of great efforts. Art should be a product of great effort. The audience deserves it. 

These are just five among many lessons I've learned. While I cannot say I have practiced all these lessons 100% of the  time, they have stayed with me and guided me through the years. They have given me something to share with others.  As the popular song goes "Because I knew you, I have been changed for good." I am truly grateful. Thank you Repertory Philippines for not only gifting audiences with experiences but gifting artists life long lessons to keep. You will forever be one of the greatest gems of the industry and of the Philippines. 

Snow White 

Photo by Bito Aguilos