Seven Days Before Showtime

During a Writers Bloc meeting some years ago, I recall Rene Villanueva asserting his belief that a play, as text, is already a complete, fully realized work in itself. This prompted several strong reactions from people in the group, myself included. Rody Vera, in particular, strongly disagreed with Rene, stressing that a play’s full potential is only realized when one brings it to life onstage.

I have to agree with Rody. A play, especially a good one, is meant to be staged. That’s truly the only way to know if it really works. Imagination can only go so far. There are plays that read well, but turn out to be terrible onstage; and plays that seem underwhelming on paper actually turn out pretty well when performed. And un­like fictionists and poets, playwrights get to collaborate with a lot of talented people, people with only one goal in mind: to interpret the playwright’s vision, as embedded in the play, in the best possible way.

I am again reminded of this, now that the opening of Virgin Labfest 2 is on Friday. For the past few weeks I have been coordinating with the other playwrights involved and the Tanghalang Pilipino staff, acting as a middle man between the two. But it’s no big deal. Last Sunday was especially busy, for the entire production had a pictorial which lasted through much of the afternoon and evening. It’s a good thing I was able to attend a rehearsal of my play that evening.

As a playwright, I make sure that I allot time to attend rehearsals, at least some of the time. I have learned long ago that it pays to stick around at rehearsals, because: (1) you can check if the director and cast are staying true to what you want to show in the play; and (2) you can personally make changes in the script when needed. So far I’m quite pleased with what Herbie Go and his actors were doing with the play, and they seem to appreciate my presence that time.

Fil and Tony are played by a pair of young Negrense actors, and that Sunday they translated good chunks of the dialogue into Ilonggo, perhaps to make it easier for themselves. I have no problem with them using a regional language, as long as it’s used moderately; they went somewhat overboard with it. At one point I leaned over to Herbie and told him to instruct his actors not to revert to Ilonggo so much, or else the audience will not understand what they’re saying. Then and there he told the actors what I had said to him. And when Herbie practically disregarded an important stage direction that accompanied a certain line, I immediately pointed it out to him and explained to him why it’s important. He then saw my point, and in turn explained it to his actors. As much as possible, I only give my comments and observations to the director, never to the performers.

Things will be more hectic from now on, since it's only several days away before showtime. I still have more to do, and there’s the small exhibit to oversee, the dress-and-technical rehearsal that I have to attend on Thursday, the books that need selling during the festival. But I feel surprisingly relaxed about it; I wish I can say the same for Herbie. In any case, I hope my play, and the other plays as well, turn out well. That’s really all I ask for.