MIRACLE IN SHANGHAI

By Dennis N. Marasigan

Printed in the Philippine Daily Inquirer 01/07/2008

“Why are Filipinos very good performers, especially in music?”

“Maybe because we are blessed with it.”

This was the answer given by choreographer Jose Jay Cruz to a question from a Chinese member of the audience at the talkback following the last performance of Tanghalang Pilipino’s production of “Himala, The Musical” at the 2007 Asian Contemporary Festival in Shanghai, China.

Afterwards, some other audience members shyly admitted they were moved to tears by the performance. Others were more openly ecstatic.

The Festival, which originated in Osaka, Japan but has been organized by the Shanghai Dramatic Arts Center for the last three years, finally got a Filipino theater group to participate, thanks in a large part to the efforts of the Philippine Consulate in Shanghai headed by Consul General Ma. Rowena Sanchez and Consul Aileen Mendiola-Rau.

After submitting several plays for consideration, Tanghalang Pilipino’s production of the musical based on the landmark film by National Artist Ishmael Bernal was selected.

Downsized production
Getting the production to Shanghai was in itself almost a miracle. After its premiere at the 200-seater Tanghalang Batute (CCP Studio Theater) in 2003, “Himala, The Musical” moved to the 421-seat Tanghalang Aurelio Tolentino (CCP Little Theater) in 2004. For the Shanghai festival, the organizers could only accommodate a 12-man touring company. The venue would be a flexible space configured for a maximum of 180 viewers.

The challenge at the outset was how to downsize the production. Director Soxie Topacio, composer and lyricist Vince de Jesus, and choreographer Cruz went about the task, mindful of maintaining the integrity of the original production’s vision. Production designer Gino Gonzales also modified his design to fit the festival venue.

The result was a running time reduced from its original two-and-a-half hours to one hour and 45 minutes, with a cast of 11 actors and one technical person. The minimalist set consisted of a fiberglass tree and some twigs.

Original cast members May Bayot, who played Elsa, plus Isay Alvarez (Nimia), Cynthia Culig Guico (Chayong), Mia Bolanos (Aling Saling), and Bong Embile (Igme) all signed up for the Shanghai performances. Lionel Guico, who originated the role of the priest, stepped up to play Orly, the filmmaker.

Jay Cruz was prevailed upon to do double duty as Pilo. Similarly, stage manager Chynna Roxas was assigned several roles. They were joined by Tanghalang Pilipino Actors Company members Marj Lorico, Bong Cabrera and Jonathan Tadioan, each of whom had also been in the last staging. I was the Tour Manager and Technical Director.

During the preview at the CCP before the company’s departure for China, audience members who had seen previous stagings noted that the tour version seemed more compact, yet was still gripping. Despite the good feedback, the company still continued to fine-tune the performance right up to departure date.

In Shanghai, with only 12 hours allotted for setup, stage adjustment and rehearsals, the company was in mixed spirits at curtain time, more so since there were more native Chinese than Filipinos in the audience. Would the non-Filipino speakers catch on through the projected Chinese subtitles?

Overwhelming response
The audience response at the end of the opening night performance was overwhelming. As if reserving their applause till the very end, the mixed audience rose to their feet, a scenario that did not come often, we were told. The Chinese who watched that evening were as lavish in their praises as the Filipinos who came.

The organizers themselves expressed their thanks to the company for a splendid performance by extending an invitation to next year’s festival right there and then.

Not completely satisfied with the performance, the company went back to the theater the following afternoon for additional rehearsals, and their efforts were rewarded by the warm response of a more diverse audience on the second performance.

Gauging from the questions and comments from the audience during the talkback portion, all except one of which came from non-Filipinos, the language barrier seemed non-existent. The Filipinos in the audience, most of whom were conversant in Chinese, shared not only their comments but also the positive comments from the Chinese that they had overheard.

They added that “Himala, The Musical” not only made them proud of being Filipino, but added spice to their otherwise customary and uneventful daily routines. And, as if in chorus, they said they looked forward to more performances by Filipino groups in Shanghai and watching Filipino plays when they get back to the Philippines.

“Himala, The Musical,” by Ricky Lee (libretto and lyrics) and Vince de Jesus (lyrics and music), with direction by Soxie Topacio, was performed by Tanghalang Pilipino at the Shanghai Dramatic Arts Center Drama Salon on Nov. 22 and 23 as part of the 2007 Asian Contemporary Theater Festival. Billed as “The Creative Asia” but not limited to Asian theater groups, the festival ran from Nov. 8 to 30 and featured 55 performances from 21 groups coming from 11 countries and territories.

Aside from the Philippines and China, other countries represented included Korea, Singapore, Turkey, Taiwan, Hong Kong, Australia, Spain and Hungary.