Dulaang UP and what they did for theater

MANILA, Philippines – An invitation from the singing actor, Ayen Munji-Laurel, brought us to a testimonial dinner which was also a reunion of past and present supporters of Dulaang UP (DUP).

As you size up the crowd, you can conclude that some of the most durable actors in theater and showbiz came from or were honed by DUP as you see Eugene Domingo, Andoy Ranay, Frances Makil-Ignacio, Pen Medina, Tony Mabesa, RS Francisco, Floy Quintos, Jun Farin, Adriana Agcaoile, Nick Pichay and many others.

The dinner with a gala show was also a fund-raising event for DUP’s 41st season which will open with Shakespeare’s Comedy of Errors with translation by Guelan Luarca in August this year.

In the gala show which opened with waiters doing a balancing act, Ayen sang what she did for theater (What I Did For Love), Bituin Escalante brought the house down with I’m Still Here with additional lyrics directed at theater buddies and their life and times.

Sighted in the crowd were Irene Marcos-Araneta in the company of Chito Roño, baritone/choral director Jonathan Velasco, Cultural Center of the Philippines (CCP) artistic director Chris Millado, Alya Honasan and Aiza Seguerra and partner.

One had a chance to talk to stage director Alexander Cortez and from him, you can literally visualize the life and times of Dulaang UP. In 1976, he was one of the founding members of the UP-based theater company, along with actor-mentor Tony Mabesa who taught at the Department of Speech and Drama, Institute of Mass Communication and the English Department. At the time, there were very few theater majors; Cortez had an early taste of theater multi-tasking.     

“I was already known as Mr. Dulaang UP because I was production manager, stage manager, set designer and actor. It gave me solid training and a firm grasp of DUP’s foundation.”

For 13 years, he was DUP’s managing director, from its 13th to 25th seasons. He became the artistic director on its 33rd season.

“You can say that we survived in spite of the high cost of mounting theater productions,” Cortez adds.

With more students enrolled in the theater department, production work is now evenly distributed among freshmen and sophomore students, while juniors and seniors are cast in most productions.

“From the very beginning, DUP has set a high standard for its productions of various genres. With four plays a season (sometimes five), the four resident directors — Tony Mabesa, Jose Estrella, Dexter Santos and myself — have distinct directorial styles and preferences, which makes for exciting season line-ups. As a result, theater audiences see different directors with their own artistic temperament, discipline and sensitivity.”

Indeed, many aspects of DUP’s season attractions make it vastly different from other university-based theater groups. Apart from its regular season of four to five plays a year (which Cortez thinks is the true mettle of a theater company), the directors encourage the participation of professional theater practitioners.

“We believe that this will help provide our students further lessons not found in books, with experienced actors sharing their experiences with our young, impressionable students.”

For another, foreign plays are often staged in both English and Filipino versions.

“We believe we can build a new market for those interested in the classics but want to hear them in Filipino. Thus far, we have been successful with this practice in terms of bringing in more audiences.”

What he learned from directing Shakespeare works he shares with us. “Directing Shakespeare gives a director a multitude of challenges. For one, the text is very important. Clarity is a prime consideration. Shakespeare does not give lengthy stage directions, thus the director must make his own research. Even scene descriptions are very sparse, so you have to work hard to conjure images of Shakespeare. Various themes can be gleaned, and it’s the role of the director to highlight not all but one or two that would reflect the overall intent of the play. How to make it palatable to young audiences is a challenge, too, without having to succumb to cheap tricks and gimmickry.”

Cortez credits a rich theater life for helping him evolve as an artist. His theater odyssey started in church, when as a kindergarten student he played the part of Rajah Alimudin. But it was through his later professional interaction with fellow theater practitioners in UP that he says he learned the ropes.

Among them, he mentions Leticia Tison, Anton Juan, the late Behn Cervantes and Rogelio Juliano Jr. But it is Mabesa who has had the greatest impact on him.

“He brought me to Diliman from UP Los Baños when he taught theater there after his return from USA. I first met him in Hawaii in 1973 on my way back to the Philippines. After 1976, theater became my life. So to him, I am most grateful.”

“In my time, there was no school for theater directors,” he adds. “I learned by reading varied scripts, by investing on good books, by constantly studying and reading and watching all the plays in town, whether good or bad productions. Traveling a lot also helps, and so does interacting with artists. You must also love music and the intricacies of choreography. You have to listen to other directors when they comment on your work. You cannot afford to be arrogant. Only your work will say if you are a very effective director and a good one. Lastly, you have to learn to accept criticisms. Good or bad reviews serve a purpose. Theater is a public art, and thus artists will always be subject to criticisms.”

 The testimonial dinner ended with a toast to DUP’s 41st season and here hoping the theater company produces more talents for the burgeoning entertainment industry.