The invincible Metropolitan Theater

MANILA, Philippines - It is well-known in the entertainment world that when German “Kuya Germs” Moreno gets involved in a project, he will give it his all, heart and soul and waking as well as sleeping hours. When people heard the name of Kuya Germs bandied along in reference to the MET as early as five years ago, they knew something positive would come out of it. The man is a doer and never leaves a job unfinished. And chances are, he will milk his friends in the industry for all they can donate, which in the long run redounds to something they will ultimately be proud of. 

It was with mixed feelings of excitement, sadness and awe that we decided to accept Kuya Germs’ invite to brave the legendary Manila traffic that Thursday rush hour to make it in time to the soft launch of the Metropolitan Theater on Arroceros and P. Burgos, a stone’s throw away from the Philippine Post Office. To make matters worse, it started to rain which helped abate the heat but managed to add to the traffic as it always happens when it rains. But we couldn’t miss this opening for the world. The MET has served as a symbol of resistance against all odds, a shining example of obstinacy through the decades. There has been nothing too daunting the MET couldn’t tackle — including death.  

It is said that the venerable old MET, venue of zarzuelas and operas of old, is one of the few examples of Art Deco in the country. What this means is that a confluence of various cultures from the Spanish to the American with British, Japanese, Chinese thrown in between has produced an interesting hybrid. Architecture scholar Edson Cabalfin (Philippine Art Deco from 1927 to 1941) says that these buildings symbolize “the dynamics of the imposition of power by the colonizer and the demonstration of resistance and empowerment of the colonized.” Perhaps this is where the MET got her unbridled persistence to exist.

Designed in 1931 by National Artist for Architecture, Juan Arellano and easily his crowning glory, the MET had a lobby adorned with The Dance and History of Music murals by another National Artist Fernando Amorsolo (now in safety with the GSIS). Italian sculptor Francesco Ricardo Monti created the sculptures at the façade and lobby that still exist. Apart from the theater, the building had a ballroom with furniture and chandelier from Europe, restaurants, offices and shops, dressing rooms, verandas, and interior gardens.

It was severely damaged by World War II and closed down in 1945, brought back to life by the US Rehabilitation Act of 1946, only to fall prey to disuse and disrepair in the ‘60s, and undertaken by former First Lady Imelda Marcos as one of her favored projects in 1978.

In the ‘70s and ‘80s, we met socialite icon Conchita “Tita Conching” Sunico who was making waves with her Karilagan Cultural Arts International with shows on Filipino culture at the Top of the (Manila) Hilton, and ended up working as publicist of her shows. When the MET reopened, Imelda took in Tita Conching as executive director and here we met such fledgling talents as Pops Fernandez, Leo Valdez, Bimbo Cerrudo, Pinky Marquez, Chinggoy Alonzo, Isay Alvarez, Debraliz, Beverly Salviejo and Rene Requiestas who appeared in shows like the popular Great White Way of Broadway Musical excerpts. It was also at this time that today’s super host Boy Abunda joined Tita Conching’s PR team.

When People Power drove away the Marcoses, and Gemma Cruz-Araneta was appointed Tourism Secretary, Edu Manzano’s mom Nenita took over the thankless job of operating the MET by leasing the premises to various theater groups like Bulwagang Gantimpala and Teatro Pilipino. The MET closed down again in 1996 when disputes of ownership between the GSIS (from whom Imelda acquired a loan) and the City of Manila reached a plateau. Gemma says Mrs. Manzano gave her a complete set of plans which she turned over to the National Commission for Culture for safekeeping.

Finally in 2004, GSIS and the City of Manila set aside differences when President Gloria Arroyo gave the NCCA an initial P50-M (of P100-M promised) for the restoration of the MET. The trio agreed on a work action plan for restoration with Manila Mayor Alfredo Lim assigning the project to a revived Manila Historical and Heritage Commission (MHHC).

Gemma who is part of the MHHC is now also executive assistant to the Mayor of Manila, and part of the newly-formed MET Theater Restoration Steering Committee with members from NCCA, GSIS, Manila City Council, Museo ng Maynila and German Moreno from show business.

Gemma muses, “A war baby like me has no memory of how grand the Metropolitan Theater must have been; its pitiful remains were so frightfully grotesque. I had not learned to appreciate Art Deco, even if it had charming Filipino nuances. The tiara-like dome with stylized minarets, the sensuous female figures in exotic drapes, an exterior with whimsical rope designs, friezes and curly cues, the clashing ethnic-like geometric designs, a rectangular stained glass on the façade, mask-like chimeras and asparagus turrets — the total effect was bizarre, not at all alluring to a child.” But a child grows up and sees the world, and has become a most consistent supporter of history in culture and the arts in this country.

What is to be done now that project MET has been officially launched? Typically, Kuya Germs has gone to work starting with the launch where his good friend Pilita Corrales gamely performed in a crowded makeshift orchestra still awaiting air-conditioning, with people fanning themselves in the heat, and Sampaguita Pictures queen Gloria Romero lending her ever elegant presence to the occasion. Of course Kuya Germs will always support any project of Isko Moreno who was part of Kuya Germs’ That’s Entertainment on GMA 7 from 1993 to 98, and is now vice mayor of Manila.

The theater has a capacity of 1,670 with 846 in the orchestra, 116 in the loge, and 708 in the balcony. For the launch, Vice Isko donated the cost of 80 orchestra chairs which the manufacturers, children of Oscar Obligacion gave at cost prize of P2,500, says Kuya Germs. Furthermore, he got pledges from Mike Enriquez, GMA 7, Tess Celestino, Joel Cruz and so many others. He is meeting with producers of concerts and events to use the MET as venue, spreading the news to Filipinos abroad to donate their share in the raising of funds. The total of restoration, he says, will reach P300-M.

The MET sits on 8,343.40 square meters of prime land in the old Mehan Gardens, target of many a realtor with the hots for progress and an allergy to preservation. But happily, the MET is still resisting all these generous offers. We ask Gemma what could be the worst case scenario. She replies, “Should a Philistine become Mayor of Manila, the Met will most certainly be left to deteriorate to justify demolition and in its place will rise a hideous shopping mall.”

Characteristically, Kuya Germs is more optimistic. He tells us the MET is beyond politics, beyond changes in government heads. Wala namang hindi mapapagusapan at mapagaayusan. There is nothing we cannot solve over a cup of coffee.

(E-mail me at [email protected].)