The Graduate has graduated in Rep’s version

All weekend long, Simon and Garfunkel melodies played in our head after we went to see the Repertory Philippines’ production of The Graduate. The 1967 box-office comic-drama movie starring Dustin Hoffman and Ann Bancroft had resuscitated as a West End, then Broadway, hit in the early 2000’s. The folk rock duo Simon and Garfunkel wrote and performed several of the songs for the Graduate’s soundtrack that have since become classic tunes, especially Mrs. Robinson, after the married woman who seduces an innocent and confused 19-year-old Benjamin Braddock.

The theme tackles how the youth find themselves, despite the misdirection and seduction (literally and figuratively) of the older generation. It is about being true to what dries out in your soul, as one faces an uncertain future. 

This message was perfect for the ’60s, problematic in the 2000s, close to impossible in 2013 where the youth are blasé about stripping or going to bed with elder women, following parents’ rulings, even finishing college and most every issue tackled by The Graduate.  

We sat down with Pinky Marquez and Reb Atadero, as Mrs. Robinson and Benjamin, for their insights. As Pinky’s first topbilled role with the extra challenge of baring all in front of an audience, she reflects, “It’s part of the process of understanding the script. It’s not about me. It’s about the script, the play, the role. It’s not about my body or its shape. It’s about what’s going on inside.” And indeed, Pinky’s confidence spread across the stage as she opened her towel to expose her nudity, no longer an actress timid in front of an audience, by no means. We understood there were no second thoughts that Mrs. Robinson was out to seduce her man.

When Reb auditioned for the role of the disoriented Benjamin, director Jaime del Mundo knew he possessed all the qualities needed for the male lead. We watched his character travel from aimless to reckless to the edge of mania and questioned Reb why he wasn’t getting psychological help which was present in a theatrical version. He explains, “What’s wrong with Ben is that everything came easy for him. He’s an over achiever, all these awards, he’s a genius. But he doesn’t believe in any of that. He craves to work for something!”

The ’60s film directed by the Mike Nichols starring Anne Bancroft as Mrs. Robinson, Dustin Hoffman as Benjamin and Katharine Ross as Mrs. Robinson’s daughter Elaine whom Benjamin falls for was an unquestioned commercial and critical hit. It immediately connected with the audience. The West End theater  version years later appeared to have had no choice but zero in on the nudity aspect of well-known stars to gain the box office. When it was announced in London Kathleen Turner, 45, would disrobe, ticket sales went over the roof, petering down during the run. But still, it gained a respectable two-year run from April 2000 to January 2002, even moving on to Broadway with Kathleen and Jerry Hall as Benjamin.

It is fortunate that Repertory director Jaime and leads Pinky and Reb have learned from the lessons of past theatrical ventures. We could feel them transposing themselves into that ’60s era, in the Philippines even. Pinky is the bored housewife, choosing between mahjong with friends, engaging in tsismis, or picking up a virgin boy to victimize until she, too, becomes a victim of her own maneuverings.

Even the ending scene with the young lovers Reb and Cara Barredo as Elaine eating Cheerios breakfast cereal in bed is a brilliant digression from the standard Elaine and Benjamin shown through the rear window of a bus, after running away from their wedding (an ending introduced by Kathleen). They both emit disenchantment over a rash decision, but Jaime’s scene to us is more sardonic, more facetious and certainly more biting.

Jaime’s decision not to use the Hello Mrs. Robinson song is another breakaway that can be considered risky, knowing its popularity. Instead he used other Simon and Garfunkel songs like Scarborough Fair and Sound of Silence.

The Graduate is showing until April 28 on the second floor of Greenbelt 1. Catch it Fridays at 8 p.m., Saturdays, 3:30 p.m. and 8 p.m.; and Sundays, 3:30 p.m.

(E-mail me at [email protected].)