My formative years in theater brought enriching experiences
My most vital mentors in theater were Wilfrido Ma. Guerrero, Isabel Sevilla Soriano and Amelia Lapeña Bonifacio, who came into my life during my formative years—and I am forever grateful!
Freddie emphasized how essential it was to be “true” and “real.” On the other hand, Bebeng instructed her students to take literature seriously. For her part, Amelia made theater fun! She likewise gave me confidence as a director, because early on in my career, she entrusted me with her plays—in fact, she rewrote them as the plays were being rehearsed!
I also credit my peers, whose fine work ethic I absorbed. I recall the seriousness Joonee Gamboa gave every role he portrayed—and so did Nestor Torre. I admire the ambition of Anton Juan and the focus of Tony Mabesa. All the actors I admire are great storytellers.
I met Freddie when I was a freshman in 1956. He had been the director of my elder brother, Bob. I had seen some of his plays, but the production that really impressed me was his 1956 summer production, Jean Paul Sartre’s “No Exit,” starring Kit Viduya, Rita Ledesma, Jose Roy Jr. and Phil Cabanos.
Props
It was awesome! It was a minimalist play with hardly any set or props, but the portrayals were memorable, especially Viduya’s. Years later, Lino Brocka and Joonee would compare her to the great French actress, Simone Signoret. Her performance was intense!
Freddie wasn’t articulate as a director. Instead, he would make sounds to “tell” you what he was aiming for. For example, he would slowly roar or scream to describe the growing anger he needed for my character! He made me realize the meaning of “internal” sound and rhythm. If you captured those, you had the right cadence and intensity of the dialogue.
Bebeng, on the other hand, was particular about capturing the nuances of literature in theater. She insisted on “truth.” I think Bebeng was the Apollonian spirit to what was the Dionysian in Freddie. Amelia’s works were neither too intellectual nor physical. You did them because you loved theater—which wasn’t hard to do!
I also loved working with my contemporaries: Joonee was as American as Lino was provincial Filipino. They capitalized on their assets. Tony learned from his experiences on the legitimate stage and taught students to be professional about theater work. He was generous with those he worked with. Nestor worked with different directors and actors and always came up with exemplary work.
I treasure those years, because they have enriched my life—and made me who I am today!
