DON’T look now, but some established performers’ thespic reputations are being undermined by the poorly motivated and erratically written TV series they have been acting in of late. These stars should do something about this before it’s too late and viewers unfairly conclude that they don’t know how to act:
On “Daldalita,” Ogie Alcasid is doing some “serious” acting for a change, but he isn’t coming off well in his scenes, because his character is poorly written. Ogie plays the father of a missing girl (Jillian Ward), and he yearns to be reunited with her. Unfortunately, his girlfriend (Rufa Mae Quinto) manipulates the situation to separate them, so he’s kept in the dark about Jillian’s true identity.
Character
This strengthens Rufa Mae’s character, but it’s terrible for Ogie, because his character comes off as weak, easily manipulated and rather dense.
As a result, viewers get ticked off by his being so clueless and ineffectual and his position as the series’ male lead is severely undermined.
Why is Ogie allowing the show to misuse him in this way? Perhaps, because he’s a professional performer who does what he’s told. But, if a star’s performance is being showcased poorly, it’s high time for some key questions to be asked—and answered.
Yes, the show needs to keep up its “so near and yet so far” handling of the estranged dad and his daughter, but not at the expense of its central male lead’s believability.
Another stellar victim of weak motivation and writing is Tirso Cruz III in “Budoy.” Like Ogie, he plays the father of a missing child (played in young-adulthood by Gerald Anderson). Despite his efforts to locate his son, Tirso’s character is kept in the dark about his true identity and existence, and viewers similarly lose their respect for his resourcefulness and intelligence.
It’s the writer’s work to make the long estrangement believable, and the actor playing the father shouldn’t be required to look and behave in a weak and ineffectual manner just to pull it off.
Evil wife
In the recently concluded miniseries, “Sa Ngalan Ng Ina,” Christopher de Leon played a former provincial governor. Veteran politicians are powerful and decisive players, but Christopher was so completely dominated by his ambitious and evil wife (Rosanna Roces) that he came off as weak and spineless.
As a result, Christopher’s portrayal failed to rise and peak in a believable and dynamic manner, as it should have. And the veteran actor, regarded by some as an icon in the performing arts, was left holding the thespic bag.
Why do actors allow themselves to be painted into a tight corner in this unproductive wise? And, why don’t their shows’ directors step in to instruct their scriptwriters to come up with stronger and better-structured teleplays that don’t cover up their series’ flaws by making some lead characters come off as weak and clueless shmucks? —Why, indeed?