Why Filipino swing of London musical ‘Guys and Dolls’ looks up to Joanna Ampil

Homegrown Filipino performer Iroy Abesamis, who’s currently in the cast of “Guys and Dolls” at the Bridge Theatre in London, is living a dream.

“Performing is my first love, but I never had proper training in musical theater,” Iroy told Inquirer Entertainment over a recent chat on WhatsApp. “I did some theater shows back in Manila when I was in UP, but I attended the Philippine High School for the Arts to study Filipino folk dances, then trained with the UP Filipiniana Dance Group.”

We first got wind of Iroy’s “musical theater journey” in the United Kingdom during a chat with seasoned theater actress Pheona “Fifi” Baranda (New Voice’s “The Blue Room”), who’s currently globe-trotting as a performer on cruise ships. Fifi crossed paths with Iroy at Hong Kong Disneyland years ago.

These days, Iroy continues to “stand on the shoulders of giants” as he embarks on his fifth production following his 2017 debut on the UK and International tour of “Miss Saigon.” After his stint with the groundbreaking Schonberg and Boublil musical, Iroy also made it to the cast of “The King and I,” “South Pacific,” “Allegiance” and now “Guys and Dolls”—which, as luck would have it, is helmed by Nicholas Hytner, director of “Miss Saigon’s” pioneering West End run in 1989. To say the least, the gig, which runs till Jan. 4, 2025, feels like a moment that allows Iroy to come full circle as a musical theater practitioner. But do you know that the first time Iroy heard of “Miss Saigon,” he thought it was a beauty contest? This “revelation” came about when we asked Iroy what led him to his very first theater production out of the country.

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“[This is a] funny story… I thought ‘Miss Saigon’ was a beauty contest (laughs)!” he shared. “I heard its soundtrack for the first time while I was in my room at the Philippine High School for the Arts, studying Philippine Folk Dance. My friend, Winchester Lopez (current dance supervisor of the ‘Miss Saigon’ international tour), was staying in the same dormitory. Fast forward to 20 years later and we were both doing the musical’s UK and International tour. What were the chances?

“Essentially, hearing the soundtrack resonated with me, so when the ‘Miss Saigon’ West End revival audition was announced in 2012, I knew I had to go. I flew back to Manila and gave it my best. I got called back to sing Thuy’s songs, but I was not prepared then. I even mistakenly sang Kim’s part! To cut a long story short, I didn’t get the part.

“In 2016, the ‘Saigon’ audition went back to Manila, this time for the UK and International tour. I was aiming for an ensemble part and I told myself, ‘I’ll be more prepared.’ However, I was called back for Thuy again. I knew I improved from the last audition, but it wasn’t my time. I didn’t get the job. That second time hurt more, but I was determined to be on an international stage.

“Then, I got an email from Macintosh Productions in 2017. I was asked to submit a self-tape for an ensemble part for the UK and International Tour. I gave it my all and later that year, I got the call.”

‘Extremely talented but generous’

When we asked him if he looks up to a certain Filipino performer, Iroy had a quick answer.

“Easy, Joanna Ampil,” he quipped. “I worked alongside Joanna in ‘South Pacific.’ She is extremely talented, but she is also very generous onstage and off. She helped and supported me throughout the run. I admire her humility despite the vastness of her experience and achievements. She also never fails to mention fellow ‘Pinoys’ in every production she’s in and makes us all feel included.”

Here’s our Q&A in a subsequent email interview with Iroy:

In a nutshell, what are your fondest memories and takeaways from your five theater productions so far?

The rehearsal process for all five productions is definitely memorable. I’m a trained dancer. Acting and singing have been both overwhelmingly new to me, so while learning a show, I was also discovering more about musical theater and its demands.“Miss Saigon” was special because it was my first time in the UK, and I really enjoyed the company of our touring production. Plus, it is THE “Miss Saigon.” I was incredibly honored to be a part of such an iconic show.

“The King and I” introduced me to the classics of Rodgers and Hammerstein. I instantly fell in love with the music.

I loved “South Pacific” because of the cast, which included Joanna Ampil as Bloody Mary. I also had the pleasure of working with Daniel Evans, who is currently the artistic director of the Royal Shakespeare Company.

“Allegiance,” a musical inspired by the personal experiences of George Takei, was exceptional because this production will always remind me that kindness still exists in this industry. From the creative team led by our director and choreographer Tara Overfield Wilkinson, to every single person in the cast, crew, band and front of house, to George Takei himself, everyone was nothing but generous and supportive, on and offstage.

I am currently doing “Guys and Dolls” at the Bridge Theatre, under the direction of Sir Nicholas Hytner, who also directed the very first Miss Saigon production in London. This musical presented a new challenge for me because I was cast as a swing, so I need to be ready for anything at all times.

You were a performer in Hong Kong Disneyland before “Saigon.” In what way has musical theater changed you as a performer?

I did not have any technical training in acting and singing when I began this journey. Hong Kong Disneyland served as my training ground, where I met fellow cast members who inspired me to pursue musical theater.

I even auditioned for a vocalist role in the park, but I never got an offer. I always take “failure” as a challenge to do better, and I think that’s how I made it this far. Performing is my first love, so although it is nerve-wracking to incorporate other disciplines, I get the same fulfillment whenever I’m onstage.

Let’s talk about your current show “Guys and Dolls.” How different is it from the 1955 movie musical starring Marlon Brando and Frank Sinatra? I had little knowledge about this wonderful musical when my agent informed me that I got the job, so I watched the film and did a bit of reading. The movie and stage versions have the same storyline based on stories by Damon Runyon. Jo Swerling and Abe Burrows wrote the book, while Frank Loesser supplied the music and lyrics. Set in 1950s New York, it’s a romantic comedy about big city gamblers and the women who love them.

Sir Nicholas Hytner took on this classic and turned it into an immersive experience. There was great collaboration between him, designer Bunny Christie and choreographers Dame Arlene Phillips and James Cousins. They brought the show closer to our audiences to make them feel they’re part of the bustling action. The show is so beautifully done, I nearly cried when I first saw it. My next thought was, “How in the world am I gonna swing this (laughs)!”

I came in the middle of the first contract and opened after nine days of rehearsals. I’m a “male swing.” For those unfamiliar with theater jargon, “swings” cover all the ensemble parts. I’m an inexperienced swing, so this show really tested me as a performer and as a person.

Moreover, our version can be tedious and mentally demanding because it is not the usual proscenium stage. The configuration is a little complicated as it goes up and down, and you have nowhere to hide because there is an audience in every direction.

And yes, there’s a lot of dancing involved, including partnering, which makes it harder for swing cast members.

Based on your experience, what advice would you give to a newcomer back home who wants to pursue a career in musical theater?

First, preparation is the key to a successful audition, so attend dance classes and take voice lessons, and research about what you’re auditioning for.

Secondly, this industry is not only tough, it can also be expensive. You have to be mentally, physically, emotionally and financially ready if you want to pursue musical theater.

Finally, I really believe in the saying, “What’s for you won’t go by you.” I remember auditioning for five shows while doing “Allegiance,” all of which said no!

Then, I got a call from “Guys and Dolls,” which I auditioned for six months earlier. In the midst of rejection, keep going and don’t give up on your dreams because the next opportunity might just be at arm’s reach.

What does it mean for you to be a homegrown Pinoy performing in West End shows?

Performing here is my ultimate gesture of gratitude to my family in Tayabas City, who supported all my decisions, and to all my mentors who took a chance on me.

The pressure is real because I am not only representing myself, but the whole Philippines and the Asian community as well—and I want to represent our country well! I want our countrymen to be proud of what we have achieved.

Moreover, it is high time for this industry to recognize the Asian community as formidable and competitive artists and creatives, and we owe that to all the people who paved the way for us.

Of the shows that you’ve appeared in so far, do you have a personal favorite?

“Allegiance” and “South Pacific” are my favorites so far. The people behind these musicals gave me a voice and the creative freedom to explore the craft and showcase my full potential as an actor.

I still have doubts about calling myself an actor, but these productions really allowed me to discover things about myself as an artist. Both directors started our first day with a reminder of kindness. That gesture set a beautiful tone that lasted throughout the runs, and I’m sure it still resonates with each of us even after closing.

Which theater productions are on your wish list?

There’s an extensive list of shows I want to be part of, but unfortunately at my age, these productions can be physically challenging. First two on the list are “Wicked” and Regent Park’s “Jesus Christ Superstar.” I auditioned and made the final call back for both.

I would love to be part of “Here Lies Love” because it explores our history. I also dream of doing “A Chorus Line” while my body still can. Ultimately, I am hoping for new materials about us, Filipinos, and our beautiful culture.

Where do you see yourself five to 10 years from now?

I will be 50 years young by then, so who knows (laughs)? I’m already thinking of either transitioning to more relaxed roles or maybe entirely foregoing performing and going back to school to learn new things and skills.