For the love of theater

CEBU, Philippines -  It was like leaping into the unknown when emerging stage actress Tara Cabero chose to carve a theater career in Manila after graduating from Dumaguete City’s Silliman University with a degree in music (major in voice, minor in piano) in 2006.

As she went into this world with virtually no connections—save for one or two friends who gave her an idea of how the thespian life there works—Tara said it’s hard to imagine a possible universe in which she would have turned out as anything other than the kind of artist that she’s now.

Perhaps, it was inevitable. After all, this Cebuana, throughout her student years here in Cebu, was part of school productions. It was in Silliman, however, where her plans of pursuing musical theater as a profession became more pronounced as she joined the university’s official dance troupe Kahayag, and choral group Campus Choristers. 

Since making it to the Manila theater scene three years ago, she has become part of Tanghalang Pilipino’s A Streetcar Named Desire, Pilipinas Circa 1907, ZsaZsa Zaturnnah; Cultural Center of the Philippines’s Virgin Labfest: Baby B; and World Theater Project’s The Threepenny Opera. She’s currently doing Repertory Philippines’ Jack & the Beanstalk and The Little Mermaid. In between stage work, she also did commercials.

Her roles have varied, ranging from bit player to central character, but a lead role status in the most major of productions has yet to come. But she’s not one to hurry. “I’m after my growth as an actor,” she says, noting that each role is essential to the whole, as in the Shakespearean wisdom, the world’s a stage, and everybody’s a player.

The Freeman recently chatted up Tara during her quick vacation to Cebu.

The Freeman: First things first, how did you get into the theater scene in Manila?

I started with Tanghalang Pilipino Actors Company upon the advice of some Cebu friends like Hendri Go of Little Boy Productions. I auditioned in Manila several times and underwent workshops under Bart Guingona. I never thought I would get in. While waiting for a callback, which took some time, I couldn’t help but entertain doubts. I remember telling my mother, ‘Ma, mouli na ko, basin di jud ni para nako.’ Then when I got home, I got a callback. My mom said, ‘Nag-uli-uli pa ka’ (laughs). Thank God, I have a very supportive family who really encouraged me to go for what I love to do. I stayed with Tanghalang Pilipino for three years. I decided to go freelance this March.

TF: Why did you decide to go freelance?

It’s actually kind of difficult to get more projects if you’re tied to a theater company. I was also advised by others, including those with my former company, that I should try going freelance. Now, I’m having so much fun as a freelancer. They said that once you go freelance, you’ll have a two-month lull. But for some reason, thank God, that didn’t happen to me. Sunod-sunod akong classes (I also teach in workshops), then sunod-sunod akong productions. The income is admittedly better, but more importantly, I get to work in more productions, with different people, which is really nice, as you’ll get to assess yourself against other performers.

TF: What started you off in getting interested in theater?

When I was a kid, my tita gave us a tape of Miss Saigon, and I started listening to it so often, until I was practically singing along to all the songs. Then came the VHS of Les Miserables and a CD of They’re Playing Our Song. Since then, I got hooked on Broadway and I started dreaming of getting there someday.

TF: Which among your projects taught you the most to grow as an artist?

The prods that taught me much were Baby B (where I played the central role) and Threepenny Opera. Baby B, ‘cause it was one of the first productions that I really believed I did what I could, and it actually felt good. Three Penny, because I learned a lot from our director, Dr. Anton Juan Jr., and from the entire cast, because I was working with veteran theatre actors too.

TF: What’s your dream role?

 There’s a lot I want to play, especially in classic materials, but Medea would be at the top, as of now. For musicals though, I vowed to myself to someday—by any means possible—play Cathy in Last Five Years (laughs). But I’d also like to play Galinda in Wicked and of course, Kim in Miss Saigon.

TF: Any tools and tricks of the trade that you wished you knew when you were starting out?

A lot! Until now, there’s still so much that I need to learn and develop. Pero maybe, it would be trusting more on my instincts, rather then depending on just logic and technique.