25 years with Gantimpala Theater

Tony Espejo is the moving force behind Gantimpala Theater that revolutionized in several ways Filipino theater.

As the saying goes, you’ll never go wrong with the classics and, indeed, Tony and the Gantimpala Theater Foundation (GTF), have been successfully producing classics like Noli Me Tangere, El Filibusterismo, Ibong Adarna and Florante at Laura for 25 years now.

"We never outgrew these classic plays. They’ve been around even before our elementary and high school years. They gave us a reason to read these classics seriously. The fulfillment is seeing the characters jump out of the pages of a book and come alive right before our eyes...on stage," says Tony.

Get to know the man who has survived all the storms in his life and has come out triumphant in the end. Of course, his brainchild is still destitute and homeless. But that is not enough to dampen the Gantimpala spirit that has persevered for 25 years. On July 26, the theater group celebrates its 25th anniversary with a special show billed A Silver Harvest at the Cultural Center of the Philippines, its original home.

Why did you organize the Gantimpala Theater Foundation?

After staying abroad to study theater, I went back to the Philippines in 1977 only to find out that there was no local theater. Ang konti ng theater groups. PETA was lying low because of the political problem while Repertory Philippines was doing Broadway shows. So I asked, "Bakit walang ginagawang Filipino play?

And why were there no Filipino plays back then?

My colleagues in CCP gave me three reasons: (1) there was no Filipino play to produce, (2) if there were any, they were terrible, and (3) there was no audience for Filipino plays.

What did you do?

I was lookinjg for books at the CCP Library when I saw a whole shelf of playwright contest winners from 1969 to 1977 rotting and hidden. I sent a proposal to Lucrecia Kasilag, then CCP president, for a laboratory or experimental production of these plays to try if they were good and if there was an audience. Gantimpala was born.

How would you describe Gantimpala then?

Very young, very innovative.

What were the original Gantimpala plays?

Some of the works we premiered were Katipunan, Magsimula Ka, Kanser, Hiblang Abo, and comedies like Paano Binabalatan ang Butong Pakwan?

What was your first hit?

We did Kanser in 1980 and it became such a big hit. Sa dami ng tao, yung glass panel ng theater nabasag. Nag-riot sila because there were 500 people outside wanting to watch.

What are your major contributions to the local theater industry?

We were the first to formalize the theater workshop. We also introduced the production book where details of the production are written. It’s like a historical reference for the play. Our greatest contribution was adding a lot of Philippine literature to Philippine dramatology. Magsimula Ka is one good example of a play we have successfully contributed. Our edge among other theater groups is that we’re not limited by the genre of plays we produce. Our choice of subject is very wide. Tapos we produced a lot of famous people in theater and showbiz like Earl Ignacio, the late Rene Requiestas, Ricky Davao, Adriana Agcaoili, etc. They are all homegrown talents of Gantimpala.

What was the lowest point of Gantimpala?

Being kicked out of CCP was the greatest tragedy in Gantimpala’s history kasi homeless kami noon. Have you ever felt being homeless? I had to take a sabbatical for six months.

How did you adjust to your new home, the Metropolitan Theater?

From a small laboratory space in CCP, nasa main theater kami ng Met with 1,700 seats. Nag-iba talaga ang shift. Ang acting naiba rin – bigger. Epic ang play, so costumes lahat. We were able to invent so many ways of doing it pero nag-iba ang atake sa artistic quality ng company. We made use of a lot of creativity para mas mura. Hindi authentic, minimal props lang. Black curtain mostly na may nakasabit na isang bagay to suggest the setting. Impressionistic. More on the space and the noise of the audience. The milestone in Met is that we survived.

When the Met closed down, what happened to Gantimpala?

We became a touring company after that. We saw it as a blessing for the company. Being attached to one place, you attracted less audience because of the distance, traffic, etc. Kami naman ngayon ang lumapit sa audience. Para talagang surviving the storms. Survivor talaga kami. Hanggang ngayon, we’re surviving.

Don’t you ever get bored with these classic plays?

Personally, I get bored directing the same plays kaya ‘di na ko nagdi-direct ngayon (laughs). I let the younger ones take over the directing.

Do you have plans of directing someday, say on TV or film?

I’ve no plans of directing anymore, even on TV or film. ‘Di ako masaya sa TV or film. ‘Yung training ko kasi sa theater.

What’s with theater?

Theater kasi buhay na buhay. Ang TV at film kasi pwede mong i-peke. Sa theater hindi pwede. Saka ang disiplina at degree of professionalism are so much higher.

What is your ultimate dream for Gantimpala?

My ultimate dream is for it to go on forever. To have our own venue. To find back our home.

How would you describe Gantimpala at 25?

Still struggling, still alive.

How would you like to be remembered?

As the mover of Gantimpala Theater Foundation.