Over-the-top acting is not the sole preserve of British pantomime, as my daughter pointed out. It’s all in the art of theater, whether Filipino or any other Asian theater, such as the Japanese kabuki and the Indonesian wayang kulit, or Greek theater. This does not hide the fact that the world it is presenting is imaginary and unreal.
My vision for Rep’s Children’s Theater was inspired not merely by my ancestry, as well as my exposure to storybooks and fairy tales early on and later to Disney films and Disney Broadway, but by the desire, perhaps unconscious, to give it a universal appeal. Thanks to a tireless group of creative individuals who never say, "It can’t be done," the Children’s Theater entertains children – and countless others from different backgrounds and age groups who flock to its productions.
In its 12 years of existence, the RCT has gathered for each production directors, designers and production people who can understand this vision and have the skill, imagination and talent to make it happen. Some of the best have worked with the RCT. Directors Baby Barredo, Jonas Sebastian, Michael Williams and Liza Infante, choreographers Douglas Nierras, Deana Cabal Aquino, Anton Perez, James and Liesl Laforteza and Jaime del Prado, set and costume designers Miguel Faustmann, Jay Herrera, Obeng Roxas, who is now UK-based, Edgar San Diego, Baby Barredo, Lisa Infante and Liz and Benny Batoctoy, lights designers Naomi "Shoko" Matsumoto and Martin Esteva, all have drawn thousands of children into the magic of live theater.
Costumes are always an RCT focal point. For its current production, Pinocchio, Liz Batoctoy has once again been commissioned to wield textures and colors in creating uncommon designs in her usual artistic way. Out-of-the-ordinary, even grotesque, costumes fire the children’s imaginations and help them accept whatever else is less than real on stage.
Magical sets and props are just as important. For Pinocchio, set designer Johann Quisumbing must create three-dimensional sets that appear and disappear, a now-you-see-it-now-you-don’t fairy, a mischievous winking whale that swallows up Pinocchio. Of course, the proof of the pudding is in the eating, and we kept our fingers crossed that everything would work, but RCT has succeeded partly because it can rely on Rep’s experienced set constructors. A beast that turns into a prince, singing and dancing rose bushes, a pumpkin that turns into a coach, and dancing cups and saucers are among the artful props that Benny Batoctoy has fashioned for RCT over the years. For Pinocchio, he must produce a wooden puppet that turns into a real boy, a nose that lengthens and a boy who turns into a donkey and vice versa. Lights, too, must help sustain the magic, and this year Martin Esteva has been given that difficult assignment.
Music and choreography must also follow RCT’s vision. The musical score, of course, comes from the author, but its interpretation – the tempo, style and choice of instrumentation – is left to the director. With the wealth of musical talent in this country, it shouldn’t be difficult to create suitable musical accompaniment. However, having an arranger who quickly understands the mood required by the director for a particular scene and can produce the right kind of music is still an advantage. This kind of help the RCT has always had the good fortune to have. Jojo Malferrari provided it in the RCT’s early years, and Pipo Cifra took over when electronically produced arrangements came into use.
Body language being the universal language of communication, the choreography must not only move the story along but must reflect the humor of both situation and character. RCT has been lucky to have the services of some of the best. Jaime del Prado is doing the choreography and the musical staging for Pinocchio.
But, even with all these, the attention of the audience – sometimes as many as 800 four- to eight-year-olds at one time – could wander, were it not for the skill and experience of good professional actors. Mature actors are often more effective than a child at dramatizing a story for children (unless that child has exceptional talent, like Lea Salonga) and have the stamina and concentration needed for long-running productions, in costumes that are often very cumbersome. In addition, any good child actors I may find are probably in school and are available only on weekends.
So, for Rep Children’s Theater’s new production of Pinocchio, children’s roles will go to grown-ups and, with one exception, Pinocchio will be played by girls. Veteran (but not old in this case) actress Liesl Batucan and Rem Zamora alternate in the lead role, with teeners Bianca Morris and Cara Barredo. Actors Niccolo Manahan, Vonn Lomarda, Jejie Esguerra, Mackee Serra and dancer Fil Tariao all play younger boys. Only one, Hans Dimayuga, will play his age and only on weekends.
Producing theater for children can be a daunting task. The script must be chosen, performance rights negotiated, the artistic and production staff organized, the set and costumes designed, the music arranged, the cast members selected and made to undergo rigorous rehearsals, and the entire production finally put on stage with necessary light and sound systems – all these while staying within a budget, and selling tickets to support that budget. But for some reason everyone who works in Children’s Theater seems to enjoy the challenge. They are eager for the task, their faces lit up by the magic of it.
And so, for as long as I can and for whatever reason, whether it be genes, background, concern for children and the arts, challenge, something to do fun, or just plain idiocy – the things that drive most other people in theater – I will keep on producing theater for children, knowing full well that the magic will endure.
Repertory Philippines’ Children’s Theater’s production of "Pinocchio" is now on stage at Rep’s Globe Theater at Onstage until December. For inquiries, show dates and ticket reservations, call the Rep office at 887-0710 or visit its office at C2-A, Bldg. C., Karrivin Plaza, 2316 Pasong Tamo Ext., Makati City.