Doting caregivers by day, fierce divas by night

I took an alpha male to watch a play about five Filipino transvestites working as caregivers in Israel during an unruly time. Five minutes into the play he said, “This looks interesting,” and once it was over, he wanted to watch it again.

It’s a little bit like that movie Connie and Carla (about two musical theater lovers who, in the middle of rising action, become more successful as fake transvestites in achieving their starry-eyed dreams), and a little bit Maalaala Mo Kaya, with its highly dramatic diegesis that makes Care Divas, Philippine Educational Theater Association’s (PETA) original production, a masterpiece in its own way. Now it’s back in theaters for an encore performance due to popular demand.

The musical tells the story of five transvestite Filipino caregivers living in Israel during the time of Intifada (the Palestinian uprising against Israeli occupation), struggling not only with survival, but immigration, labor abuse, dealing with their sexuality in an Orthodox culture and trying to achieve their personal dreams all at the same time. Finally, here is an originally written play with our own humor, vernacular and culture injected into the script. These should be the types of plays shown in our national theaters and promoted for students to see, as, above all the sexual innuendo, it carries substantial educational value.

As much as the production is a laugh-out-loud comedy, it touches upon the tribulations and harsh realities of immigrant workers, making this “play” just as burdensome. By the end of the first half, I was surprised at how it turned completely from comedy-level puns, to a satirical commentary on our society. The script is complex, uncovering one layer of conflict after another, sometimes a little overdone. But in its context, maybe that’s just the way it was meant to be. The glamorous lives of divas are always overdone, anyway.

Desperate to make ends meet in another country, the five transvestite caregivers of Care Divas also struggle for freedom and acceptance, demonstrating as well the generosity of spirit, resilience and humanity of Filipinos.

Depth in criticism, with a heart-warming representation of the lives of our Overseas Filipino Workers (OFWs), the exotic nature of both the gay community as well as our immigrant workers are exoticized, but the romanticism doesn’t offend. The exoticism is played well, with just enough exaggeration to convey the comedy and the drama to the audience, enough slap-in-the-face moments to hit anyone hard with reality. Audiences, if not roaring in laughter, are left deeply touched by the emotions and lives of the characters. Just like the Sex and the City girls’ characterizations were made for all women to relate to, the five main characters of Care Divas represent ever-present types. From the “good girl who loves to please everyone” to the “kontrabida,” we fall in love with each character’s quirks and flaws.

In one song number, the five care divas sing, “Just because we wear fancy dresses and long lashes, doesn’t mean we are bad girls.” It reminds me of the time the UP Babaylan, the LGBT organization at the University of the Philippines, held up placards during the annual Christmas lantern parade shouting, “We are moral.” Though parading in skimpy bikinis showing off their newly constructed bosoms and bodies they had created for themselves, the statement, though ironic, was clear.

These same statements about prejudice are touched upon as well in Care Divas. While the play dabs on the issues, it attempts to strip off the preconceived notions that people may have about the gay community, about OFWs, and about any conservative religion that is not our own. Care Divas leaves people with a newfound respect for all types of cultures, lives, orientations and principles. Keep an open mind, and this play is sure to move you.

Its powerful statement mocks you, shocks you, and kicks you in the ass with stylish high-heeled shoes and push-up bras — diva style.