The start of something big

For the Art & Culture section of the Philippine Star, 18 February 2009.

Photos by Hilda Abola of the My Manila photoblog.



In May last year I wrote about the Philippine Legitimate Stage Artists Group, or Philstage, and its effort to become the first awards-giving body focused solely on the performing arts. Well, these efforts have borne fruit. This past Wednesday, the 18th of February, Philstage held its 2008 Gawad Buhay! Awards for the Performing Arts at the Cultural Center of the Philippines. The austere but elegant program was well-attended, and judging by the excitement it generated among the member companies, I expect an even more enthusiastic response in the years ahead.

Such a response is crucial, since there were moments last year, the first year of the awards, when I thought the group’s resolve seemed to flag. Mine did, too. Now I can say it: I served on the jury panel that chose the performers and creatives named in the quarterly citations and drew up the list of year-end awardees. We started as a fairly large group, but the demands of trying to watch all the productions caught up with some of us, and by the end of the year we found ourselves reduced to a band of ten. So I couldn’t help but chuckle when Fernando “Nanding” Josef, artistic director of Tanghalang Pilipino and president of Philstage, commended the jurors in the opening remarks for serving “na walang bayad, walang pamasahe, at walang pang-merienda.”

Feeling the excitement in the Little Theater that evening, hearing the theater practitioners cheer for their fellows, seeing their sheer joy whether they ended up taking home trophies or not, helped dispel the gloom in my mind. There were times last year when I wondered what I had gotten myself into. Wednesday night I felt blessed, and ultimately grateful, to have been a part of it all. Here’s hoping the awards, now a year old, have a long and illustrious future.

My thanks to Philstage for inviting me aboard and to the individual member-companies for their unstinting hospitality. And my warmest congratulations to the winners of the first Gawad Buhay!

Here is the official press release from Philstage:

* * * * *
PETA and Tanghalang Pilipino plays dominate PHILSTAGE’s Gawad Buhay!

With four major awards each, Skin Deep (a production of the Philippine Educational Theater Association, or PETA), Golden Child, and Kudeta (both by Tanghalang Pilipino) won the most production, technical, and performance awards at the 2008 Gawad Buhay!, the PHILSTAGE Awards for the Performing Arts, held on February 18 at the Cultural Center of the Philippines’ Tanghalang Aurelio Tolentino. Ballet Philippines’ La Revolucion Filipina, Repertory Philippines’ Hamlet, and Tanghalang Pilipino’s Ang Kalungkutan ng mga Reyna each took home three trophies.

The bare stage moments before the show began.

Skin Deep, a musical comedy on ordinary people’s search for beauty and happiness, got the jury’s nod for outstanding musical production, original libretto (Vincent De Jesus), and male and female lead performances in a musical play (Robert Seña and May Bayot). Golden Child, winner for outstanding production of a full-length play, stage direction (Loy Arcenas), ensemble performance, and set design (Loy Arcenas), depicts the conflicts of introducing modern changes to a traditional Chinese household. Kudeta, a hilarious take on a coup that topples a country's president, won for outstanding translation or adaptation (George De Jesus III), lighting design (Dennis Marasigan), set design (Tuqxs Rutaquio), and featured male performance in a play (Bong Cabrera).

Among the big winners of individual awards were Floy Quintos, for Ang Kalungkutan ng mga Reyna, which won for outstanding production of a one-act play and original play; and Vincent de Jesus, whose work on Skin Deep and Batang Rizal (PETA) won for outstanding original libretto and musical direction.

Biag Gaongen performs an excerpt from Ballet Philippines’ ‘La Revolucion Filipina.’

The first-ever industry awards exclusive to the performing arts, Gawad Buhay! was juried by an independent panel of critics, scholars, artists, and theater enthusiasts who were deputized to watch all productions of Philstage member-companies for the entire year. Outstanding individual and group achievements in various artistic and technical aspects of play, musical, and dance productions and performances are honored based on quarterly citations drawn up by the jury.

In his acceptance speech for outstanding original play for Ang Kalungkutan ng mga Reyna, playwright-director Floy Quintos expressed appreciation of the performing arts’ unique quality as a form of creative expression. “We have become the source of talents of other industries like film and television.”

The PETA ensemble performing an excerpt from Batang Rizal.

CCP President Nestor Jardin, who was one of the awards presenters, praised the high quality of productions by Philstage member-companies. “There are many of these, and there can be no better proof of this than in the next category,” he said, referring to the thirteen nominees for outstanding ensemble performance.

“I am very happy that we are having this award while I am still dancing,” enthused Camille Ordinario-Joson who won for outstanding featured performer in a dance production for her work on Ballet Philippines’ Latin Heat.

The mostly theater-practitioner crowd cheered on approvingly as Jose Mari Avellana’s name was announced by presenter Gary Lim as winner for outstanding male lead performance in a play. Visibly moved, Avellana thanked the theater community and exhorted them to keep striving for quality and continue the traditions of professionalism and collegiality in the profession.

Willy Casero amuses the crowd as Mayor Rapcu in an excerpt from PETA’s ‘Batang Rizal.’

Philstage President Fernando Josef, concurrent artistic director of Tanghalang Pilipino, expressed elation over the participation of a large number of nominees. “They came with friends and family,” he said. “This is a historic event as we are witnessing the maturity of an industry that responds to audiences, artists, and society.”

Directed by Dennis Marasigan and produced by Elmar Beltran Ingles, the awards ceremonies featured moving performances by Ballet Philippines’ Biag Gaongen, winner for outstanding male lead performance in a dance production (La Revolucion Filipina and Latin Heat), and the cast of Batang Rizal.

Winners, all : Front row, from left to right: Fernando Josef, Floy Quintos, Vincent de Jesus, Robert Seña, Shamaine Centenera Buencamino, Biag Gaongen, and Philstage Executive Director Elmar Ingles. Back row: Paolo Perez of Tanghalang Pilipino, Liesl Batucan, Susan Macuja of Ballet Manila, Dennis Marasigan, Jethro Joaquin, Bong Cabrera, Melvin Lee of PETA, Jose Mari Avellana, CB Garrucho, Max Luna III of Ballet Philippines, Camille Ordinario-Joson, and Alan Hineline of Ballet Philippines.

The categories, winners, and nominees:

Outstanding production of a full-length play: Golden Child (Tanghalang Pilipino). Other nominees: Batang Rizal, PETA. Hamlet, Repertory Philippines. Kudeta, Tanghalang Pilipino.

Outstanding production of a one-act play: Ang Kalungkutan ng Mga Reyna (Tanghalang Pilipino/Virgin Labfest 4). Other nominees: Ang Bayot, ang Meranao, at ang Habal-Habal sa Isang Nakababagot na Paghihintay sa Kanto ng Lanao del Norte, Tanghalang Pilipino/Virgin Labfest 4. Ellas Inocentes, Tanghalang Pilipino/Virgin Labfest 4. Three Sisters: A Noh Play, Tanghalang Pilipino/Virgin Labfest 4.

Outstanding musical production: Skin Deep (PETA). Other nominee: Altar Boyz, Repertory Philippines.

Outstanding dance production: La Revolucion Filipina, Ballet Philippines. Other nominees: Latin Heat, Ballet Philippines. New Beginnings, Ballet Philippines.

Outstanding stage direction: Loy Arcenas (Golden Child). Other nominees: Chari Arrespacochaga, Altar Boyz. Nor Domingo, Skin Deep. Jose Estrella, Three Sisters: A Noh Play. Floy Quintos, Ang Kalungkutan ng Mga Reyna. Floy Quintos, Kudeta. Tuxqs Rutaquio, Ellas Inocentes. Dudz Teraña, Batang Rizal.

Outstanding original choreography: Agnes Locsin (La Revolucion Filipina). Other nominees: Bam Damian, Latin Heat. Alan Hineline, New Beginnings. Alden Lugnasin, Latin Heat. Max Luna III, New Beginnings. Jason Zamora, Altar Boyz.

Outstanding original play: Floy Quintos’ Ang Kalungkutan ng Mga Reyna. Other nominees: Batang Rizal, Christine Bellen. Ang Bayot, ang Meranao, at ang Habal-Habal . . ., Rogelio Braga. Ellas Inocentes, Layeta Bucoy.

Outstanding ensemble performance: the cast of Golden Child (Tanghalang Pilipino). Other nominees: Altar Boyz, Repertory Philippines. Ang Bayot, ang Meranao, at ang Habal-Habal . . ., Tanghalang Pilipino/Virgin Labfest 4. Mga Gerilya sa Powell Street, Tanghalang Pilipino. Batang Rizal, PETA. Coppelia, Ballet Philippines. Ellas Inocentes, Tanghalang Pilipino/Virgin Labfest 4. Hamlet, Repertory Philippines. Kudeta, Tanghalang Pilipino. La Revolucion Filipina, Ballet Philippines. Latin Heat, Ballet Philippines. Mga Kuwento ni Lola Basyang, PETA. New Beginnings, Ballet Philippines. Skin Deep, PETA.

Outstanding male lead performance in a play: Jose Mari Avellana (Tuesdays with Morrie). Other nominees: Arthur Acuña, Golden Child. Dido de la Paz, Mga Gerilya sa Powell Street. Joe Gruta, Mga Gerilya sa Powell Street. Mario O'Hara, Kudeta. Joey Paras, Ang Bayot, ang Meranao, at ang Habal-Habal . . . . Arnold Reyes, Ang Bayot, ang Meranao, at ang Habal-Habal . . . . Jonathan Tadioan, Pamantasang Hirang, Tanghalang Pilipino/Virgin Labfest 4.

Outstanding female lead performance in a play: Shamaine Centenera Buencamino (Ang Kalungkutan ng Mga Reyna). Other nominees: Lovely Balili, Ellas Inocentes. Liesl Batucan, Golden Child. Tina Chilip, Golden Child. Jenessa Roque, Ellas Inocentes. Irma Adlawan-Marasigan, Golden Child.

Outstanding male lead performance in a musical: Robert Seña (Skin Deep). Other nominees: Red Concepcion, Altar Boyz. Juliene Mendoza, EJ: Ang Pinagdaanang Buhay nina Evelio Javier at Edgar Jopson (Tanghalang Pilipino). Jett Pangan, EJ: Ang Pinagdaanang Buhay nina Evelio Javier at Edgar Jopson.

Outstanding female lead performance in a musical: May Bayot (Skin Deep). Other nominees: Isay Alvarez, Skin Deep. Gail Guanlao Billones, Skin Deep.

Outstanding male lead performance in a dance production: Biag Gaongen (La Revolucion Filipina and Latin Heat).

Outstanding female lead performance in a dance production: Lisa Macuja Elizalde (Le Corsaire, Ballet Manila).

Outstanding featured performance in a dance production: no nomination.

Outstanding male featured performance in a play: Bong Cabrera (Kudeta). Other nominees: Riki Benedicto, Kudeta. Willy Casero, Batang Rizal. Nor Domingo, Tosca (PETA). Raffy Tejada, Tosca.

Outstanding female featured performance in a play: Cris Villonco (Hamlet). Other nominee: Mailes Kanapi, Mga Gerilya sa Powell Street.

Outstanding featured performance in a dance production: Camille Ordinario-Joson (Latin Heat).

Outstanding original libretto: Vincent de Jesus (Skin Deep). Other nominee: Vincent de Jesus, Batang Rizal.

Outstanding translation/adaptation: George de Jesus III (Kudeta). Other nominee: Dennis Marasigan, Golden Child.

Outstanding musical direction: Vincent de Jesus (Batang Rizal). Other nominee: Jojo Malferrari, Altar Boyz.

Outstanding set design: Loy Arcenas (Golden Child) and Tuxqs Rutaquio (Kudeta). Other nominees: Mel Bernardo, Mga Kuwento ni Lola Basyang (PETA). Gino Gonzales, New Beginnings. Mio Infante, Coppelia. Mio Infante, La Revolucion Filipina.

Outstanding costume design: Faust Peneyra (Hamlet). Other nominees: Ron Alfonso, Mga Kuwento ni Lola Basyang. Gino Gonzales, Golden Child. Jonathan Janolo, Tatlong Kuwento ni Lola Basyang, Ballet Manila. Victor Ursabia, La Revolucion Filipina.

Outstanding lighting design: Dennis Marasigan (Kudeta). Other nominees: Katsch Catoy, La Revolucion Filipina. Martin Esteva, Hamlet. Barbi Tan-Tiongco, Golden Child.

Outstanding sound design: Jethro Joaquin (Hamlet). Other nominees: Janice Dee, Kudeta. Jethro Joaquin, EJ: Ang Pinagdaanang Buhay nina Evelio Javier at Edgar Jopson. Shima Takesi, Tosca. Gidget Tolentino, Altar Boyz. J. Victor Villareal, Golden Child.

Philstage groups together the country’s leading and established performing arts companies which include Actors Actors Inc. (AAI), Ballet Manila (BM), Ballet Philippines (BP), Gantimpala Theater Foundation (GTF), Organisasyon ng Pilipinong Mang-aawit (OPM), Philippine Educational Theater Association (PETA), Repertory Philippines (REP), Tanghalang Pilipino, and the Triumphant Peoples’ Evangelical Theater Society (Trumpets).

And now for something completely different 11

On the heels of yesterday's weirdness comes this new discovery, a trailer for an upcoming movie titled Romeo & Juliet vs. the Living Dead.

O happy chainsaw!



(Hat tip to Yvette.)

The continuing saga

In previous posts (the abrupt version here and the lengthier explanatory one here) I said that I would stop writing about theater or at least watch less and write less. I also said that I've applied for support from my university, Ateneo de Manila, through the Loyola Schools (formerly the College of Arts and Sciences) grants for research and creative work. I sent two proposals, one to finish writing a book of creative nonfiction pieces (my MA creative writing thesis, essentially) and publish it, the other to watch plays and publish reviews of them in The Philippine Star.

All proposals for the grants are due in November. A few weeks ago the committee deciding on the grants emailed me to ask for more information on the first proposal (the nonfiction book). I then asked if the second proposal had been denied. It was. I emailed a reply expressing my disappointment (which is what the explanatory post was for).

Here's what has happened since.

The committee representative replied, saying that, yes, they don't think writing for a newspaper is less intellectually demanding than writing for a scholarly journal, except that there is no peer review. If the committee backed me with a grant, the school would, in effect, approve of what I were to write without having the opportunity to put what I write through peer review. In short, they would have to take it on trust that my writing is scholarly. A fair point, I think. She did also say that my proposal was unusual; they hadn't seen anything like in at least three years.

So I took up Karen's suggestion in the comments to that last post and emailed, asking, what if I were to put the columns together in a book? Here is in part what I wrote:

I don't know if this is too late, but would it make a difference to my theater reviews proposal if I rewrote it to say that I intend to publish the reviews in a book at a later time? Not sure when. I would think that I would need some 40 to 50 reviews before they are worth putting together in a book. I have 14 reviews of 24 productions. Another 26 articles this year and I will have 40 at the end. (In my proposal I propose to write 25.) Perhaps I can also add several essays on larger topics, such as the current state of Philippine theater.

If the proposal can still be considered with these changes, please let me know and I will make the revisions.

A few days later came the response: the committee is concerned that play reviews are by nature "dated" and are better printed in newspapers or magazines rather than books. The rejection of my proposal was reiterated.

And so I wrote, a little peeved:

I don't understand why it's a concern that the reviews might be "dated." They will be dated only if we're thinking of ticket sales. The performing arts are, by their nature, ephemeral. Writing about them is one way of documenting a performance, writing which becomes a valuable resource to future writers and researchers of the art.

This problem of datedness hasn't stopped major critics from compiling their reviews of specific plays. Last year I read Millennial Stages: Essays and Reviews 2001–2005, a wonderful book by the preeminent theater scholar Robert Brustein, founder of the Yale Drama School. The long middle section is a compilation of reviews of some forty plays in some twenty-five essays. The first section contains essays on contemporary issues in theater; the third contains reviews of books on theater and profiles of important stage personalities (like Marlon Brando). In his more than forty years of writing on theater, Brustein has published compilations of his play reviews. Other critics such as Richard Gilman and Walter Kerr have done the same. So why is this a problem for us?

I was getting a little unnerved. The fact that I had to make the above explanation didn't sit well with me.

Then I got another email, this time on my first proposal (on the book of nonfiction). I had said, in my addendum, that I wanted to write, among other things, on memory. The committee representative said they wanted further elaboration, to wit: what "framework(s)" will I use, and what "literature" will I cite? The concern is that the works will be "largely personal reflections and accounts."

Well, that was it for me. I wrote back:

I do not understand the concerns of the [Research] Council. You ask for "frameworks" that I will use or refer to. Do you ask the same question of poets or fictionists who also write about memory? I do not approach my literary nonfiction as if it was academic research; I do not begin with a framework then search. The act is creative; I search first, then an insight comes to me. I do not begin knowing where to look or what I'm looking for. Otherwise, why write? The creative act of writing is an act of discovery. I recognize what I'm looking for only in the act of looking for it. To a scientist, this may be nonsense. To me, it makes perfect sense.

Besides, what is this problem with my work possibly being "largely personal reflections or accounts"? Has no one on the council ever read literary or creative nonfiction? I am not a twelve-year-old with a blog. My largely personal reflections and accounts are far different in quality. The samples I submitted to you — "Many Mansions," which won first prize for the Essay in English at the 2000 Palanca Awards; "A Soundtrack to the Eighties," which was published in the Philippines Free Press; and "Pilgrim of the Healing Hand," published in the maiden issue of UP's Likhaan, the only piece of creative nonfiction that merited publication (the other two pieces of nonfiction were criticism) — are all deeply personal.

If the council believes that my writing is not good enough to be backed by a university grant, then fine. If the problem is a lack of quality, then all right. But if the council believes that my writing doesn't deserve a grant because it is mostly personal, then that is a problem, because in effect the council has rejected most kinds of literary nonfiction before they can even be offered for consideration. (Question: has the council ever rejected proposals for poetry or fiction because they were "largely personal reflections or accounts"?)

I have nothing to add to what I have submitted to the council. Moreover, this exchange of emails over my two proposals has dismayed me and made we wonder if the council appreciates or even understands the kind of creative work that I do.

That was Thursday night. Friday I received a civil email from her thanking me for my "candid" response and saying she would take up my concerns with the committee.

And this is where things stand. I thought the book proposal was a good one; my chairperson endorsed it and even added a note explaining creative nonfiction as a literary genre. So I thought it was the second one I would have to fight for. Now I'm not sure what my chances are for either.

In any case, this will all be resolved soon. The grants are announced in February, at the same time that awards are given out for outstanding scholarly and creative work of the past year. I will know where I stand, what the next twelve to eighteen months or so will look like, and what kind of writing I will be able to do aside from my schoolwork.

Again, thanks for your concern.