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IF
you’ve read the book, why watch the play?
The
recent staging of Jessica Hagedorn’s more successful
novel, Dogeaters, by Atlantis Productions was met
with great expectations. Finally, an acclaimed material
from the US written by a successful Filipino-American
author is here. For Filipinos here and abroad, it’s
something to be proud of, despite the title’s derogatory
reference to their race.
But what
really is Dogeaters, the play which concluded its
run at the RCBC Carlos P. Romulo Auditorium yesterday?

For
someone whose exposure to theater is limited to local
productions of Broadway, Off-Broadway, Off-Off-Broadway,
trying-to-be-Broadway and the anti-Broadway,
Dogeaters was meant to be enjoyed as an educational
experience, with the more humorous and hippest teacher
explaining the recurring lessons of history.
On the
other hand, for us martial-law babies who have
religiously followed contemporary Philippine politics
and society, there’s nothing new to be experienced. Like
cooking chopsuey, all the ingredients that we’ve grown
accustomed to are there: Imelda Marcos, the assassinated
senator from the opposition, the young junkie-man whore,
the idealist rebels in the boondocks, the predatory
social climbers, the happy and gay socialites, the
billionaire who runs the country from behind...the list
goes on.
The meal
is authentic Filipino that foreigners will blanche at
the very thought of eating. But for Juan de la Cruz,
it’s the same main course that was served in yesterday’s
dinner, and the day before yesterday and so on.
As it
was verbalized by one of the characters, the Philippines
is an ongoing soap opera.
Us being
lovers of soap operas or telenovellas is part of our
sympathize-with-the-underdog culture. We get off seeing
tears of revenge, face-slapping of mistresses,
successful orphans becoming business tycoons, and maids
marrying their rich employers’ sons.
There
can be no quibbling about the ever-credible performances
of veterans like Michael de Mesa, Joel Torre, Rez
Cortez, Gina Alajar, Jon Santos, Leo Rialp and the
play’s revelation, Andoy Ranay as Imelda Marcos. Each
played two to four roles convincingly.
The
presence of young but equally credible actors from
Tanghalang Pilipino, most of them from the top-grossing
Zsa Zsa Zaturnahh Ze Musical, gave a more contemporary
Filipino aesthetic appeal to this otherwise brave
Atlantis production.
Director
Bobby Garcia’s brilliance in directing is reaffirmed by
how a dense nonlinear plot of many characters can be
more engaging onstage. Atlantis has been known for new
works of modern theater, via Broadway. With Dogeaters,
it was a homecoming for both Hagedorn and Garcia, who
worked together in the same play when it was staged in
New York. Garcia was then a student struggling for his
Masters. |