All shook up
Directing a show is no walk in the park. A director has a gazillion things to worry about and attend to aside from his usual suspects — the actors, the production and artistic team, the rehearsal and performance schedule, the schedule conflicts, and a load of rules and regulations to work with. You’re sort of like a captain of the ship, stirring the wheel and being kept afloat by a band of loyal, unwavering brothers. You have the assistant director, the production manager, the choreographer, the set and lights designer, the technical director, the stage managers, and the front of house team among many other individuals. The point is, directing is not a singular endeavor. It is not an easy task and not one for those who lack will.
My experience as a co-director was not without its challenges. Faced with other commitments such as selling tickets for the KC de Venecia Foundation show of Stages Inc.’s West Side Story, writing my column for the STAR, fulfilling my remaining academic requirements for my last semester in the Ateneo, editing my dad’s book, going on a job interview, making the most out of my dying social life, and rehearsing and appearing as Ancestor Hong and Private Yao in Repertory Philippines’ Mulan Jr., it was difficult to stay focused and be mentally present during rehearsals, more so to manage the different hats I’ve assumed over the past few months. Assuming all these commitments has taught me the value of compartmentalizing myself and managing my time wisely — lest I end up reaching my breaking point.
The experience of directing and managing my balancing act has also been an eye-opener for me of sorts. Going out and staying up late every single day is not necessarily the most responsible thing to do. Our bodies have limits too, and when it gives in to a ridiculous amount of exhaustion and stress, all sorts of mental and physical thorns come hither. When you have so much to do in so little time, you cannot afford any more setbacks that you could have prevented or controlled in the first place. But then again, what’s life without them? There’s nothing so daunting that a sturdy mind and resilient heart can’t handle.
Co-directing a show has been one of the greatest opportunities that Blue Repertory, my home organization in the Ateneo, has enabled me over the past few months. In my last semester in Ateneo, there could have been no better actualization for the phrase “going down swinging” than to be granted the chance to teach and create with an unlimited mind. In a way, I’ve come full circle — from starting out as a newbie with Hope for the Flowers to mentoring this new breed of theatrical talent.
As my batchmates Madel (who plays Tracy Turnblad in this year’s Hairspray), Reb (who appeared in last year’s Altar Boyz), Geru and Jes (who are with me in Mulan Jr.), and most of my other batch mates (who have gone on to run the organization) have explored other facets of theater, and appeared as a powerful ensemble in Blue Rep’s many productions, so will this new batch of newbies succeed later on. They have a long way to go. But with the passion and commitment I’ve seen from them, the camaraderie, and that same thrill that once filled me and my contemporaries two years and 20 pounds ago resurrected in fresh new faces, I am quite happy to move on from the place that I have called home and trust that the tradition and love of theater will be passed on. Congrats, everyone! Follow that dream and be all shook up!
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Catch BlueREP’s All Shook Up with direction by Andrei Pamintuan and Toff de Venecia, set design by JJ Ignacio, lighting design by Voltaire de Jesus and choreography by Kyla Rivera. Show dates are Sept. 19 (7 p.m.), Sept. 20 (3 p.m. and 7 p.m.), and Sept. 21 (7 p.m.). For ticket reservations, contact Lienne Chai at (0917)806-3834.
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Catch the KC de Venecia Foundation show of West Side Story, Sept. 20, 3 p.m. at the Meralco theater. For tickets, please text (0917)890-8633.
