For rhythm, love, and all that jazz

Early last year, as Cam and I were racking our brains one day for anything close to extraordinary, we chanced upon the announcement of a certain Little Shop of Horrors show that was being staged by Repertory Philippines. We weren’t regular theatergoers. And it didn’t help that the show would begin at exactly 8 p.m. We had only but 10 minutes to scuttle to the Globe Theater to catch the show. Au contraire, it seemed to me like the perfect plan. Coupled with a flare for tragedy and gore, I thought the show would hit the right note with this unusual suspect in the theater world. Two acts later, I was blissfully awestruck. I was hooked! With Suddenly Seymour and the words "Feed me" sprinting through my head, it seemed as though I had been initially bitten by the theater bug.

Fast-forward to the summer of 2005 when I had just gotten back from Bora and was feeling every bit of the restless soul. I had the option of traveling abroad but decided to stay in the flipside to develop my artistic roots – roots that had been static since ending my painting lessons back in high school.

Flashback to January, I remembered telling myself after watching Little Shop that by hook or by crook, I was going to perform on that stage. Fast-forward two weeks into April and I finally signed up for a Repertory acting workshop – a window for me to live out my dream of performing. As a late registrant though, I felt mortified as I entered the Rep studio. I was expecting to be around my peers but instead numbered among painters, bankers, architects, teachers, call-center folk, and people from all walks of life. It didn’t really help that they had already fostered a connection for a period as brief as two weeks. Would I really be able to catch up? I thought to myself in my bubble of introversion. But days progressed and I got to know my workshop mates during and after class hours. With the humblest of demeanor, a passion for theater, and the craziest of outlooks in life, they sure as hell burst my bubble and caught me by surprise.

Aside from good company, one of the best parts of the workshop was that we were able to mount our own production. Such showcases are always full-blown and require intensive preparation from its participants. As a culminating event, these take the form of a make-or-break final exam and test the skills that have been assimilated by the students, as duly imparted by the workshop instructors. Luckily, some surprise mentors stepped in to mix things up. Veterans Joy Virata and Baby Barredo joined us for a few weeks to share some fundamental techniques in acting and singing. Although I unfortunately missed out on Tita Joy, I was able to catch our intimate sessions with Tita Baby in my plight to find what is known as a "diaphragm" and use it to my singing and speaking advantage. That challenge sure did drain a lot out of me – like my very own Impossible Dream. It still does to this day. While nerves and anxiety concocted the cruel match, it was all worth it. And like my experience with Tita Baby, the process of mounting Guys and Dolls within those hectic two weeks and pulling it off with an extra kapow was certainly one for the books.

Joining the workshop really did change my life. Whoever thought that eccentric bombshell, or that fella who loved to eat, or that long-haired Wicked fan, or that model-esque call-center gal, or that Rajo Laurel look-alike, and the list can go on… would rank as some of the closest people I know to date. To some, it had been serendipity as they had apparently sung in my sister’s wake while I was too caught up in my dire state. To others, it was a getting-to-know-you phase during those chaotic weeks of rehearsals for our showcase Guys and Dolls. To most, it had been countless moments of singing at our behest, not caring a dime-a-dozen about what other people thought, and being wrapped up in our own little world. It all seemed natural when people of all shapes and sizes meet eye to eye with the common horizon of Broadway. That was Workshop 2005 – full of rhythm, love, and all that jazz. And seeing as that another one is in the offing, it would be plain ridiculous if I didn’t sign up for another fun and electrifying rollercoaster ride.

Repertory Philippines Summer Acting Workshop is back! Grounded on imparting the fundamental basics of theater, this amazing opportunity guarantees a most productive and enjoyable summer ever. The said workshop has been the starting point for most prominent actors in the industry today. Claudine Barretto and Ciara Sotto have both graced the Repertory stage in their earlier years, so have Monique Wilson, Michael Williams, and countless other actors in the biz who have either gone into recording, TV commercials, West End and other platforms in the performance art.

These have been made possible by Repertory Philippines’ annual offering of classes for children ages five to eight years old, pre-teens ages nine to 12 years old, teens ages 13-16 years old, and advance adult classes for those above the age of 17 years old. Classes will start on April 3 and will run from Mondays to Fridays until the last two weeks of May. A nominal fee of P6,000 is required, inclusive of the use of the Repertory Studio, acting and singing modules, and tutelage from some of the finest actors in the theater community today. Interested parties are also required to bring a recent 2x2 photo for documentation. For more details, call Repertory Philippines at 887-0710 or fax them at 888-0887. Slots are available on a first-come first-served basis.

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Catch your breath and let me know what you think at chasingtoff@yahoo.com.