Word of Mouth's Macbeth: Unplugged

Theater productions are everywhere these days. In Manila alone, almost all of the theater companies are passionately dedicated to produce refreshing, attractive and insightful productions for the audience. University-based theater groups as well exert tremendous effort in brewing intellectually thought-provoking, mesmerizing and intriguing productions.

To name some, Tanghalang Pilipino (TP) of the Cultural Center of the Philippines recently concluded the triumphant success of Virgin Labfest 4 in collaboration with the Writer’s Bloc. Repertory Philippines (REP) showcased thespian Jose Mari Avellana in 'Tuesdays with Morrie' and an interesting stage concept of 'Hamlet' both shown first quarter of the year. Philippine Educational Theater Association (PETA) will launch this July a newer version of Jose Rizal’s Noli-Fili with Nicanor Tiongson as the adaptor of these two novels set in a small town in the Quezon province. Our own Philippine theater pride Anton Juan Jr. explores captivating imagery using dead children as subjects in the forthcoming Dulaang UP (DUP) production this month. Tony awardee Lea Salonga plays Cinderella, a Musical under Broadway Asia this coming August.

Part of the list is a newly-established non-stock, non-profit organization that brings in world-class artists and performers together through Word of Mouth (WOM) Theater Philippines’ preview of a modern-day interpretation of William Shakespeare’s ‘Macbeth: Unplugged’, artistically-headed by theater actor-director Jeremy Domingo.

Domingo, with lengthy vigorous years of rigid theater training under mentors late Zenaida Amador and UP professor-emeritus Tony Mabesa, envisions Philippine theater with renewed vitality and exuberance for all performing artists today.

With this year’s left and right quality theater productions, is the golden age of Philippine theater near or is it actually here?

WOM’s production of Macbeth may not be the best product so far exhibited in the theater circuit for the year but can be a benchmark of another golden age in contemporary Philippine theater scene. Directorially, it needs tightening up especially in transitional scenes where set-pieces inhibit theatricality and magic. On another point, Roeder (Camanag), as he is popularly called by his fellow colleagues, bravely takes the lead character into an unconvincing softer interpretation which it should have been boldly portrayed as a man of steel. He still needs to develop the charming but aggressive Macbeth. Gigette Reyes (Lady Macbeth) is evidently alluring on stage. Maritina Romulo, Cherry Mae Canton and Judith Javier (three witches) enunciate the dialogues well.

The production ‘Macbeth’ displays the opening scene with an all-white art-deco inspired scenic style of various sizes serving the actors as their unit set-pieces. Quite abstract at that, Domingo entices the audience to think and imagine. Still, one of the more popular plays of Shakespeare, the entrance of the three witches in the prologue catches the attention of the audience and furthers its spectators with exposition of the characters including the entrance of Macbeth and eventually his wife, Lady Macbeth. With corporate suits and elegant swatches of costuming, the Shakespeare characters in WOM’s staging provided a reachable modern dress tale of guilt, deceit and egocentricism. In the end, Macbeth is killed and was beheaded by Macduff. This tragic tale was evidently shared by stellar performances of some of today’s recognized theater actors.

Together in the ensemble cast include Leo Rialp and Richard Cunanan (Duncan), Manuel Aquino and James Paolelli (Banquo), Apollo Abraham and Andre Tiangco (Macduff), Jeremy Domingo (Malcolm), Astarte Abraham (first witch), Jing Reyna Jorge (second witch) and Jenny Jamora (Lady Macduff). Also in the powerful-house cast are Miguel Vasquez, Gio Respall, Rob Rownd, Henry Strzalkowski, Martin de la Paz, Don Rivera, Lexter Victorio and Ricardo Osita.

Liesl Batucan assists in direction. Gio Respall supervises the passable choreographic patterns with Miguel Vasquez as fight choreographer. John Neil Ilao Batalla designs the lights while Gwyn Guanzon exhibits sufficient art-deco production design. Jacques Borlaza is at the helm of managing the production. Cara Mesina heads the stage management team with Technical Director Arnold Cao.

WOM Theater Philippines initially launched its preview of ‘Macbeth: Unplugged’ at the PETA-PHINMA Theater Center for possible sponsorships and special invitational tours. Call (02) 489-48-19 and look for Jeremy or Liesl.