Requiescat in pace
Last week, I received a text message that said it has been one year to the day that theater, television and film actor, writer and director Mario O'Hara had passsed on. It made me look back at all the other icons and inspirations of my life and career that have since left us in this mortal world, especially those that i have had the privilege of knowing and working with.
TONY ESPEJO (June 15, 1948 - July 21, 2012) Tony Espejo succumbed to multiple organ failure a few days before Mario O'Hara's passing. He had founded Bulwagang Gantimpala and nursed the company even after it left the Cultural Center of the Philippines post-EDSA. I had been fortunate to work with Tony and Gantimpala on a number of productions as lighting designer, as a writer and as an actor. Many people have heard the story of how I learned that my play "Silang Nalugmok sa Gabi" won in the 1984 CCP Literary Contest by way of a phone call from Tony, minutes just before I stepped out of the house to proceed to my"pamamanhikan," an incident I then considered providential. I would have also gone with the company to Brunei for the Asean Theater Festival. For me, Tony always seemed to speak calmly, even in anger. Later, when I joined the CCP myself, I occupied the same space where Tony used to have his office, and I always felt that space was too big for anyone to fill.
MARILOU DIAZ ABAYA (March 30, 1955 - October 8, 2012) became a surrogate mother to me in my entertainment career, particularly in film. I got to know her through Ishmael Bernal and had the chance to work with her (and Manolo Abaya) on many occasions, including Jose Rizal. She was always willing to listen to my woes and provided career advice on many occasions. Serendipitously, she headed the Cinemalaya Monitoring Committee when I first competed in 2007, although illness held her from active participation in the Festival. I still regret not having been able to honor the many invitations to be part of activities in the MLDA Film Institute, but will forever remember her almost saintly fortitude and strength of spirit.
DAISY AVELLANA (January 26, 1917 - May 12, 2013) Early on during my years as an employee of the Cultural Center of the Philippines, I worked in the premiere staging of Nick Joaquin's "El Camino Real" directed by National Artist Lamberto Avellana. Daisy Avellana was his assistant. Initially, I was to be Technical Director of the production. A casting gap led to a short appearance as one of the minor characters. Just the same, I was in the cast, working with her everyday for over a month. She was a hands on-taskmaster, and would particularly pay attention to anyone who could would misprononounce any of the English text. When she had become National Artist herself, the CCP produced a video documentary that I was assigned to write, thereby collaborating with her son Jose Mari Avellana. We shot a scene with her at the Little Theater, purportedly watching a group theater students that then included my daughter Mara Paulina (along with other PHSA kids). She proceeds to answer their questions about art and theater, dispensing wisdom everyone in the industry should learn to heart. Being a Marasigan, I had always felt affiinity with the lady who played Candida, and having gotten to know the other members of her family made her passing more difficult to bear.
EDDIE ROMERO (July 7, 1924 - May 28, 2013). National Artist for Film and industry leader, I first met Eddie Romero during the early years of the Film Academy of the Philippines when I was among the organizers of the Assistant Directors and Production Managers Guild. He was to become FAP Deputy Director General which led to many meetings in the course of official aacademy and guild functions. When the National Commission for Culture and the Arts was organized, he actively served it in various capacitites, and his elevation to National Artist provided many other occasions for collegial discussions. I had always wanted to adapt "Ganito Kami Noon, Paano Kami Ngayon" into a stage musical, and when the idea was presented to it, he wholeheartedl supported it. In the process of developing the project, he shared many stories about the making of the film, some of whicch may not be print-worthy. I still hope to see the film translated into stage, and also hope to be deserving enough to shepherd a new film version of his "Kamakalawa."
AMA QUIAMBAO (Jan. 19, 1947 - July 5, 2013) - The first play I did for Teatro Pilipino was Ang Mga Tagahabi (The Weavers) by Gerhart Hauptmann. If I am not mistaken, it was also the first play for the company by Ama Quiambao; at the least it was the first play we worked in together. Often, we would be riding together in the same jeepney going home. She preferred to stay in the front seat, but always with an soft drink bottle handy as her form of self-defense in case it was needed. Ama was in the cast of "Silang Nalugmok sa Gabi," my stage adaptation of Without Seeing the Dawn, that was performed by Bulwagang Gantimpala under the direction of Dindo Angeles. She later married Gamaliel Viray, another performer I had had the pleasure of working with through the years. I am sure he will be happy to have her now by his side.
Requiescat en pace. Heaven is surely a happier place now with you among other artists who have had their curtain calls down here. You shall live on in our hearts and our memories.
TONY ESPEJO (June 15, 1948 - July 21, 2012) Tony Espejo succumbed to multiple organ failure a few days before Mario O'Hara's passing. He had founded Bulwagang Gantimpala and nursed the company even after it left the Cultural Center of the Philippines post-EDSA. I had been fortunate to work with Tony and Gantimpala on a number of productions as lighting designer, as a writer and as an actor. Many people have heard the story of how I learned that my play "Silang Nalugmok sa Gabi" won in the 1984 CCP Literary Contest by way of a phone call from Tony, minutes just before I stepped out of the house to proceed to my"pamamanhikan," an incident I then considered providential. I would have also gone with the company to Brunei for the Asean Theater Festival. For me, Tony always seemed to speak calmly, even in anger. Later, when I joined the CCP myself, I occupied the same space where Tony used to have his office, and I always felt that space was too big for anyone to fill.
MARILOU DIAZ ABAYA (March 30, 1955 - October 8, 2012) became a surrogate mother to me in my entertainment career, particularly in film. I got to know her through Ishmael Bernal and had the chance to work with her (and Manolo Abaya) on many occasions, including Jose Rizal. She was always willing to listen to my woes and provided career advice on many occasions. Serendipitously, she headed the Cinemalaya Monitoring Committee when I first competed in 2007, although illness held her from active participation in the Festival. I still regret not having been able to honor the many invitations to be part of activities in the MLDA Film Institute, but will forever remember her almost saintly fortitude and strength of spirit.
DAISY AVELLANA (January 26, 1917 - May 12, 2013) Early on during my years as an employee of the Cultural Center of the Philippines, I worked in the premiere staging of Nick Joaquin's "El Camino Real" directed by National Artist Lamberto Avellana. Daisy Avellana was his assistant. Initially, I was to be Technical Director of the production. A casting gap led to a short appearance as one of the minor characters. Just the same, I was in the cast, working with her everyday for over a month. She was a hands on-taskmaster, and would particularly pay attention to anyone who could would misprononounce any of the English text. When she had become National Artist herself, the CCP produced a video documentary that I was assigned to write, thereby collaborating with her son Jose Mari Avellana. We shot a scene with her at the Little Theater, purportedly watching a group theater students that then included my daughter Mara Paulina (along with other PHSA kids). She proceeds to answer their questions about art and theater, dispensing wisdom everyone in the industry should learn to heart. Being a Marasigan, I had always felt affiinity with the lady who played Candida, and having gotten to know the other members of her family made her passing more difficult to bear.
EDDIE ROMERO (July 7, 1924 - May 28, 2013). National Artist for Film and industry leader, I first met Eddie Romero during the early years of the Film Academy of the Philippines when I was among the organizers of the Assistant Directors and Production Managers Guild. He was to become FAP Deputy Director General which led to many meetings in the course of official aacademy and guild functions. When the National Commission for Culture and the Arts was organized, he actively served it in various capacitites, and his elevation to National Artist provided many other occasions for collegial discussions. I had always wanted to adapt "Ganito Kami Noon, Paano Kami Ngayon" into a stage musical, and when the idea was presented to it, he wholeheartedl supported it. In the process of developing the project, he shared many stories about the making of the film, some of whicch may not be print-worthy. I still hope to see the film translated into stage, and also hope to be deserving enough to shepherd a new film version of his "Kamakalawa."
AMA QUIAMBAO (Jan. 19, 1947 - July 5, 2013) - The first play I did for Teatro Pilipino was Ang Mga Tagahabi (The Weavers) by Gerhart Hauptmann. If I am not mistaken, it was also the first play for the company by Ama Quiambao; at the least it was the first play we worked in together. Often, we would be riding together in the same jeepney going home. She preferred to stay in the front seat, but always with an soft drink bottle handy as her form of self-defense in case it was needed. Ama was in the cast of "Silang Nalugmok sa Gabi," my stage adaptation of Without Seeing the Dawn, that was performed by Bulwagang Gantimpala under the direction of Dindo Angeles. She later married Gamaliel Viray, another performer I had had the pleasure of working with through the years. I am sure he will be happy to have her now by his side.
Requiescat en pace. Heaven is surely a happier place now with you among other artists who have had their curtain calls down here. You shall live on in our hearts and our memories.
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