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At “Tonight for Tony,” the accolade and necrological account for director, amateur and colonnade of Philippine amphitheater Tony Mabesa aftermost Oct. 9 at the Wilfrido Ma. Guerrero Theater, the home of Dulaang Unibersidad ng Pilipinas (DUP), aide Dr. Anton Juan referred to his longtime acquaintance as “a bobcat as able-bodied as a lamb.”
I sobbed uncontrollably, and I wasn’t alone; this accuracy hit home for abounding of us whose lives had been afflicted in one way or addition by this man’s genius.
Tony, 84, died Oct. 4 afterwards a abbreviate illness.
He was a angelic terror, aerial into a allegorical acerbity aback an amateur or aggregation affiliate showed boldness for the art that he lived and breathed. He did not chip words, blithely pointing out what he didn’t like: “Alya Honasan, stop application your boses k—i! Acquisition a lower register!” (Yes, we all got it from him, and it accomplished us abasement and perseverance; aspirants who can’t handle the age-old bureaucracy of the amphitheater should actually acquisition their afterlife elsewhere.)
When I showed up blatant for a comedy account once, however, he exclaimed, “I adulation it! A cognac-and-cigarettes voice!”
I acquainted an absurd accident actually because I am not a full-time, accomplished amphitheater professional. Yet, Tony captivated accessible the aperture of this art anatomy for me, a backward actor, a visitor, and able me not aloof with admired acquaint and acclaimed experiences, but additionally with amore and 30 years of friendship.
And it all started with an invitation.
In 1989, we were cutting a bartering for San Miguel Beer (SMB) on lath a barge sailing the Pasig River, with fireworks exploding in the night sky. SMB’s announcement bureau admired to allure accompany from media, the arts, and added fields, amusement them to booze and food, and blur the blessed affairs for TV ads. I was all of 26.
Of advance I had heard of him. “Have you anytime acted on stage?” Tony asked me. I had done so in academy at Ateneo. “I anticipate I accept a role for you,” he said. “Come naman to UP.”
“When are auditions?” I asked.
He looked at me with his acclaimed side-eye (read: irap)—a tall, impeccably dressed aristocratic admirer with a booming voice, captivation a cigarette—and said, “No na. The role is yours.”
I was abashed as hell, and didn’t anticipate he was serious. A brace of weeks later, I accustomed a alarm and a script: I was Helga, the biting wife of Rene Gallimard in the Philippine premiere of David Henry Hwang’s “M. Butterfly”—and I was not accustomed the advantage to say no.
I showed up for rehearsals at UP’s Faculty Center studio, abashed of my allegorical arch man, Behn Cervantes, who would additionally become a friend.
But from day 1, I was absolute abroad by Tony’s all-inclusive ability and catching intensity. Those huge eyes focused so unflinchingly, it took a few rehearsals for me to become adequate beneath that gaze. He leaned advanced in his chair, lighting cigarette afterwards cigarette. And he would get up and appearance anybody how to do a role—any role, male, female, blithe or dramatic.
He knew what he wanted, but he accustomed you to do it your way—and you knew, alike afore he roared approval (“a-YAAAAAAN”), aback he admired it.
Then I got a one-on-one. In one scene, afterwards acquirements of her husband’s infidelity, Helga stands up and shouts, “Sh-t!” Tony wasn’t blessed with my exclamation, and fabricated me echo it added than 20 times.
He rushed onstage as I anchored myself for a bathrobe down, but instead, he fabricated a anchor and placed it, boring but firmly, adjoin my chest. “Find your truth,” he said, about in a whisper, eyes blazing. “Take it from here”—then he confused that anchor up to my forehead—“and again here.”
“M. Butterfly” was staged in 1990 and was a huge success, and we brought it to several cities in the Philippines.
High from the experience, I jumped into my abutting play, my best memorable beneath Tony, and in my book, one of his best: “Mga Bakasyonista (Summerfolk)” by Maxim Gorky.
He had the cast—which included such Mabesa babies as Floy Quintos, Tess Dumpit and Teroy Guzman—perform from abaft a atramentous net, abacus absurd ambiance, and banishment us to activity like crazy.
Oh, and as a neurotic, snuff-sniffing old maid, I was allowable to apprentice a Chopin allotment and comedy it on the piano, my aback to the audience. In aeon costume. While reciting poetry. In Filipino.
During the production, I was additionally romantically circuitous (!) with a co-actor. “My God!” Tony exclaimed aback he abstruse about it. “What will I acquaint your mother?”
During one show, as I cried backstage over accord drama, I heard abundant footsteps aggressive the attenuated ambagious access up to Guerrero Theater’s tiny women’s bathrobe room. Afterwards giving me a hug, he again that action with his fist. “Use this onstage,” he commanded. Of advance it worked.
Making things work
Tony knew how to accomplish things work. For the aforementioned Russian play, afraid that the actual was unwieldy, he did the unthinkable: He cut the comedy by several minutes, and fiddled with blocking and lines, a few hours afore we were to open.
The casting and aggregation were accessible to mutiny, in panic. The adrenaline led to an actually electric performance.
After the show, over beer and pizza at DUP abode Shakey’s on Katipunan, Tony exploded. “How cartel you not assurance me. I trusted all of you. Especially you, mga anak ko kayo, mahal ko kayo,” he singled out above acceptance Tess and Floy.
Then he looked at me: “Ikaw, malapit ka na rin.”
I was stupefied; remember, this was alone my additional comedy for DUP. “This is acting on the bend of the precipice,” he lectured us—by then, a table of angled heads. “And I knew you could do it. How cartel you!”
Then, in a blink: “Ayun, tapos na. Can I accept addition beer, please?”
I would arise in seven plays directed by Tony Mabesa, two of which went on a civic tour, and one which represented the Philippines at the Asean Amphitheater Festival in Bangkok, Thailand, area Len Ag. Santos and I absitively to canal our undies for a bashed scene.
“I had to put my face in my hands,” Tony told us later, laughing. “I blushed!”
Maybe it helped that Tony was a dog person, too, who angrily admired his attractive chow chows Chimra and Gabby. Aback my own dog Banana died while we were in rehearsals for “Fake” for the UP Playwrights’ Amphitheater in 2011, Tony brought the two along.
“Makikiramay daw sila,” he told me, asleep serious. He alone their leashes, and accurate enough, the two dogs absolved up to me for a cuddle.
Tony the amphitheater bohemian was a latecomer to Philippine appearance biz, an industry alien to him by acceptable acquaintance Joel Lamangan. Not alone was he captivated and alike starstruck at the beginning, but the UP assistant was anon authoritative a acceptable active from his forays into blur and TV.
I saw Tony buy a car, appoint a disciplinarian and biking with friends, throwing about scarves he had calm from Peru, Cambodia or wherever he had afresh been.
The scarves became a trademark, added to an consistently bright ensemble. And he consistently smelled admirable because, he said, “I don’t appetite to be amoy lupa aback I abound old.”
Through the years, I was one of the recipients of his acclaimed casual morning calls, praising me aback he admired an commodity I wrote (“Ang ganda-gandaaaa!”), or adage so aback he didn’t.
He alleged aback he abstruse I had blight in 2013; aback he saw me with a baldheaded arch and a mask, watching one of his plays, he captivated me by the amateur and gushed, “I am sooo blessed to see you.”
I am aboriginal and foremost a writer; the accounting chat is my primary medium. Still, aback Tony guided me to levels of affected arete I had alone apprehend about, every date of the action became a aiguille animal experience—long rehearsals, acquirements curve until we could say them in our sleep, continuing in the spotlight, throwing our voices, and yes, our truths to an admirers that believed the adventure we were demography them on.
In the theater, onstage, I consistently acquainted fully, affably alive, and it was Tony who gave me that gift.
I couldn’t stop arrant aback I heard of his death. It acquainted like an entire, adored allotment of my activity had aloof bankrupt up, and had concluded forever.
Maybe it has, in a way. I accept beatific Tony altogether flowers every Jan. 27 for the aftermost seven years or so. He consistently gushed about the “tropical jungle” that accustomed in his home on Bernardo Street in the UP campus.
“Paano na, Ma’am?” asked my florist aback I ordered the boutonniere for his urn. “Wala na tayong papadalhan ng ‘As always, with abundant love’”—which was how I consistently active the card.
Paano na nga? Through DUP and the UP Playwrights’ Theater, Tony accustomed groundbreaking standards for Philippine university-based theater, aloft his acceptance on apple classics, and accomplished Filipino writers to aftermath outstanding work.
It would be a amazing abuse if he did not become the country’s abutting Civic Artist for Theater.
Driven by his admiration for this “elusive, brief art,” as he alleged it, Tony Mabesa took our easily and led us to the precipice—and buoyed by his advice and love, we never fell off. We flew.
And I will authority you in my affection with adulation and gratitude, baby Tony, until my own cue to avenue the stage.
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