A look inside The Dressing Room
By Aracnus Tyron
Spectacular performing artists of Philippine theatre, film and TV meet up for Dulaang Unibersidad ng Pilipinas' fourth offering this 40th theatre season, The Dressing Room: That Which Flows Away Ultimately Becomes Nostalgia and its Filipino interpretation, Ang Dressing Room: Kung Saan Lubusang Pangungulila ang Dulot ngAgos ng Panahon. What happens in the theatre dressing rooms stays in the theatre dressing rooms. The plot revolves around the characters that stay there for all time everlasting as overwhelming performer phantoms: on-screen characters and on-screen characters perpetually sitting tight for their signs, always practicing lines that will never be organized, gotten in an interminable circle of applying and re-applying mind boggling stage make-up never to be seen by living souls. It is an ambivalent limbo of sorts, where the apparitions of the theatre persevere through a lifetime of pity and hunger for praise, a vault of exhibitions past and the sentimentality aggregate like dust in the dramatic piece is a 1977 post-war Japanese play by Shimizu Kunio, with interpretation adjusted by Chiori Miyagawa from a unique interpretation by John it is directed by Alexander Cortez. It ran from April 6-24.
"The Dressing Room" is actually where the activity of this play is set. At first, we see The entire play will be about the on-screen characters thoughts about Shakespeare and particularly Chekhov as they think about the interests and disappointments they have about their acting Makil-Ignacio was a reasonable champion with her inconspicuous yet extraordinary depiction of Actress A. She didn't need to depend on hysterics and huge motions to get her character performing artist. On-screen character A is the most established of the four on-screen characters so Frances' coy and noble execution was on point. Of the four, she was the person who appeared to be most really Japanese. Meanwhile, Ces Quesada as the ostentatious Actress B had all the most amusing lines and she rushes to town with them. Her over-the-top conveyance of the humorous lines hit the imprint. She struck the gathering of people's aggregate entertaining bone effectively in numerous scenes. Her assault on the part is certainly more contemporary and more Filipino. Missy Maramara portrays her role with with her wig and outfit that she was so clearly female. The on-screen character who plays Actress C was expected to truly expected to demonstrate that she was a solid individual yet shaky on-screen character.
The Director was by and large had fabulous control over the material. The fast-tempo of for the play flows rhythmically with the story. The blocking is appropriate given the design of the set, every angle is seen without losing the strongest point for the characters needed. The music played was evenly matched with the tone of the scene. On the off chance that there was anything that felt was off, it was the choice to include artists with odd choreography which was believed diverting and added nothing critical to the narrating.
The stage should be complimented for its excellent three-dimensional set outline. This "changing area" could have been only a plain boring smelly room in the hands of a less imaginative originator. The changing area is stunning to view. Actress A and Actress B wearing Japanese-style robes, sitting amidst the stage before their particular box tables, applying white cosmetics on their countenances. This kind of costume is appropriate to the Japanese motif of the play. All of a sudden, Actress C will enter wearing Victorian luxury, practicing her lines. This puts a subtle contrast of the time barrier between the ghosts and the main character. Much later, an Actress D will come into the space to tell Actress C that she needs her part back. Her regular wardrobe and make-up depicts her status in the play in contrast to the main character.
Other than that, this play was energetically told in barely 60 minutes (with no interlude break). The entire show had an ethereal quality, eerie, nostalgic, and particularly improving for the individuals who adore the theatre. The audience cheered for the witty lines thrown by the characters and sombre to the serious scenes. I recommend the play for those who like histories and live in the theatre industry itself for the story is amazing as well as the production itself.