Tatay ko yan!

This Sunday saw a couple of crests go through the family, with me and my Dad, at least.

But first, news on Papa: Just in case you subscribe to The Philippine Star, nadyaryo po ang Tatay ko!!!

I recieved news of this only later this afternoon soonest I got home from my bi-weekly meet with my Grandmother at Robinson's Galleria. So tayo, lakad, labas ng bahay, bili. Basa.

Tatay ko yun! ^_^*

The article's about my Dad, Joey Valenciano, as the Sitar Man. It talks about his experiences learning to master the instrument in India at the age of 19. ('Wag ka, he actually went lived there all by himself. O, kaya mo yun?) It also talks about what he loves so much about playing sitar, alongside his love for jazz. You can catch him playing Weekdays at Bollywood in Greenbelt 3, just in case you savvy some Indian dining and great music to boot. (Sige na, pagbigyan nyo nang i-plug ko dito ang tatay ko; blog ko naman 'to eh. ^_^)

You can catch the article on page 14 of today's Starweek Mag. Or, if you prefer cyber-ink, you can take a look here.

Tatay ko yun. ^_^*

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The other crest would have to be mine. Finally, after one month, nakaraos rin po: the second refurbished edition of my seventh (and good Lord, Final!) play is done. I technically exiled myself for one whole weekday yesterday just to finish the play, and yes, we are done. Fifteen pages all, sans Title page.

I had to show the manuscript to Mama S for editing and word choice fixes, and well, what can I say? The play got her thinking, and talking. I mean, I'm not sure if it has anything deeply philosophical or dramatic to offer, but in her own words, "it gives people something to discuss after seeing it". It's got her hooked, and well, if it has someone of her theatrical experience hooked, then I guess I've done my best.

Basta, masaya po ako.

Come Tuesday, I'llslip this manuscript into Ma'am Edna May's pigeon holeand listen to what she has to say about it. Then of course, ther'e still casting and rehearsals to think about, but let's worry about things when we actually get there.

Truth be told, I can feel the weight of the work slowly lifting off me, but I can still feel the heaviness none the less. Kung baga, Unbearable lightness. (Pasensya na po, Sir Milan Kundera.)

I just feel real good right now. Anticipating work with a steady head on my shoulders.

Another Side of the Stage

I find I may have to seriously re-think the way I handle my thesis.

A few days ago I ran into a good friend of mine, Kuya, John Lazam. As present, he's working on his MA thesis on the biography of Professor Tony Mabesa. After we exchanged pleasantries, we each asked how our respective theses were going. His was doing rather well, albeit a study subject with a flighty schedule( a directorial job in Pampangga plus rush alerts for tapings of a TV show). when I shared with him how my thesis had to ... progress in its own way, he advised me to include in my study The UP Playwright's Theater.

Why so?

One: The UPPT, as Kuya John briefed me on, is under the umbrella of Dulaang UP, as with Dulaang Laboratoryo.

Two: Sir Tony Mabesa himself found the UPPT. There's even a story to it. I'll try to look into it as soon as I can.

Three: It's here that Sir Tony has worked the most with Filipino playwrights, apparently.

Four: Nick Pichay's KOMEDI. KOMEDI presented three one-act plays directed by Sir Tony, and interestingly, the last one was written or tailor-made for Sir Tony. According to Kuya John who was there to observe the production process, the script went through a lot of changes over the discussions between director and playwright; the ending itse;f had come a long way from first writing to last.

What to do, what to do.

To be honest, the prospect of taking on more work in my thesis scares me. I mean, I imagine as my thesis stands there'll be many interviews to conduct, recorded plays to be viewed, scripts to be read, et al. With UPPT looming over the horizon, that will mean more work for the "In" box. On the other hand, this will mean if I pull it off well, my thesis will be comprehensive, seeing the direcotr-playwright relationship from both two sides of the UP theater spectrum.

I'm beginning to have this feeling that I owe it to my thesis to be comprehensive, even if it be the death of me. Which is good, in a way. It would be the right thing to do. I just wish it didn't sound so scary.