Tag Archives: Geneva

Qwertyman No. 8: The Secret

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(Photo from dreamstime.com)

Qwertyman for Monday, September 26, 2022

“LOLO, LOLO, was martial law really bad? We took it up in class today!”

“Bad? Said who?”

“Our teacher, Ms. Landicho. She said that awful things happened back then that people have forgotten about.”

“How old is this—Ms. Landicho?”

“Oh, maybe in her thirties? She’s just about to be married—to Mr. Arnaldo, our Physics teacher! We’d been teasing her about it for months!”

“In her thirties? Then how would she know what the heck happened under martial law? She wasn’t even born then.”

“Were you around then, Lolo?”

“Of course I was. I’m seventy-three now, so fifty years ago I was a young man. I had just left my first job because my boss was a tyrant! So I moved to another bank and that’s where I met your Lola Auring, whom I would marry two years later. If I hadn’t made that move, you wouldn’t be here!”

“Was that the bank you now own?”

“The bank we own, hijo! That’s why I want you to go to Wharton after college. I’ll be there for your graduation, and then I’ll give you the keys to that Mercedes G you’ve always wanted—”

“Really, Lolo? But that’s at least ten years away! Golly, a Mercedes G….”

“I remember, my first car was a used and beat-up Datsun Bluebird that your Lola Auring wouldn’t even step into until I got it fixed, because the door kept opening on her side, hahaha! I spent half-a-month’s salary just replacing that door. Oh, the things we went through….”

“Ms. Landicho said her lolo died under martial law….”

“So? So did a lot of people. People die all the time—of heart attacks, diabetes, even slipping in the bathroom can kill you, like my friend Pepito—”

“She said her lolo was arrested by the soldiers, and then they tortured him and dumped his body under the mango trees in Cavite.”

“Well—he must have done something to deserve that. You go against the government, what do you expect? There was a war with the communists going on. War is ugly, wherever you go. Was that was your teacher said about martial law being bad? Did she also say how many crimes and strikes were averted, how clean, peaceful, and orderly everything was, with people following the law?”

“She said her lolo did nothing wrong—”

“Of course she’d say that. Nobody’s lolo does anything wrong—right, hijo? Haha.”

“Yes, Lolo!”

“I did all the right things. I stayed out of trouble, focused on getting my life and my future together, on raising my family and raising my income. And then I went into business for myself, so nobody could boss me around. I showed everyone what I was capable of. I didn’t care about what everybody else was doing. You listen well, hijo. In this world, you take care of yourself first, and then your family next. If you can’t take care of yourself, you can’t take care of your family.”

“You’ve always taken good care of us, Lolo. Papa always tells me, if not for you, I’d be taking the bus or the jeep to a public school—”

“Like I had to, at your age! We were poor as rats and sometimes I went to school with nothing but gas in my stomach. I made sure your papa never went through that. That’s why I had to succeed.”

“Mama also says that if not for the President, you wouldn’t have succeeded. She says that you worked for people who worked for the President—”

“Is that what she said? I have to talk to your mother one of these days. There’s a lot that woman will never understand. There’s a lot that women will never understand. What you have to do to keep yourself and your family afloat. Instead of gratitude, you get questions, questions, questions—”

“What did you do for the President, Lolo? I want to know! Was it a big job, a secret mission, something nobody else could do?”

“Well, I guess you could say, all of the above! Remember, I was still a very young man. But I realized—and my bosses did, too—that I was very good with numbers. And secrets! They could trust me with their lives. But shhhhhh, don’t tell anyone!”

“Like what kind of secrets, Lolo?”

“If I told you, then it wouldn’t be a secret anymore, would it?”

“Awww, Lolo, I promise not to tell anyone! You can trust me—like they trusted you!”

“Well…. All right. Since it’s been a long time and since the President himself is gone, I suppose I can share a secret with you—but just one secret, okay? And this will remain a secret between the two of us—never tell your mama or papa.”

“Okay! Cross my heart and hope to die! What’s the secret, Lolo?”

“I… took… care… of… the… President’s… money. There was a lot of it. I had to collect it and send it safely abroad.”

“Why you? Did you carry it in a bag? Couldn’t the Air Force or the Navy do that?”

“Hahaha, it’s not that simple, hijo, a 747 wouldn’t have been enough to carry everything! He had to keep it abroad because—there were bad people here who were after it. So I was sent on secret missions to make sure everything was okay…. I went to Hong Kong, to the United States, to Switzerland. I loved Switzerland most of all—oh, to be in my thirties again and to watch the fountain at Lake Geneva at sunset. Le Jet d’Eau est tres beau!”

“So that’s where you learned French!”

“Juste un peu, mon garçon! If she were still here, I would have loved to take your Lola Auring there again. You must go to Geneva—after Wharton!”

“Lolo—Ms. Landicho said—she said the President stole a lot of money—”

“Wha—I pay so much for that school and they tell you this? Your teacher keeps saying things she knows nothing about! I was there! I saw no stealing! And let me tell you something—even if I did, presuming I did, it was none of my business. Making money was his business, keeping it safe was mine. That’s called compartmentalization. Remember that word—compartmentalization! You put everything in its box, just worry about the things you should worry about, and you’ll be all right. Understood? Comprenez vous?”

“Yes, Lolo…. So I’ll put the lolo I know in one box, and then my secret lolo in another box….”

“They’re one and the same person.”

“That, Lolo, will be my secret.”

Penman No. 440: A Classic Reborn

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Penman for Sunday, July 3, 2022

I’VE LONG believed that my late friend and contemporary, Bienvenido “Boy” M. Noriega, Jr., was one of our very best modern playwrights, and indeed worthy of a National Artist Award. I—and many who knew him and his work—had been hoping that he would get that distinction this year, but too much time may have passed since he left us 28 years ago for critics to recall just how good he was.

Still, there’s great news today for Boy’s fans, and for everyone eager for the return of great theater to the Philippine stage. The seminal Noriega play, “Bayan-Bayanan,” which premiered at the CCP’s Little Theater in 1975 and won that year’s Grand Prize for the Full-Length Play in the Palancas, is going to be shown again in Manila this month, rendered as a new musical, “Bayan Bayanan: Letters from Home.”

Directed by Dr. Anton Juan and produced by the Erehwon Center for the Arts with support from the Embassy of France, the updated play promises to offer fresh insights into the OFW experience, having been originally written and presented long before overseas Filipino workers came to be known as OFWs. Back in the early ‘70s, as martial law descended on the country, they were all just exiles, migrants, transients, and vagabonds, some by choice, others by the lack of it. In Europe, and specifically in Geneva where the play is set, Filipinos tended to be middle-class professionals drawn there by their work, as Boy Noriega himself was as a government economist in his early 20s attending global trade negotiations. 

As I’ve written about before, Boy and I were very close friends—and fervid contest competitors—in those days. We were UP Alpha Sigma fraternity brothers who found ourselves working in literally the same office at NEDA Padre Faura. He was two years older than me, so I looked up to him as a mentor, and when he went to Harvard for graduate school and then began flying to all these conferences abroad, he wrote me long letters to share his exhilaration at studying our heroes like Chekhov and Ibsen (he was enrolled in Public Administration, but took side courses in Drama). When he came home, we spent many lunch hours talking about the plays we were writing or wanted to write. 

Boy announced himself to Philippine theater in the most spectacular way—by writing “Bayan-Bayanan” and having it presented at the CCP almost at the very start of his playwriting career. Immediately you knew that you were witnessing a major talent unfolding. His kind of drama was quiet, thoughtful, cumulative in its impact. Writing under martial law and being somewhat more politically engaged, I resorted to historical allegory, but Boy took the present head-on, albeit from another angle, of the young Filipino discovering the world in both geographical and emotional terms.

When I heard that Erehwon was planning to revive “Bayan-Bayanan” as a musical, I was delighted and at the same time a bit concerned how Boy’s material was going to be handled almost half a century down the road. But my worries lifted when I learned that the revival was going to be directed by none other than Anton Juan, who knows the play better than anyone else around, having directed it in Athens, London, Geneva, Paris, Chicago, and Toronto, and having himself been the kind of global traveler that Boy dwells on. “I have directed this play many times before in Europe, and each time there is always something new,” Anton says. “It grows like a pearl, takes shape in the memory and hearts of those who perform it and those who watch it: why? Because it is real. It is grounded on real characters we can identify with, in all their beauty and vulnerability, in all their strengths and their weaknesses.”

Anton Juan composed some of the new songs for the play, along with Cleofe Guangko-Casambre, who had composed for the play “‘Rizal’s Sweet Stranger;” Russ Narcies Cabico, also a theater and television actor and singer; pianist-composer Andrew Bryan Sapigao; and composer-musical arranger Jonathan Cruz.

The cast comprises a mix of veterans and newcomers. Professional theater actress and singer Banaue Miclat-Janssen portrays the central character Manang, while Dino—the “Boy” in the play—is portrayed by theater actor and classically trained singer Carlo Mañalac. Supporting them are Ava Olivia Santos, Roxy Aldiosa, Carlo Angelo Falcis, Jacinta Remulla, Richard Macaroyo, Greg de Leon, and Jane Wee. Of special note is the participation of French-Filipino actress Uno Zigelbaum, through the sponsorship of the French Embassy.

The role of the Erehwon Center for the Arts (of which Anton is Creative Director) is also noteworthy. Founded by another old friend of mine, Raffy Benitez, Erehwon has established itself firmly in our country’s cultural landscape as a sponsor of painters, sculptors, musicians, dancers, and writers, who have come to see Erehwon’s Quezon City headquarters—also its performance and exhibition venue—as a haven for the arts at a time when cultural budgets everywhere have fallen. Funded largely by Raffy’s own generosity and by some other patrons, Erehwon hopes that this collaboration with the CCP and the French Embassy will lead to other significant projects that can ultimately be self-sustaining. 

The play will premiere on  the evening of July 15, followed by a 7 pm evening show on July 16 and a 3 pm matinee on July 17, at the CCP’s Tanghalang Nicanor Abelardo. Tickets are available at Ticketworld. See you there!