Cover Dolly de Leon - Request sa Radyo (Photo: Sandro Paredes)
Dolly de Leon - Request sa Radyo (Photo: Sandro Paredes)
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The much-anticipated ‘Request sa Radyo’ play premiered last week, giving Filipino audiences a fresh take and new perspectives on theatrical work; spoilers ahead
It is not unusual to experience silent plays. Japan, for example, is known for its Noh plays, which rely on striking visuals and expressive gestures. “Dumb shows” inserted in full-length plays have been experimented with, even by William Shakespeare himself in Hamlet. But German writer Franz Xaver Kroetz’s acclaimed play Wunschkonzert, a landmark theatrical piece in 1973, offers realism and truthfulness in captivating the audience with the story of a depressed woman at the brink of suicide.
For Filipino theatre audiences, Bobby Garcia’s adaptation of Kroetz’s work aptly titled Request sa Radyo is a fresh experience. Filipinos are more used to extravagant spectacles, having the tradition of senakulo, sarswela, and bodabil, and the appreciation of modern musical theatre, classical opera, and ballet, not to mention the abundance of acclaimed straight plays mounted on various spaces—from black-box theatres to streets. Last October 10, Request sa Radyo, the first of many local productions to be mounted by Tony-winner Clint Ramos, officially opened to the public for its run of 20 shows, giving a refreshing breather to the dynamic Philippine theatre scene with its experimental approach of merely letting its protagonist silently interact with herself, her surroundings, and the request programme in the radio she anticipates perhaps every night.
Above Dolly de Leon makes a powerful comeback in theatre with Bobby Garcia’s adaptation of Franz Xaver Kroetz’s play. ‘Request sa Radyo’ runs until October 20, 2024 at the Samsung Performing Arts Theater (Photo: Sandro Paredes)
Dolly de Leon makes a powerful comeback in theatre with Bobby Garcia’s adaptation of Franz Xaver Kroetz’s play. ‘Request sa Radyo’ runs until October 20, 2024 at the Samsung Performing Arts Theater (Photo: Sandro Paredes)
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For this production, BAFTA and Golden Globe-nominated actor Dolly de Leon breathes life into Kroetz’s character Fraulein Rasch, who is now placed in the Filipino context—a Filipino migrant worker miles apart from her roots.
De Leon’s recent success in international cinema and her longstanding work in local television and independent Filipino films have almost overshadowed her roots in theatre. Coming from the University of the Philippines’ Dulaang UP, De Leon has performed in local productions of The Merchant of Venice, Waiting for Godot, Old Times, and Medea. Under the tutelage of National Artist Tony Mabesa and Anton Juan, among many other acclaimed Filipino playwrights and directors, De Leon rose to fame for her signature downcast stare. This became her very instrument throughout Request sa Radyo’s hour-long show, strummed in a crescendo of emotions culminating in a carefully measured note.
Above Dolly de Leon makes a powerful comeback in theatre with Bobby Garcia’s adaptation of Franz Xaver Kroetz’s play. ‘Request sa Radyo’ runs until October 20, 2024 at the Samsung Performing Arts Theater (Photo: Sandro Paredes)
Above Dolly de Leon makes a powerful comeback in theatre with Bobby Garcia’s adaptation of Franz Xaver Kroetz’s play. ‘Request sa Radyo’ runs until October 20, 2024 at the Samsung Performing Arts Theater (Photo: Sandro Paredes)
Dolly de Leon makes a powerful comeback in theatre with Bobby Garcia’s adaptation of Franz Xaver Kroetz’s play. ‘Request sa Radyo’ runs until October 20, 2024 at the Samsung Performing Arts Theater (Photo: Sandro Paredes)
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Request sa Radyo captures the poignant solitude of a woman through her meticulous evening routine. As she navigates her quiet, solitary life, her actions and favourite radio programme reveal the profound loneliness and yearning for connection that lies beneath. It transforms the mundane—from cooking rice to doing a potty break—into a powerful exploration of isolation and the human condition. Watching De Leon go about her quotidian duties with heaving breaths, agitation, and pensive stares, the audience synchronised with her roller coaster ride of emotions and wondered what could be running in her mind.
Divided into five sections, Wunschkonzert presents the protagonist coming from factory work, preparing and eating a solitary supper, watching television, accomplishing some sewing, and readying herself for bed.
In Request sa Radyo, we see the protagonist in scrubs, which makes it strong to assume that she is in the medical field—something most migrant Filipino workers are known for. Each time she does something for herself, like prepare her dinner, remove her winter jacket, change clothes, listen to the radio, or scroll through her social media feed, we find her interrupted by the smallest of things that compel her to clean, either her hands or the floor, like she is obsessively compulsive and with a short attention span. However, watching De Leon prepare and cook dinner seemed inviting, so one might not find it difficult to empathise with her.
Read more: Tatler Ball Awardees 2023: Maria Ressa, Dolly de Leon, and Kenneth Cobonpue
Above Dolly de Leon makes a powerful comeback in theatre with Bobby Garcia’s adaptation of Franz Xaver Kroetz’s play. ‘Request sa Radyo’ runs until October 20, 2024 at the Samsung Performing Arts Theater (Photo: Sandro Paredes)
Dolly de Leon makes a powerful comeback in theatre with Bobby Garcia’s adaptation of Franz Xaver Kroetz’s play. ‘Request sa Radyo’ runs until October 20, 2024 at the Samsung Performing Arts Theater (Photo: Sandro Paredes)
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De Leon’s romantic gaze over the imaginary window of her apartment, her disgust over what she sees online and hears from the radio news, her anticipation for every Filipino song being requested in the radio programme, her satisfaction and later repugnance of her artwork, her restlessness in bed, and more are infectious that no words are needed to feel the pangs of her loneliness.
The audience feels with De Leon every lyric of the songs being played—from the melancholic Leaves of Ben&Ben to the angsty Hallelujah by Bamboo and more. For some reason, her anticipation of every request makes it strong to assume that she must have also requested a song but never heard it granted.
Read more: Filipino set and costume designer Clint Ramos shares his perspective of fame and Broadway
Above Dolly de Leon makes a powerful comeback in theatre with Bobby Garcia’s adaptation of Franz Xaver Kroetz’s play. ‘Request sa Radyo’ runs until October 20, 2024 at the Samsung Performing Arts Theater (Photo: Sandro Paredes)
Dolly de Leon makes a powerful comeback in theatre with Bobby Garcia’s adaptation of Franz Xaver Kroetz’s play. ‘Request sa Radyo’ runs until October 20, 2024 at the Samsung Performing Arts Theater (Photo: Sandro Paredes)
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That is perhaps the bane of the show—the audience is always left to assume. Does she yearn for a Filipino connection? Why doesn’t she call anyone from home like most Filipinos abroad do?
(Spoiler alert)
She overdoses herself after a restless night with six pills and a bottle of wine to put an end to her melancholia but most people might find it absurd as Filipino migrant workers have a lot to lose before thinking of killing themselves—primarily their families depending on them. What was in the news that was so triggering for her to press the mute button on her iPad? What stories of her life lie behind the song Hallelujah that made her increase her iPad’s volume and dance to it?
The movement from the source material’s European and post-war roots to its post-COVID Filipino context could have been further explored rather than sticking to the constraints of the original. Hence, we see a migrant Filipino worker living in a pristine, modular, and Westernised apartment with just a mini altar able to suggest the character’s religiosity.
Above Dolly de Leon - Request sa Radyo (Photo: Sandro Paredes)
Dolly de Leon - Request sa Radyo (Photo: Sandro Paredes)
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Ultimately, De Leon was a sight to behold onstage. Her commanding presence invites audiences to zone into her psyche and sentience. De Leon effectively used beats for her cues, making not only the verbal silence but also the measured rests in movements a resounding message.
The strictly limited engagement with 20 performances will begin on October 10, 2024 until October 20, 2024 at the Samsung Performing Arts Theatre in Makati City, the Philippines. Lea Salonga and Dolly De Leon will perform the solo piece in scheduled alternating performances.
Request Sa Radyo is presented by Ayala Land, John B. Echauz & Joanna Silayan-Echauz, Bobby Garcia, and Clint Ramos, with BPI as the official bank partner. Support is provided by Ayala Corporation, AC Health, Ayala Land Premier, Alveo, Philippine Airlines, the official carrier, and Seda, the official residence.
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Credits
Photography: Sandro Paredes
About
Before assuming the Art and Culture Editor position, Franz has always had a penchant for visual and performing arts. He is passionate about exploring and writing about the local cultural scene and rediscovering the country’s storied past and rich heritage. Besides working on this luxury lifestyle magazine, Franz is an avid book reader, local traveller, museum-goer, chorister, and community theatre playwright.
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Franz earned a degree in Journalism from the University of Santo Tomas. He writes about local visual and performing artists and their craft; drinks wines, liquors, and spirits and talks about the creativity of their respective winemakers and master blenders; tries to learn more about business and investments; respects the tradition and artistry that go behind the making of watches and jewellery; and appreciates the genius of architecture and creative design.
As head of Tatler Philippines’ pool of writers, he helps them bring impactful and socially relevant stories to light.
For any leads, you may reach him through @franzsorillaiv on Instagram or franz@tatlerphilippines.com via email.
