‘Request sa Radyo’: An enthralling exercise in empathy
‘Request sa Radyo’: An enthralling exercise in empathy
Lea Salonga and Dolly de Leon / Feature art by Abigail Manaluz
Trigger warning: Mature content and discussions regarding suicide.
In a post-COVID world, a new epidemic has been observed, which the United Nations is also weary of; it is loneliness and isolation. This new epidemic is not an exaggeration. In the study done by the 19th and 21st Surgeon General of the United States, Dr. Vivek H. Murphy, aptly titled "Our Epidemic of Loneliness and Isolation," they likened not having any social connection to chain-smoking fifteen (15) cigarettes a day. This comparison was made after it was concluded that social isolation—loneliness—can "increase the risk of premature death."
Dolly de Leon in character / Taken from CPAT Official
This is what Tony-awarded costume designer, now producer and creative director of Request sa Radyo, Clint Ramos has set out to advocate for. He was a big fan of the original 1973 play Wunschkonzert, or Request Concert, having seen multiple modern versions of it. And now, when he finally got the blessing from the author himself, Franz Xaver Kroetz, to adapt it to the setting of an overseas Filipino worker, he invited no one other than Lea Salonga and Dolly de Leon to star alternately in the play.
In a three-part one-on-one interview series between Lea and Dolly (which you can watch on the State of the Arts YouTube Channel), the two actors revealed the challenge of accepting the role. Both shared the same enthusiasm for taking what truly is a "wordless" play. In the interview, Dolly shared how nervous she is stating, "I'm really more nervous about how I've never done anything like this," to which Lea replied, "I've never done anything like this either." Both share the same sentiment for the play advocating awareness about the threat of loneliness to anyone who experiences it.
Request sa Radyo is exactly that—a wordless play whose appeal comes from the breathtaking and eye-catching performances of Lea Salonga and Dolly de Leon. Think of Jeanne Dielman, 23 Commerce Quay, 1080 Brussels but lonelier, quieter, and set during one night. It is a story of a woman who goes home from work exhausted, does her nightly routine of preparing a meal for herself, doing her chores, and among other pastime activities, all in a night that will ultimately put a toll on her.
The unique interpretation that Lea and Dolly bring into the play is a must-see experience. It's easy enough to project our own experiences to the concept of isolation. But having two exemplary actors take unique turns on the same premise makes for an enthralling exercise in empathy, that to say it challenges us to make sense of every decision the character makes throughout the night.
Lea Salonga in character / Taken from CPAT Official
Methodical, meticulous, insecure, and emotionally and physically exhausted are what can best describe Lea Salonga's approach. Even though the play only takes place in one night, the subtle and nuanced gestures that Lea makes hint at a nightly routine, one that she is tired of doing. From how she cooks her meal and cleans it up to how she plays the radio on her iPad; you see rhythm and pacing in her steps that makes us wonder how long she has been doing this.
There is also a sense of insecurity and longing that Lea's dead-inside middle-aged portrayal represents. Since the set design is where you feel so up-close and intimate with her, as if the walls of her one-man apartment have been made transparent for us to watch her, we get to see all the subtle facial expressions she makes, especially when the radio starts playing songs. She nods to every other song. She lip-syncs. Every now and then she gets teary. She looks at her face in the mirror on multiple occasions. And she even scrolls to what appears to be Tinder at some point.
She finds control over the entire apartment, wanting nothing misplaced and unorganized. From how she pulls back her chair to how she arranges her colored pencils. At one point, she even approaches her roll of kitchen napkins, not to get some but to twist it a little so it will not sway down. All these tiny choices create a portrait of a character that is gradually losing interest in living any longer.
Dolly de Leon in character / Taken from CPAT Official
On the other hand, spontaneous, sporadic, uninterested, and angry is what you can expect from Dolly's turn. From the moment she steps in, you will feel the aura of her presence. A familiar vibe if you've been with anyone with a heavy spirit. There is a burst of energy in every move she makes. Like when she spits out bad-tasting expired rice or when she dices ginger with such range, you're afraid that the cupboard might split in two.
With Dolly being older than Lea, you cannot help but see a sense of disinterest from her, which is made evident once she tunes into the radio. She mostly ignores the music, playing more background music than anything else. It's not until a hit song from OPM rock icon Bamboo starts playing do we really see her engage with the music in any meaningful way. And the way she dances to that song is so punk and exuberant, almost like it's revenge dancing.
She also moves throughout her apartment where she feels like it. It truly is amazing how Dolly can make it seem that she just thought of something seemingly unrelated to what she is doing at any moment. She moves freely and urgently, like at any moment a new thought would come to find.
Both performances create different takes on what essentially is the same premise. Both actors were given the same set, same space, same costume, and same play, yet in watching both, you cannot help but see two vastly different plays. And personally, I cannot recommend enough to see both performances back-to-back. That is the selling point of the entire play; you get to see two great artists, at the peak of their careers, take on such a provocative yet purposeful play. Even Clint Ramos cannot stress enough how seeing both performances can greatly enhance the experience.
We may not hear what they think but we feel what they feel in every action and in every decision they make throughout the night. The play makes us realize just how much can happen in an hour and a half of solitude and isolation from virtually anyone—even to her own self. I think Request sa Radyo only fully realizes its purpose once you leave the theater worrying over people who have to endure such a long distance away from home. And at least to me, it did make me worry. I hope that plays such as this one can truly bring about its mission, to bring awareness to the new epidemic we face today.
Request sa Radyo had a limited run from October 10 to 20, 2024 at the Samsung Performing Arts Theater in Makati.
