However, once the first fight was staged, the other battles were a piece of cake, each one calibrated just right to nicely proceed into the next. Setting up each fight was a challenge though, because at the end of each rehearsal, we didn’t always know how much further we still had left to go.
We had to run the show almost every day from the beginning, to wherever we had left off from the day before, in order to figure this out. (On a side note: Art Acuña, recent Urian Award winner for best supporting actor for “Niño,” was the only one of us to be completely off book from day one. Given the number of monologues and cell phone calls he has on the script, that is incredibly impressive.)
The play features not just verbal lashings, but physical ones, too. This is, after all, a modern-day farce. This means that our poor, valiant stage crew has had to assemble some interesting pieces of property for our production, as well as reassemble broken things, and clean up many messes.
Our thanks to our stage crew, Ace and Luis, for gamely doing it all. Your work is not yet done. And thanks also to Bernice Aspillaga-Cañete for stage-managing everything without losing composure, and to Liza Camus, our production manager, for being the force of nature you are, from arranging travel to getting us fitted for Twinkle Zamora’s costumes, and for just taking care of us.
As I write this, we’ve had only our first of many more run-throughs—each one will be informative and stamina-building.
We all hope you enjoy the ride. Let the games begin.