Posts Tagged ‘ Soap Opera ’

Annotation: Don Shewey’s “Theater; Filipino Life, Seen Through a Pop Culture Prism” (2001)

Peer-Review: 0

Shewey, Don. “Theater; Filipino Life, Seen Through a Pop Culture Prism.” New York Times 4 March 2001. Web.

In his article Shewey discusses how director Michael Greif commissioned Jessica Hagedorn to adapt her novel Dogeaters for the stage despite her original reservations about the feasibility to transforming her dense prose into a manageable dramatic form. Shewey suggests that Greif reworked the play from its premier performance in California at the La Jolly Playhouse “through a series of developmental workshops to a full production at the Joseph Papp Public Theater” in New York. The latter production is therefore framed as the complete, finalized version, which is supported by the fact that Hagedorn publishes this performance script as the official play text but for my project I am interested in examining the various revisions she makes from the novel to the two US productions and perhaps also the most recent production of Dogeaters in Manila.

Shewey importantly notes that the staging of Dogeaters in the public theater “brings the play as close to mainstream American culture as any dramatic work about Filipino life has ever gotten” (print 1). I wonder if writing for this mainstream audience in mind affected the types of revisions Hagedorn made to her play text.

Shewey cites Hagedorn’s comment on the postmodern structure of her novel: “Manila is a collage, from the very high to the very low, from the very pious to the incredibly depraved. It’s this wonderful tropical city that can’t be easily described or defined. So why should the novel be linear and regimented? It couldn’t, if I was to properly capture what I was trying to capture’ (print 2). In the New York production, however, Hagedorn eliminates the “novel’s split time frame” which Shewey suggests was in response to the reviews of the California performance where critics and viewers decried that the play was too confusing. Hagedorn cuts the scenes from Rio’s childhood and in my paper I will further explore the implications of this revisions.

Shewey finally concludes his article citing another revealing quote from Hagedorn where she explains Dogeaters’ focus on public and private lives as well as their surrealistic collapse: “I’m striving to show…how reality and what I call the dreamtime – escapism – can actually merge. You can lose yourself in this soap opera, but after a while the soap opera starts to reflect what’s really going on in your life. But what comes first, your real drama or the fake drama? Are we living according to what we’ve seen in movies? Is that how we expect romance to occur because we’ve seen it a million times in the movies?” (print 3).

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Annotation: Elyse Sommer’s “A CurtainUp Review: Dogeaters”

Peer-Review: 0

Sommer, Elyse. “A CurtainUp Review: Dogeaters.” Rev. of Dogeaters, dir. Michael Greif. CurtainUp: The Internet Theater Magazine of Reviews, Features, Annotated Listings. 2001 Web.

In her review of The Public Theater, New York production of Dogeaters, Sommers discusses how “David Gallo’s two-level set and John Woo’s projection designs turn the stage into a combination live play and movie theater” (print 2). Her mention of the “movie theater-like” aspect of the play is particularly intriguing because the importance of film in shaping Filipino identity is a central theme in Hagedorn’s novel as well as her stage adaptation. Sommers further describes how Nestor Norales and Barbara Villanueva, “stars of the Phillippines’ [sic] longest running radio soap opera, ‘Love Letters’, and hosts of an American style talk show are the play’s MCs through whom the various events of the play are filtered” (print 2). She accentuates that by blending the events from the fictional radio drama with events from the real world of the play, the audience is introduced to a reality where “fact and fiction become part of a single soap opera” (print 2). In this way Hagedorn demonstrates how fantasy and popular culture are as just as important in constituting Filipino subjectivity as the material conditions of the world in which they live.

Sommers also calls attention to how in her stage adaptation, Hagedorn largely reduced Rio’s role, eliminating much of her childhood in Manila, presenting her as a grown woman returning to her home country as an “outsider looking in” (print). I am interested in examining the possible reasons for this revision, whether Hagedorn wanted to accentuate Rio’s expatriate status and call attention to her exoticized, nostalgic vision of Manila, a city she has grown deeply disconnected from.

Sommers further notes how the play draws together the lives of completely disparate seeming characters such as Daisy Avila, “the young beauty queen and daughter of privilege” and Joey Sands, a DJ and male prostitute who happens to witness the assassination of her father in complete soap operatic fashion. The two eventually band together to form a guerrilla resistance force. I argue that through this deliberate soap operatic treatment of character plotlines Hagedorn challenges the readers’ conception of what is cinematic fantasy and what is reality, demonstrating how the two overlap in extremely complex ways. Media technologies such as the Internet also demonstrates how this random collision of lives is not merely fantastical or improbable.

Sommers concludes her review asserting that because there are so many characters, none of them leave a particularly strong emotional impact on the viewers, and ultimately, “Manila the city is the character we get to know more than its citizens” (print 3). This is an interesting comment that I plan to explore further, namely, the implications, obstacles, and advantages of attempting to perform an entire era, life in Manila during the dictatorial Marcos regime.