Rolando Tinio’s translation of Arthur Miller’s Pulitzer-winning play staged at CCP

“Pahimakas sa Isang Ahente,” the Filipino translation by National Artist for Theater and Literature Rolando S. Tinio of the Arthur Miller’s Pulitzer Prize-winning stage play “Death of a Salesman" goes on stage starting Friday at the Cultural Center of the Philippines (CCP).
 

First mounted in the US in 1949, “Death” has been described as “a monumentally affecting portrait of an American dreamer that is also an epitaph for the American dream.”
 

Tinio’s “Pahimakas” is the second offering of Tanghalang Pilipino for its ongoing 28th season. The play runs at the CCP’s Tanghalang Huseng Batute (Studio Theater) until Oct. 19, with 3 p.m. and 8 p.m. shows, from Thursdays to Sundays.

         
CCP Vice President and Artistic Director Chris Millado, who is directing “Pahimakas,” said the play is “considered to be one of the most important plays of all time as it is the quintessential material that underscores the great, big American Dream that for some, often leads to a tragic downfall.”

American dream through Filipino lens

         
In a group interview together with the performers, Millado said TP’s production of Tinio’s translation “can be viewed as an examination of the great American dream seen through the lens of our very own Filipino dream.

         
“Death of a Saleman may very well be the stories of the lives and struggles of millions of overseas Filipino workers,” Millado said.

         
“During rehearsals, several of the performers suddenly break down and cry because of the emotional impact of the lines they deliver. They are genuinely affected by the play and can relate their own personal stories with the script,” he added.

         
Mother-daughter collaboration

Making her second legitimate stage appearance ever is seasoned actress Gina Pareño as Linda Loman, who alternates with real-life daughter Raquel Pareño.

       
Other members of the cast are Nanding Josef as Willy Loman (who alternates with Jonathan Tadioan), Ricardo Magno as Happy, and Yul Servo as Biff (alternating with Marco Viaña).

         
During the interview, the senior Pareño said the “two greatest challenges” that the Tinio translation pose to all of them are memorizing the lines and “internalizing the characters.”

         
“We have decided that inside our house, Raquel and I would have our own separate dedicated areas to memorize script. Despite the kilometric lines, I am happy that for the very first time in my career, my daughter and I are involved in one stage play,” she said.

         
The senior Pareño added that she is excited to make her maiden performance at the CCP’s Tanghalang Huseng Batute.

“I've always heard that Tanghalang Batute is both challenging and fulfilling for actors and actresses to do shows. It is famous for its small intimate space,” she said.

         
Gina Pareño’s first stage play was Millado’s “American Hwangap,” another TP production mounted on September 2010, where she appeared together with Mario O’Hara, Celeste Legaspi, and Bembol Roco at the CCP’s Tanghalang Aurelio Tolentino.

         
“I agree that 'Pahimakas' has extremely long difficult lines. It is quite challenging to internalize the character of the martyr wife in this play,” the younger Pareño said.

       
Challenging internalization

For his part, Josef, who is also the TP artistic director, said, “'Pahimakas,' among all the plays I’ve done, presents the biggest challenge of internalizing the wide range of emotions demanded from my character. Add to this, the very long lines.”

         
“I have dementia in this play. So you can just imagine the sudden shift of emotions. There are scenes where I'm talking to a character in front of me. Then without warning, the character inside my head comes to life and I have to talk to him or her. I also have monologues. It is not an easy role,” Josef said.

         
Josef said ordinary Filipinos can identify with “Pahimakas.” “The setting is American, but we feel that these are the stories of OFWs, where the measure of success is material or financial.”

       
Servo, who is one of the councilors of the City of Manila, said he is eager to be back on legitimate stage doing a full-length play.

         
“While I have a busy schedule as a Manila councilor, it feels great to be back on stage. I am working very hard to fulfill both my work as a local government official and my obligations as a member of the cast of 'Pahimakas.' I religiously attend rehearsals,” Servo said.

         
He said even after rehearsals he visits his constituencies and attends to his duties as a councilor, lasting until the early hours of the morning.

         
Tadioan said he plays the role of a 60-plus character in “Pahimakas.” “I am only 30 years old. So the challenge for me is characterization. The many layers and sub-texts of the script by Miller is another challenging area.”

         
Tadioan said working with non-TP performers is a “big learning experience” for all the TP members. “We learn new modes of attacking or approaching roles from them. We observe them during rehearsals.”

         
Viaña said he finds the “witty repartee” among the characters as challenging. “I can identify with the character. My parents wanted me to become an engineer, but here I am a professional actor now,” he added.

         
Magno, who recently appeared as Emilio Aguinaldo in Agnes Locsin’s “La Revolucion Filipina” produced by Ballet Philippines, said “getting into the psyche of my character is the biggest challenge here for me.”

         
“Pahimakas is a multi-layered play. The character of Happy has many facades. But deep within, all he wants is approval from his father,” said Magno.

         
Completing the members of the cast are: Ding Navasero, Dido dela Paz, McDonell Bolaños, Bong Cabrera, JV Ibesate, Dan De Guzman, and the Tanghalang Pilipino Actors Company. — VC, GMA News
 

         
For inquiries, call Tanghalang Pilipino at 832-1125 local 1620 and 1621 or 0971-750-0107, of visit its Facebook page.