Reggie Lee, Jason Rogel, Ellen D. Williams on their play 'God Will Do the Rest'

You know you are visiting a Filipino American family if there is chicken adobo on the dinner table, a karaoke sing-along after or a Santo Niño or The Last Supper image somewhere.

"God Will Do the Rest," a play written by Nicholas Pilapil and directed by Fran de Leon, is about a multigenerational Filipino American household that is warm and funny.

"Each of the characters has to navigate balancing their lives with love and duty to family. Like most immigrants, Filipinos come to this country looking for a better life — but sometimes they have other, unspoken reasons. It's not part of our culture to talk openly about things. I wanted to paint a picture of what life could be like if a family threw everything on the table, no holds barred," described playwright Pilapil who is known for such plays as "The Bottoming Process" and "If All That You Take From This Is Courage, Then I've No Regrets."

It features some of the top Fil-Am actors in the industry like Reggie Lee (who portrays the father, Ferdie de Dios), Ellen D. Williams (who portrays the eldest daughter, a former teen mom and the black sheep of the family, Connie) and Jason Rogel (who portrays the over-the-top Babette).

Others in the cast include Rinabeth Apostol (the strong, glamorous family matriarch Maggie), Ryan Nebreja (the aspiring chef son Tanner), Josette Canilao (the youngest daughter Fritzie), and Josh Odsess-Rubin (a real estate agent and Jewish fiancé of Fritzie, Nate).

We were able to virtually interview Lee, Rogel and Williams and they talked about being part of the Fil-Am play, what it meant to them, what moved them to work with Pilapil's new play, being directed by actress-director de Leon, going back to the theatre, among others.

Produced by Artists at Play and Latino Theater Company, the play will be shown from August 31 to September 29 at The Los Angeles Theatre Center.

Reggie Lee (Ferdie de Dios)

Reggie Lee. Photo by Artists at Play

Oh boy, just being a part of something that's with our culture. We don't get to do that very often. We're a Filipino family that is going through dysfunction and unconditional love and growth, like every Filipino family. You get to see other families go through that stuff on stage, but you don't get to see us go through that stuff on stage. It's fantastic that this is a world premiere, and just being part of that community on stage altogether is huge for us. So, kind of like the "Grimm" series that I did, this is what it feels like to be with these people. I'm so happy to tell this story, and Nicholas has done a great job, and Fran is doing a great job directing.

Can you tell us more about what the play is about and your role? And how much do you relate to your character?

I feel like my dad would relate to my character, but I relate to my dad. So, I play Ferdie de Dios, and I'm the patriarch of the family, so I'm the dad, and Rinabeth Apostol plays my wife, Maggie.

We're a family that lives in Cerritos, California, and our daughter comes back to live with us with our grandson, who we don't know very well, and she's coming to live with us because of a divorce that she's going through.

Also, we have our other daughter, who just moved out and is marrying this guy who is of the Jewish faith. So very different for us. And it's about all the dysfunction and love and growth that all these things command from every character, very different from the Filipino culture. So having to deal with that, with this family, with a lot of humor and a lot of love, and a lot of heart. I think it's incredibly relatable to not just Filipino families, but families all over. It's so universal.

"God will do the rest" in Tagalog means "Bahala na ang Dios!" What do you think of this attitude – do you think it is a sign of one's strong faith or simply a fatalistic one?

Wow! A deep question, very deep. It's part of our culture to just believe, just have faith.

My mom says, "Just have faith. Just have faith." And I don't know, I don't believe it's a fatalistic attitude. I do believe there's a lot of growth to have in that.

I grew up Catholic and went to Catholic school until the end of high school. And I question my faith. I question what I believe in.

I'm a very spiritual person and that led me to a lot of growth. So, it was important to have religion in the family for me, and it still is, but I'm a questioner. I think it's very generational. I think our moms and dads who were raised in the Philippines, generational and cultural, you just believe.

You go to church, you sit, you stand, you kneel, you do all of the above. But do you question what you're saying? Do you question what you're doing? Do you question what you're believing in?

I think there's a lot of growth to be had. I have a very personal relationship with God and to me that works for me. But it didn't come without the cultural tradition of just having faith. It came with that. So, I think it's a beautiful way to grow and it's a beautiful way to grow up.

You've done a lot of TV, a lot of film. What is it about going back to the theater that makes it so special?

The special part is I'm here. We're used to filming like 10 pages, five pages a day. You learn those lines. And here it's like two hours.

At first, I was like, 'Oh no, what have I gotten myself into? I haven't done a play in decades.' But the fulfilling part, especially with this one, is there's nothing like being with a Filipino cast.

Being with a group of other Filipinos is just like all the...the pointing with the lips come out; we talk about our families; we laugh; we go out and eat Filipino food together.

It just becomes this thing where it's a family and I've missed that part of theater.

With TV and film, we go film in places for two or three months at a time. You film separately, so there's never that time where it's a rehearsal together, all the time, doing a show every night together, all the time.

And there's something very intimate when you rely on people on stage because you can't make a mistake. You can't say, "Cut." You have to keep going and trust these people. This was a really special group.

Fran de Leon's brother is married to my cousin. So, we've known each other for a long time but never knew each other when we were growing up. And she has turned into this amazing director with a lot of collaborative spirit, but also there's a lot of humanity about her. She grew up in a huge Filipino family. So, just having this experience with these people is special for me. Very different from "Miss Saigon" where it's Asian descendants of all different races. This is purely Filipino, it's heartwarming and special and I'm so proud to be part of it.

How is it working with director Fran de Leon? Is this your first time working with her?

Well, Fran's directed me in several readings because I haven't done a play. There have been times when she's asked me to do a play, and I haven't been available. But this is pretty special.

I wasn't expecting to do this because I had done the last workshop of it and I thought, okay, on to film and TV stuff. But when this offer came in, it was just too irresistible.

With these people and this play in particular, and I'd worked with Artists at Play before, and they are top-notch, they are so incredibly professional. I had been at that theater, choreographing "Mix-Mix" for Jon Lawrence Rivera and Boni B. Alvarez. So, I've lived at that theater for the past four months. (laughs) But it's been such a great experience.

You mentioned the choreography and you also choreographed "Imelda, A New Musical." Would you like to do more of that choreography work in the future?

No. (laughs) Listen, people ask me to do it. I had put those dancing shoes away. There's something about choreography that's different because having done musical theater, it's always something, I'm always interested in it. But it's hard work, and right now I'm focused on my work as an actor, focused on that journey. But there was something special about "Mix-Mix" that was a blend of this play with movement in it. So, I was interested in blending the acting part.

We were putting pedestrian movements; how would they move as an actor to this particular story? Not with real dance moves, but with pedestrian moves. That interested me because there was an acting aspect thrown in. Maybe later on down the line, but if I were to do that, I would want to direct and choreograph a show at the same time. I wouldn't just choreograph it. I'd like to direct and choreograph it.

If you had a dream project, what would it be?

For theater, something very gritty, something very Filipino, something with dance, something even if it did include singing, although how could you not include singing when it's Filipinos? So, something like that.

If there's something that maybe Jennifer Paz would write, I'd direct and choreograph it. That would be great because she is killing the game and she's doing such a great job. But something that I could help collaborate with a Filipino with like a musical, I would love to do that. That would be a dream project for the theater.

What is it about Nicholas Pilapil's play that moves you?

I don't know how old Nicolas is, but man, he speaks like an old soul. He blends humanity with humor. The real thing about Filipinos is there are some parts of us that are incredibly funny because of the way we are. We laugh at ourselves because of the way we are as Filipinos. And then it goes into this incredibly human part where we're all crying in dramatic situations. It just seems so real.

There are playwrights that you have to reach to get to a certain place. This feels like it's already embedded in me. I just have to look at my dad and how I was raised. I don't have any kids, but I'm a very paternal person. I love my nieces. I treat them like my own kids. So having two grown kids in this story is a chance to experience what that's like.

As frustrating as it is, it's also incredibly fulfilling because of the unconditional love from these kids and what you're bringing into the world. And Nicholas does that so well. He does it so well with family, but I've seen other things that he's done, and he's so spot on in terms of how people would react with their own humanity.

The things that we want to watch the most are the things that affect us. So, when we're watching his stuff it's so easily accessible, you're affected all the time. He's a brilliant writer.

Since most of you are of Filipino descent, can you tell us how you guys bond during breaks? Do you go out and do karaoke? Bring Filipino food during rehearsals? Do you guys bring adobo?

Are you kidding? The other day there was an ube cake and then lumpia was delivered, so we had some lumpia. We are in such rehearsal that any time we get a chance to bond as people, it's Filipino time, with very short times, in between.

Stories about our lives and growing up Filipino. Rinabeth's parents are Filipino activists. And I choreographed her in "Imelda" 20 years ago when she was a kid, and now she's playing my wife. So, there's so much bonding during those great times.

What is next for you after this play?

There are a couple of things I can't talk about, but I'll tell you off the record. There are certain things, I can't even say it. I want to say it to you, but I can't even say it but it's a TV thing. It involves some of my past experiences on TV. Who knows what that may bring but I'm also writing a few things that we're pitching them.

I'm developing some things with my "Grimm" showrunners that include a Filipino family. It's wonderful that we can collaborate.

My next goal is to not wait for these opportunities to happen, but to create opportunities for us and myself. I'm not going to lie, you get offered these roles and it's like, I want something deeper, I want something more.

The only way we're going to get that is to be able to write it and pitch it. Fortunately, I'm at a place in my career where I have representation, and I have people whom I've worked with who can move things along. So that's the next piece. I'm excited about that part of the trajectory.

Jason Rogel (Babette)

Jason Rogel. Photo by Jackson Davis

I saw this production when they were still doing it in readings a couple of times before, and honestly, I fell in love with the script.

At that time there was only Ferdie, the dad part, the son, and the younger boys. So, I was like, 'Oh man, I wish there was something in this for me.' And I was working with Fran de Leon, our director, on another show where I was playing a Lola and I knew that they were having a hard time trying to find an older Filipina actress to portray Babette, which is a whole other story, but the pieces fell together.

I was currently doing this in Fran's other play, and she said, "Hey, would you be open to playing Babette in this production?" And I was like, 'absolutely,' because again when I'd seen it in the earlier readings, I fell in love with the show, the writing, and the characters. So, the fact that an opportunity to be a part of it opened up was amazing.

Can you tell us more about your role and did you base your character on any of your Titas or Manangs that you know?

Oh, all of the aunties that I know. I play Babette. She is the matriarch's younger sister. So, Maggie is celebrating her birthday and we're all gathering together.

Babette is that auntie, the one who calls it out. But she's also the fabulous auntie. She has the designer outfits, looks great, and always has the expensive Gucci bags. She is the showy, flashy, over-the-top auntie, but at the heart of her is the most honest and real person with you. That's what I love so much about Babette.

She's fun and there's all this stuff going on, but at the heart of it, we find out in this play where it's coming from or where a lot of it is coming from.

"God will do the rest" in Tagalog means "Bahala na ang Dios!" What do you think of this attitude?

Well, in Filipino culture religion is such a big part, especially Catholicism. Something my mom always says, which is very godly to me, is "If it's your time, it's your time. God will take you."

My mom has always had that attitude. And that, to me, has been such a prime example of that "God will do the rest" kind of thinking, where our faith is so strong. Catholicism is so strong.

The influence is so strong that we leave it in God's hands and trust, pray, and hope that everything will work out the way it's supposed to. And even when it's not necessarily the way we want it to, it's God's plan, right? So, there's a lot that goes into literally giving it to Jesus, giving it to God, leaving it in their hands.

You have done several films and TV shows, what is it about going back to the theatre that makes it so special?

To tell our stories. I love working in TV and film, but it's so rare. I mean, it's gotten better over the years. We're starting to see more and more representation of Filipino stories, and Filipino actors. A lot more of us are being presented forward and not just as side characters. But even still, there's something more prominent in theatre.

This play tells a full story about an entire Filipino family with all these Filipino actors and characters. It's an amazing opportunity where we get to tell our stories. I have barely played Filipino in TV and film. So, to get this opportunity to not just play Filipino, but a Filipino auntie!

We know these characters. We know these people, and to tell stories that we can all relate to, it's such a great opportunity, and it's important. Honestly, for me, more fulfilling on the creative end.

How is it working with director Fran de Leon?

Oh, I love her so much. I first discovered Fran as an actor, and I had always admired her work. I saw her in "Dogeaters" a long time ago. She is such a talented person. When she transitioned more into writing and directing, just getting to see the work that she was doing, how great it was, and how the acting talent was translating into the writing and directing talent as well. It was amazing to see that journey and now to be a part of it.

The reading we did before was a wonderful experience. It was something she wrote, so there was a personal tie to it, but she directed it as well. It was a beautiful story about her Lola was what inspired it. And again, telling stories that we know, that we are familiar with, that we all have history in. It was an amazing experience. So, for that to carry on into this has been wonderful. And again, I'm such a fan of Fran.

What is it about Nicholas Pilapil's play that moves you?

With this one in particular, Nicholas is such a talented playwright, but when I saw the earlier readings of this, not to be biased, but the Babette character stuck out to me, again, because she was that auntie that is always so loud and boisterous and very showy, but very curt and all of that we know in those aunties; but then she gets this amazing moment where she's called out on it.

The Connie character, who is like a daughter to her, calls her out and says, 'What about being nice?  What about being kind?' She gives this response. I remember when I saw it in the reading I was like, 'Oh my gosh, that's why my aunties are like that.' It was something that I hadn't heard. We don't get to see that side of our aunties, or our titas, very often let alone in theater and film. So, it stood out to me and made her human and not just a showy, flashy character, but you get to see the heart and the root of why this auntie was the way she was.

Honestly, for me, I forgive all my aunties for calling me "Taba (Fat)" earlier in life. I now know where it's coming from in their head, and how it's justified to them. And so, all the little things that he speaks about with these characters, you see in your own life or in my personal life.

I understand why this dad is that dad. I saw those qualities in my dad as well when he was around and with my mom and my aunt. It's seeing the people we know that makes it so great. And then Nicholas does a wonderful job writing these characters and telling their stories.

Since most of you are of Filipino descent, can you tell us how you guys bond during breaks?

It's been so busy getting going on the show. My birthday was last week, so that was our first big family gathering, or excuse to get together after rehearsals. We went and got dinner after.

We would have done karaoke except that it was already late after rehearsal and we were so tired, but there's definitely going to be karaoke at some point. We're always singing in the lobby or while we're waiting to go on stage, so there's a lot of that.

There's already this familial bond that we have. A few of us have worked together before. I've done a reading with Reggie. Ellen and I have worked together for years. We've played brother and sister, we went to college together, so we have a history, we have that connection already. Josette and a couple of the other actors, we've all worked in different varieties or different forums before. Rita, Beth, and I were in a theater company together before. So, coming together for that first table read, there was already a familial camaraderie and vibe with us that had just fallen into that. I think that's also so naturally Filipino. Just the essence, the fun that we're having together is already so familial.

You mentioned that you haven't portrayed a Filipino yet in your films and TV shows, how do you think can we solve that in Hollywood?

I think it takes producers and Hollywood to invest more in Filipino writers, Filipino directors, Filipino storytellers, and Filipino performers.

From when I started back in the day, there's the fact that there are Filipino characters on TV is already such a huge improvement. I know there's so much more that needs to be done, but we also have so many film festivals now, which feature a lot of Filipino stories, short films, and full feature-length films.

It's great, but there needs to be more. That's always the answer. The more we can put that forward and present some notable work that'll get us noticed, or at least establish us more so that it happens regularly.

If you had a chance to do your dream role on stage, what would it be?

Oh my gosh, a dream role in theater. It used to be Kim in "Miss Saigon" when I was 17. I love a good musical.

A Filipino family musical would be amazing one day if that ever came around. I loved getting to see something like "Here Lies Love," which was also a full Filipino cast. Seeing something like that was amazing. So, something in that vein, where it's an entire Filipino story and family, would be amazing to do.

What is next for you after this play?

I am in a new detective show on Amazon called "Cross," starring Aldis Hodge and Isaiah Mustafa. That premieres this fall on Amazon. They're all based on the James Patterson books. Amazon's excited about it. I believe our premiere date is November 14th.

Ellen D. Williams (Connie)

Ellen D. Williams. Photo by Artists At Play

Well, I was part of the original writers in what's called The Writer's Room at the Geffen Playhouse. Nicholas was a part of it at the end of 2022. But because of COVID, we ended up having to push the reading into February of 2023. I originated the part of Connie and then subsequently did the next reading, which was at Artists at Play. And then they did one more informal reading that I wasn't able to be a part of. But they had asked me to play Connie.

Can you tell us more about your role and how much do you relate to your character?

Connie is a Filipina American who is a little younger than me. (laughs) She is a single mom who has a son. She's returning to her family after being gone for a very long time. She's finding her way and going through a transition. I wouldn't say empty nest because her son's been away for a while. She had him at a young age.

There are many ways I relate to her and many ways I don't. I don't have any children. But I think the relationship between Connie and her mom, I relate to in many ways. There's always something you can find relatable to any character that you play. You make a source for you in your emotions as you play it. And it's a Filipino family.

My dad's white, but I very much relate to so much of it, being around a Filipino family and all of it. I hung out with my parents yesterday and my mom was saying things that we say in the play. It was really funny.

Where is your Filipina mother from? Have you been to her province?

My mom's from Leyte. She's from a place called Alangalang. She speaks Waray.

I've never been to her actual hometown. I would love to. I was back there in 2014 doing a play with Becca Godinez that we did here in LA with Jon Lawrence Rivera, who also directed it, called "Flipzoids." That was the last time I was there. And then before that, I hadn't been there since I was eight.

"God will do the rest" in Tagalog means "Bahala na ang Dios!" What do you think of this attitude – do you think it is a sign of one's strong faith or simply a fatalistic one?

You know, it's funny. I have a Baybayin script. I think it's a couple of different things depending on what character, like if I was my character, what I ask it, like maybe the fatalistic, but also there's a part of her that's very like wanting hope and believing in something more. I think she straddles maybe a little bit of both. You know that God will take care, but also how do I take care?

You have done several TV shows, what is it about going back to the theatre that makes it so special?

Oh, God, I just love theater. If I could make a living doing theater, I would. I'm a theatre kid. I have a bachelor's in theatre. I grew up being a theatre kid, and I love television. It's just different. And I think it's also different depending on what kind of show you're on, what kind of part you're in in the show.

Are you a series regular? Are you recurring? Et cetera. But to answer your question, I love theatre. There's nothing like it. The process is fun, it's longer.

With television it's like you audition, if you get the part, you go, you do what you did in your audition and if you're lucky to be a recurring or series regular, then that's great. But it's very quick and there's not a lot of time for the process necessarily.

And doing theatre is like going to camp. I get to play, usually, with a lot of friends, which is so fun and amazing. And in this case, my fellow kababayans.

How is it working with director Fran de Leon? Is this your first time working with her?

I think some of our best directors are also actors or have been actors. I think it's a real gift when you can be, I would call Fran, an actor's director.

She very much understands the process of being an actor. This is the first time I've worked with Fran as a director because Fran has played my mom. She's only like a year older than me. She's played my mom in the original reading of this. So, I know her as an actor and also as my sister.

I call her Nanay (mother), which is funny too, because, again, she's played my mom a couple of times, even though she's only a year older than me. She feels more like probably more like an Ate (older sister).

She's wonderful and supportive and you need to trust her directions and just go with it. And you end up finding a lot of insight into your performance.

What is it about Nicholas Pilapil's play that moves you?

There's a play called "August: Osage County," which Tracy Letts wrote about this white family and generations. Our play isn't like that, but as the Filipino American version in some ways.

It's a story about generations, about family. It's a story that is relatable no matter who you are, where you're from, what background you come from, how you were. You can relate if you are a mother, a daughter, a son, a nephew, or a grandson. It's a lot about the inner workings of a family and secrets and all of those things that make up what families are, and what families can be. I've loved it since the beginning.

Since most of you are of Filipino descent, can you tell us how you guys bond during breaks?

Jason and I went to college together. So, we've known each other forever. We hang out all the time. He, Rena, Beth and I went to Fork & Spoon the other night, and celebrated Jason's birthday last week. We love to have snacks and bring food. We're very close because I think a lot of us know each other, but also, even those of us who didn't know each other. We have a lot of friends in common and we have a lot in common in general, especially culturally.

Jason and I went to Cal State Long Beach. We're both Bachelors of Arts and theater performance. He came in a few years after me. He's younger than me. So, we've known each other for close to 30 years. He's been like a brother to me. We've played twins on television, and we've played brother and sister in other plays. In this play, we're not playing brother and sister. You need to come see the show to see how we're related in the show.

If you had a chance to do your dream role on stage, what would it be?

Oh gosh, what a good question. I don't know how to be too specific about that, but it's funny because that kind of all describes "God Will Do the Rest." It's an ensemble piece in many ways. I get to be funny; I also get to have some poignant moments. So, that's the best way to describe it.

If you were to ask for a dream role on television, I would say an improv workplace comedy. That's my dream. Something where I don't have to memorize lines, and I can have fun. I would love to be in an ensemble kind of situation too.

What is next for you after this play?

After the play, I'm splitting my time between here and Portland. Two weeks after the show closes, I go to Ashland, Oregon to do their New Plays Festival. I've been there the past couple of years and have been invited back. So, I'll be doing a play reading. I can't remember what the play is called, but it is a reading of a play.

And then after that, I'll be shooting a short film with a friend whom I worked with last year when I did "Last Summer at Bluefish Cove" at The Fountain. She was the director.

So, I've got a couple of things coming up, but I'm very much looking forward to Fall. I don't love the heat. I'm looking forward to some colder months, especially in Portland.