Standing tall beyond his actual stature following the recent successful stage production of his latest play, prolific Filipino-American writer-actor-stage director Florentino Aquino Capili couldn’t contain his ecstatic sensitivity by merely sitting on his laurel enjoying the view from the top. Sans a much-needed respite the low-key playwright has his mind crowded with more ambitious ideas to re-strike the still hot rod, this time, a possible sequel to the well-received comedic satire, “Bakit Mga Babae ang Naghuhugas ng Pinggan?” (Why Women Wash the Dishes?)
Born in October 16, 1956 amid the vast vegetation and verdant hills of Tiaong, Quezon, Tino must have been greatly influenced by the magnanimous cultural set-up of his birthplace which developed his prolific creativity and molded him into such multi-faceted artist that he is.
Driven by his instinctive ability to create mental images and various scenarios with keen visualization it was effortless for Tino to modify characters on stage and present them as art imitating life. With his intense imagination and mighty pen Tino gained prominence in writing, scripting, directorship, and even performing.
At the Sacred Heart College, his poetry won Best Composition in 1977 and in the same year, he collected three major awards in the College Drama Fest: Best Writer, Best Director, and Best Actor…a feat hard to duplicate.
His lucky streak continued when he was awarded Best Male Performer in 1988 from the maiden presentation of “Bakit Mga Babae Ang Naghuhugas Ng Pinggan?” during Dept. of Energy’s Christmas interdepartmental competition.
Tino’s acting experience was further honed when he underwent the Actors’ Workshop sessions in 1988 facilitated by multi-award winning actress Gina Alajar.
Winning Third Place in the audition for “Migration Blues” by three-time Palanca awardee Dr. Jorshinelle T. Sonza easily pushed his career into the main stream which opened theater doors.
Dr. Sonza, herself, entrusted Tino to direct her award-winning play “How To Cook Adobo” which was staged back-to-back with his play “Ang Nobya Ko’ng Arabyana,” under the Pasalubong Project of PAFCOM in July 2008. Believing in his directorial ingenuity, Dr. Sonza requested him again to direct the play when it was entered in the Manhattan Repertory Theater Competition in September 2011.
An ESL professor (English as Second Language) in NYC and PACCAL’s Cultural Art Consultant, the indefatigably innovative playwright continues to explore his proficiency in writing plays and acting skills while simultaneously dabbling in pencil and charcoal sketching.
Tino’s impressive roster of literary works could unmistakably catapult him to a level at par with the distinguished literati and playwrights of our time. Consider these plays he wrote here in the USA where he was the writer and director and occasional actor: “Kasaysayan ng Isang Pag-ibig” (Sept. 2003), “Ang Aguinaldo” (Dec. 2003), “Looking for William” (March, 2004; Aug. 2004; July, 2005; and Nov. 2009); “Courting Melinda (Oct. 2004), “Home For Christmas” (Dec. 2004), “Ang Pagbabalik ni Nonong” ( Dec. 2005), “Father on Earth…Father in Heaven” (April 2006; May 2008), and “Ang Nobya Kong Arabyana” (June 2006; Aug. 2007 ).
Other projects included: “Sandcastles on the Hill” (Dec. 2006), “Dust Castles” (May 2009), “How To Cook Adobo” (May 2008; Dec. 2008; Sept. 2011)), “The Christmas Gift” (Dec. 2009), “The Gift” (June 2010; Dec. 2010), “Ang Mrs. Kong Sabungera” (Dec. 2010), “A Walk in the Park” (Nov. 2010; July 2011), “The Last Hours of Christ” (April 2012), and “The Little Rose” (March 2014).
Since theater is a team project, Tino has the unwavering capacity to lead, organize, and oversee the entire production with textual analysis. A writer with a wide array of intellectual rapidity, perceptiveness, concrete aesthetic vision, and poetic authority, Tino’s unparalleled keenness of mind and ability to apply what he writes into actual stage performance makes him a potent head of the project and the main core of the production.
Meticulous and a perfectionist, Tino doesn’t just relegate stage production aspects to his crew but makes himself directly involved in stage construction, assembling props, technical side, and hands-on even in publicity and promotions. And to think that there are still major and particular concerns he has to attend to aside from just rehearsing his actors: details like constant instilling of voice projection, the ability to take control of the whole stage, the actors’ projected movements and gestures, the right facial expressions to justify a dialogue, the perfect timing in delivering punchlines, actor’s ability to cover mistakes, blocking and crossing, how to improvise and squeeze in adlibs, and a lot of bits and pieces not familiar with the audience but pertinently relevant to the play.
If Aristophanes was recognized as the Father of Comedy, Aeschylus as the Father of Greek drama and tragically written plays, and Eugene O’Neil as the Father of American Drama, chances are, the Filipinos could rightfully claim for their very own in the same field but from the current generation of potentially gifted writers and the moniker, Tino Aquino Capili, won’t be far from being in the running.
Blissfully married to Jem M. Capili, the couple is blessed with three children: Lloyd (married to Therese
Abesamis), Sajidd (married to Kierstine Benito), and Khrystine. Their three grandchildren—Damien, Cheska, and Dwight are perfect stress-relievers constantly filling their conjugal abode’s atmosphere with mirth and laughter.
The Cast of “Bakit Mga Babae Ang Naghuhugas Ng Pinggan?”
Watching the play up-close from a center front row seat my peripheral vision worked at a vantage point in my intention to fully scrutinize the peculiar nuances and detailed interaction among the members of the cast scene after scene.
The hilarious one-act play run for a little over an hour in its entirety with a well-conceptualized storyline, cleverly written script, masterfully directed acting, and effectively delivered characterization leaving the audience with neither traces of dissatisfaction nor signs of disappointment from the delivered acting by predominantly novice actors.
The natural comedic performances of the actors were overly loaded with crisp rib-tickling dialogues and strategically skillful punchlines and blocking that unswervingly contributed to the remarkable success of the play. There were numerous pandemonic moment-after-moment satirized scenes, true-to-life hilarious situations, easy-to-relate amusing incidents, and varied elements of surprise.
The cast in general are all in character and unmindful whether they’ll be mocked, scoffed at, ridiculed, or being tagged as the object of derision. The play’s message was well conveyed despite the premeditated build-up of its anticipated hysterics and pun.
“Bakit Ang Mga Babae…?” is, undoubtedly, a low comedy using coarsely “sanitized” language , classic slapstick innuendoes, loosely interconnected spoofs with double enterdre, a travesty of stereotyped personalities, and ridiculous farce and shambles but timely redeemed by its intellectual humor, paralleling reality, and witty characterization that liberated the entire play from being a completely cheap comical entertainment.
Take for instance the writer-director’s role as the henpecked husband, Sebyo. With a full knowledge of the role, having delineated it for the 5th time, Tino’s convincing transformation to Sebyo’s persona obviously allowed him to attack it with limitless possibilities with optional alternatives all his own. His is a genuine acting talent without pretensions and qualms. And being behind the play’s helm while simultaneously giving life to the main male protagonist Tino’s audacious decision to act and direct only proves the supremacy of his multi-faceted talent and creative skills in the field where he excels.
Sebyo’s strong-willed and overly domineering wife, Sebya, was effectively acted by 19 year-old 2nd year NJCU Accounting student Vidanez Balanzat. Her impeccably credible performance and compelling adherence to the role she’s breathing life to completely concealed her real age as well as her petite stature. A part time staff at the Liberty State Park’s go-cart entertainment section, petite Danez’s can strum the guitar with perfection while her innate acting skill was consistently honed via her active participation in school plays. She has already two plays to her credit under Director Tino, (“Loves you, Ninong,” and “Jewels From the Dark,”) prior “Bakit Ang Mga Babae…?” and the latter, so far, was her biggest break. “I’m looking forward for a more challenging role next season other than just being a high society matron or a pitiable nagging wife.”
Danez’s elder sister Avidale, a NYC accounting firm employee and a student of NJCU, is an equally effective stage actress having had convincingly portrayed the flirtatious and gossip-mongering “Daleng,” Sebya’s neighbor and self-proclaimed confidant. Daleng’s discreetly amorous move and controlled covetousness over Sebyo was consistently a scene stealer. The challenging role offered her a most engaging drive to attack the character to the hilt…leaving doubts and suspicion that her undeniably compelling performance wasn’t acting anymore and that she might have been just being herself. Considering that her seemingly true-to-life depiction of Daleng was her maiden stage debut under Director Tino, Dale, indubitably, is a born actress. “I wish to be given a dramatic role to fully showcase my innate acting capabilities. Comedy is the least exigent for me since I’m by nature funny and comical.”
Another neophyte in stage acting is Nolanray Perlas who zestfully tackles the role of Emong, Sebya’s all-knowing and zealously concerned neighbor. The 26-year-old Criminal Justice diploma holder from NJCU has injected a believable characterization of the role that made it look too easy for him to present “Emong” live on stage. This natural born actor has the incredible ability “to sell” to the audience the “goods” assigned to him. Despite receiving well-deserved plaudits and unprecedented commendations for his acting, the tall and swarthy promising stage actor isn’t fully convinced of his achievement. “If there is one really challenging role for me that would be playing gay roles. This will be the litmus test when I could totally convince the audience of a character way different from what really I am.”
Country-boy-looking with an electrifying stage presence, Glenn “Marvs” Nalam, persuasively breathes life to Sebya’s vigorous neighbor, Iking. “Bakit Ang Mga Babae…” was a gratifying second project for the 22-year-old Jersey City downtown café barista after having had tackled the lead role in his stage debut via “Jewels FromThe Dark.” Another natural-born thespian who dares to tackle different and flexible roles, Marvs’ childhood dream was to really be on stage or before the cameras. He may not excel in academics but consistently recognized in extracurricular activities like stage presentations. “Delineating different characters on stage and live them like my own is by far the utmost accomplishment for me.” This 5’8” Talisay, Cebu City native and a billiard enthusiast inherently possesses a peculiar ability to modify original dialogues with relevant adlibs to make the scene better. “I really want to pursue this creative art, hone my talent, and endure long in the acting arena.”
Other equally talented members of the cast included: Joey M. Mayo as “Kapitan Tembong,” Michael Bernardo as “Akong,” Anne Bernardo as “Aning,” Khrystine Capili as “Mayang,” Julian Alexander Nakar as “Dr. Tuhl Loh (the Quack doctor), Susan Pensoy as “Usang,” and Matthew Adrian Pablo as the Storyteller.
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