It might be difficult to imagine Lea Salonga — the big star who gave the Philippines so much pride by filling every theater space with her angelic voice — in a play where she utters not a single word, let alone sings a note. But she did just that and delivered what is arguably her most nuanced performance in the much-talked-about “Request sa Radyo.”
A strictly limited engagement, Request sa Radyo is the Philippine adaptation of Franz Xaver Kroetz’s piece, “Request Program.”In it, Salonga plays Ms. Reyes, a middle-aged Filipina migrant worker whom the audience follows as she completes her meticulous evening routine.
As she navigates her quiet, solitary life, her actions and her favorite radio program reveal the profound loneliness and yearning for connection that lie beneath. The show notes promise that Request sa Radyo will leave the audience “contemplating the depths of solitude long after the curtain falls.” Indeed, this unique theater experience lived up to that promise.Request sa Radyo is a departure from the colorful and lively theater offerings that Filipino audiences have grown accustomed to lately.Instead of a big stage filled with several types of props, Request sa Radyo — through its award-winning production designer Clint Ramos — created a realistic and tidy living space where Ms. Reyes lives her mundane life. In exchange of flashing and sometimes colorful lights, the stage switches between warm and subdued tones that evoke what the only character might be feeling. And in the absence of music and lengthy dialogues, or monologues, the audiences are left with the heaves and sighs of Salonga, and the little noises as she prepares her dinner, washes her face and even use the toilet on stage. This silence is only broken when Ms. Reyes tunes in to her favorite radio program, which connects her to the motherland through played Filipino music.Request sa Radyo is just a little over an hour and for approximately 95 percent of the time, theatergoers are aimlessly looking at Ms. Reyes whose sole focus for the night was to follow her routine. For much of the play, it feels almost like watching paint dry.Yet, in the last few minutes, the play delivers its powerful message, and suddenly, the silence that filled the majority of the performance takes on profound meaning. The quiet, once seemingly aimless, becomes essential to the story’s impact.To be sure, the play was an uncomfortable watch. For one, it was so silent that any minor movement would produce a sound much louder than what is being offered on stage. But that was the whole point — loneliness is uncomfortable. The audience might be many in numbers, gathered in the same space, but everyone was left alone with their thoughts as they process the play. There were no collective laughs, gasps or even tears because before it even made sense, the play had already ended. Talking and discussing with a seat mate while on the program was next to impossible lest an audience member wants the whole theater to hear it. This created a shared yet deeply personal experience for everyone present.The whole encounter was a reflection of what a lonely person goes through — sitting in silence, not being able to talk to anyone, and left speechless after an ultimate act to end such loneliness is done. Those on the outside can only look back and discuss what happened in the aftermath, much like Request sa Radyo where it took some time for the audience to reflect “what really happened.”In an age where overstimulation seems to be the norm, the silence that Request sa Radyo delivers is much needed to reflect and grasp the depths of loneliness.Request sa Radyo is not an exciting watch but it’s a must.
