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Virgin Labfest welcomes back its co-founder, NY-based Herbie Go

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Totel V. de Jesus

<div class="embed-wrap"><figure data-feedback="fb:likes,fb:comments"><img alt="Herbie Go in a photo taken in 2017. Photo courtesy of Herbie Go" src="https://sa.kapamilya.com/absnews/abscbnnews/media/2022/news/06/05/fest1.jpg"/><figcaption>Herbie Go in a photo taken in 2017. Photo courtesy of Herbie Go</figcaption></figure></div>MANILA -- New York-based Filipino theater director-actor-teacher J. William Herbert Sigmund “Herbie” Go seemed to have risen from the ashes, Phoenix-like, when it was recently announced he’s joining this year’s Virgin Labfest, the annual festival of new plays at the Cultural Center of the Philippines. Except for an inactive Facebook page with his name maintained by close friends, Go has no social media presence. Some younger members of the VLF audience have no idea that Go founded VLF about 17 years ago with theater veteran Rody Vera.<ul class="op-related-articles">	<li><a href="https://news.abs-cbn.com/life/05/14/22/rody-vera-umaasa-sa-muling-pagbubukas-ng-tanghalan">Rody Vera, umaasa sa muling pagbubukas ng tanghalan</a></li></ul>Sixteen years since he moved permanently to the United States, Go in the past couple of days has been visiting the CCP to direct with fellow Tanghalang Pilipino alumnus Tess Jamias the one-act “Walang Bago Sa Dulang Ito” by award-winning young playwright Eljay Castro Deldoc. In the annual VLF, Deldoc is one of the few with the most plays in the Revisited Set, or those whose works had several re-runs after their VLF debut staging. Among these are the hilarious “Ang Goldfish ni Prof. Dimaandal”, the heart-wrenching “Si Maria Isabella at ang Guryon ng mga Tala,” and the satirical “Pilipinas Kong Mahal With All the Overcoat.”Proof of Go’s obscurity, as of this writing, even the 30-something Deldoc hasn’t met Go in person. Asked what he knows of Go, Deldoc told ABS-CBN News: “Wala akong idea except alam kong bigwig sya. Akala ko dati kasing tanda siya nina Bien Lumbera.”(I have no idea except he is a bigwig [in Philippine theater]. I thought he’s of the same age and in the same league as [the late National Artist] Bien Lumbera.)<div class="embed-wrap"><figure data-feedback="fb:likes,fb:comments"><img alt="alt" src="https://sa.kapamilya.com/absnews/abscbnnews/media/2022/news/06/05/fest.jpg"/></figure></div>Jamias is also co-festival director for this year’s VLF, together with Marco Viaña, the current TP associate artistic director. She remembers the last time she worked as Go’s co-director in a play was in 2006 for Dulaang Sipat Lawin’s “Antigone”. “As actor, it was in 2007 for a production that was part of the ‘365 Plays / 365 Days’ in New York City,” she told ABS-CBN News, referring to the work of Pulitzer-winning playwright Suzan-Lori Parks. As the title suggests, it’s a year-long cycle of 365 plays that Parks wrote and compiled in a book of the same title.“When I saw Herbie again early last year, it was like, ‘ika nga ni’ Norma Desmond, ‘we never said goodbye’,” she added, referring to the time Go went home to Manila in 2021 to take care of his mother and meet up with friends. We asked Go how was the experience in directing a play with Jamias after nearly a decade-and-a-half. He expounded on their friendship that went a long way back to UP Diliman. “I have known Tess since 1987. We were seatmates in Spanish 3 in UP. My last name is Go. Her last name is Jamias. Alphabetically, we became seatmates. We just hit it off. I was doing a UP Repertory production then. She was also part of UP Rep. Then we worked together in UP Workshop and Dulaang UP, and other UP Rep productions,” Go told ABS-CBN News in an online conversation. “We both became founding members of Dulaang Talyer. Then we both became Tanghalang Pilipino Actors&#x27; Company members pa (pero difference of a decade). We share a long and rich history,” he added. Go revealed it was Jamias who asked him to be part of this year’s VLF. “She needed my help in the festival. I told her I was going home again to help care for my mom, but I wasn&#x27;t sure if I could regularly attend (or attend at all) in-person rehearsals,” Go said. “She offered to co-direct with me. Additionally, the play we are directing, Eljay Deldoc&#x27;s ‘Walang Bago sa Dulang Ito,’ is about rape, sexual harassment and victim blaming. For lack of a better description, it&#x27;s a ‘Me Too’ play. A male voice, direction and perspective would be a little bit tone deaf. The all-female cast and Tess Jamias&#x27; points of view would be more important to emphasize here,” Go added. <div class="embed-wrap"><figure data-feedback="fb:likes,fb:comments"><img alt="Claudia Monette Enriquez will play " the="" lead="" character="" in="" Bago="" Sa="" Dulang="" Photo="" by="" Paw="" src="https://sa.kapamilya.com/absnews/abscbnnews/media/2022/news/06/05/fest2.jpg"/><figcaption>Claudia Monette Enriquez will play &#x27;Hija,&#x27; the lead character in &#x27;Walang Bago Sa Dulang Ito&#x27;. Photo by Paw Castillo</figcaption></figure></div>Deldoc’s play is a story about Hija. As described in the VLF program synopsis: “She is someone who couldn’t classify millipedes as worms or insects. Not knowing what they were, she relied on what she knew would give her answers — science. “What Hija didn’t expect, however, was that this pursuit of understanding myriapods would lead her to bewildering encounters that asked her whether she should recoil in defense, or blind her predators like a millipede would. Finding herself preyed on by those in positions of power, Hija learns that the ecosystem she hoped she’d thrive in is a different realm of science that offers more questions than answers,” it added.<div>Go’s protocol</div>Go became a member of the TP Actors Company during the time of TP founding artistic director Nonon Padilla in the late 1990s. It was Padilla who chose him to be his associate artistic director. When Padilla left in 2002 for some controversial reasons, Go took over as acting artistic director.“I was acting artistic director from 2002 to 2004 and promoted to full-time AD from the latter part of 2004 until I left for the US in October, 2006. Much earlier, I taught different theater classes at the Philippine High School for the Arts as visiting teacher from 1997 to 2006,” Go said. Asked about his life was like in the Big Apple, he said: “I survived. Made a living. Had fun. Enjoyed life. Became an adult. Connected with new and old friends.”But he never left theater while earning a living. “I performed more in New York City, mostly avant garde off off-Broadway productions. Medyo semi-retired na ako as director. The most fun I had directing in New York City was this concert of classical Filipino music at the Asia Society. You can watch the video <a href="https://asiasociety.org/video/filipino-american-celebration">here</a>, just skip the speeches in the beginning,” Go added.<div class="embed-wrap"><figure data-feedback="fb:likes,fb:comments"><img alt="Herbie Go in a Halloween costume last November, 2021 in a New York City subway platform. Photo courtesty of Herbie Go" src="https://sa.kapamilya.com/absnews/abscbnnews/media/2022/news/06/05/fest3.jpg"/><figcaption>Herbie Go in a Halloween costume last November, 2021 in a New York City subway platform. Photo courtesty of Herbie Go</figcaption></figure></div>When the COVID-19 pandemic struck, Go admitted he struggled to survive.“The past couple of years have been quite stressful --COVID, my mom&#x27;s deteriorating health, the economy, last year Afghanistan, this year Ukraine, and of course, climate change,” Go said. Sometime in the middle of August, 2021, Go made his presence felt in a virtual meet-up with Fernando “Tata Nanding” Josef, current artistic director of TP. It was a simple catching-up conversation of old friends but it opened new doors for collaborations. “Herbie&#x27;s term as TP&#x27;s artistic director will always be remembered for some of the most outstanding and critically acclaimed productions in TP&#x27;s history, including the box-office hit, ‘R&#x27;meo Luvs Dhew-liett,’ ‘Pinocchio,’ ‘Yun Na Nga (Kung Yun Na Nga),’ which he directed,” Josef said.He added it was during Go&#x27;s term that some of the most exceptionally talented young members of the Actors Company got trained, shone and made their marks in Philippine Theater.“They are now considered some of the most reliable actors in theater, TV and film: Paolo O&#x27;Hara, Paolo Rodriguez, Angeli Bayani, Bong Cabrera, Nazer Salcedo, Roeder Camanag, Mayen Estanero, Tess Jamias, Catherine Racsag, Marjorie Lorico, Cheryl Ramos, Sigrid Bernardo, Wenah Nagales, Cris Pasturan, among others,” added Josef.Josef said among the outstanding productions during Go’s term as TP artistic director was Mario O&#x27;Hara&#x27;s “Insiang” in 2002, which was directed by Chris Millado. It had the very young Sheenly Gener playing the titular role, Ricky Davao as the abominable Dado, Malou de Guzman, Mae Paner and Paolo O&#x27;Hara. Peewee O’Hara alternated with Paner.There also was Ricky Lee&#x27;s “Himala,” directed by Soxie Topacio and featuring May Bayot De Castro as Elsa in 2003.It was also in Go’s leadership at TP when Ma-Yi Theater’s Lonnie Carter and Joi Barrios collaborated on the Filipino adaptation of Carlos Bulosan’s short story “The Romance of Magno Rubio (Ang Romansa ni Magno Rubio),” sometime in 2004. It had an ensemble of the finest theater actors then, namely Roeder Camañag, Paolo O’Hara, Noel Rayos, Soliman Cruz and Paolo Rodriguez. The original English adaptation by Carter was earlier staged in New York by Ma-Yi Theater with Filipino-American actors. This version was performed also at the CCP prior to the local adaptation. Also in 2004, TP staged “Hudhud,” Nick Pichay’s adaptation of Ifugao narrative chants performed before rice harvest season. It was directed by Josef and Ballet Philippines’ Agnes Locsin, featuring Shamaine Centenera, Bayang Barrios, Meila Romero, Nina Rumbines and the Actors Company.Then there was TP’s major hit in 2005, “R&#x27;meo Luvs Dhew-Lhiett,” a “jologs” adaptation of Shakespeare’s “Romeo and Juliet” by Go, J. Victor Villareal, Chynna Roxas and directed also by Go. It had Catherine Racsag as female lead Dhew-Lhiett and Noel Escondo as R’meo. Among the cast members were Angeli Bayani, Tess Jamias, Wenah Nagales, Marjorie Lorico and the Actors Company. It was originally devised by Dulaang Sipat Lawin at the Philippine High School for the Arts before it was brought to TP. It made a big splash in the local theater scene in 2005.“I was visiting teacher at PHSA. It was originally staged by PHSA theater majors for the senior recital production and I was the adviser,” Go recalled. Then 1990s heartthrob Wowie de Guzman was guest actor, playing a gay version of Benvolio. “Wowie alternated with Jonathan Tadioan and Chunchie Cabasaan. But it was Nar Cabico and Abner Delina who originated that role in PHSA,” said Go.“Mercutio was played alternately by Bong Cabrera and Cris Pasturan. In the PHSA production, the two male recitalists alternated as Mercutio and Romeo. They’re both really good but naging doctor &#x27;yung isa, the other is an engineer. Tybalt was played alternately by Carlon Matobato and Chrome Cosio,” Go recalled.Also in 2005, there was JB Capino’s adaptation of Hanoch Levin “The Whore from Ohio,” directed by Jose Estrella, featuring Mario O&#x27;Hara, Irma Adlawan and Paolo Rodriguez.Go remembered the last one-act play he directed was Glen Sevilla Mas&#x27; “Rite of Passage” for the first Virgin Labfest in 2005. Incidentally, Mas has become the regular mentor for the annual Virgin Labfest Writing Fellowship Program.“The last full-length play I directed would be the restaging of ‘Godot, Wer is U? (Waiting for Godot)’ from the original production directed by Alain Timar. Alain directed it for the Tanghalang Aurelio Tolentino space. I had to do the adjustments for the Tanghalang Huseng Batute version,” Go said. TP’s adaptation of Samuel Beckett’s “Waiting for Godot” was staged in 2006. Playwright George de Jesus’ adaptation was directed by Timar, featuring Rodriguez, Paolo O&#x27;Hara, Bong Cabrera and Cris Pasturan of the Actors Company.“The last time I watched VLF was the second VLF, a few months before I moved to the U.S. [in October 2006]. The last play [in a live theater staging] would be in 2008, when I was in Manila and Loy Arcenas was directing David Henry Hwang&#x27;s ‘Golden Child.’ I took over rehearsals for the Filipino version because Loy had to go back to New York before the Filipino version could open,” Go said. Because of Go’s long stay in the US, he hasn’t seen any of Deldoc’s plays in a regular theater run. But in the past couple of days, Go was able to watch some of the VLF plays during rehearsals.“Like most of the plays in Virgin Labfest, his play has lots of potentials. I like the science parts of the play, the union between the technical and the psychological. I won&#x27;t give much details. There&#x27;s lots of room to explore in Eljay&#x27;s world,” Go said. “More importantly, Eljay is delightful to work with. He is very open to suggestions and comments, we are relishing the collaborative process,” he added. VLF’s real storyEvery year, Go’s name is always mentioned in stories about VLF but most members of the audience, especially the younger ones, didn’t know how this most awaited festival for playwrights started. <div class="embed-wrap"><figure data-feedback="fb:likes,fb:comments"><img alt="Herbie Go, seated, with Virgin Labfest co-founder Rody Vera. Photo from The Virgin Labfest Facebook page, courtesy of Rody Vera" src="https://sa.kapamilya.com/absnews/abscbnnews/media/2022/news/06/05/fest4.jpg"/><figcaption>Herbie Go, seated, with Virgin Labfest co-founder Rody Vera. Photo from The Virgin Labfest Facebook page, courtesy of Rody Vera</figcaption></figure></div>In Go’s recollections: “Rody and I (with Jose Estrella and other Asian directors/playwrights) were doing a multiyear collaboration project in Tokyo for the Setagaya Public Theater. During one of our breaks, we just decided TP should collaborate with Writer&#x27;s Bloc. It was a very informal discussion. We just wanted a venue for emerging playwrights and new materials. “Also, when I was still managing Dulaang Talyer (with Paul Morales as artistic director), for two consecutive years, we did some sort of short play festival in collaboration with Ora Cafe, Khavn De La Cruz&#x27;s cafe in Quezon City.”And the rest is history.To actors and stage crews while at work inside the theater, Go is viewed as strict and “masungit” but outside, he is jolly, always full of laughters and positive vibes. He told ABS-CBN News he actually doesn’t mind being mistaken as a contemporary of Lumbera or Atang De La Rama. In jest, Go affirmed: “Yes, contemporary ako nila. I’ve hooked up with both of them.”Seriously to sum up Go’s years with TP, Josef has the nicest words: “Herbie&#x27;s term as TP artistic director was a period of intelligent programming of theater seasons with great artistic achievements in production work and professional training of the Actors Company, all these in spite of the huge financial challenges that the company was facing. Herbie was a dedicated, selfless, gifted artistic director.”As CCP opens its doors to live theater, “Virgin Labfest 17: Hinga” welcomes Go to his former home. The festival happens at the 220-seat Tanghalang Huseng Batute in CCP from June 16 to June 26. Afterwards it will migrate to online streaming via Ticket2me.net from June 30 to July 11.

New York-based Filipino theater director-actor-teacher Herbie Go is joining this year’s Virgin Labfest, the annual festival of new plays at the Cultural Center of the Philippines, which he co-founded about 17 years ago with theater veteran Rody Vera.