Fridae

"Unapologetically gay" was what a reviewer said about local director Douglas Nierras' newest show, Illusione... Encore. And it was. Unabashedly, unashamedly, unapologetically gay.

I loved it. In a climate where, for many gay men, the closet was their favourite hangout, it was truly refreshing to see someone take a stand, and proudly showcase it.

In Manila, many people still stereotype gays as drag queens and limp-wristed hair stylists. The show gleefully lampoons the "discreet" closeted gay man, and the illusions he often surrounds himself with. Yet, it also helps people understand that there is more to being gay than a sashay and face powder.

The show itself was a remake. I'm told it retains several bits from the original Illusione show. In truth, the show was more of a revue than a real musical - I am not sure if there were any original pieces in it at all. Instead, it rehashed old Broadway favourites, popular (and admittedly sometimes clich�d gay anthems), and other oldies. Somewhat appropriate, as the selection covered many of the most common choices gay impersonators love to perform. But what Nierras did was to weave the discrete elements, songs, numbers, etc into a one story - set in the most ubiquitous element of Manila's gay scene - the gay bar. Of course, seeing Nierras' gay version of Swan Lake being performed in a supposed gay bar does make one wonder about stretching the limits of credibility.

In a way, it's a good sign for Manila's art scene. I'm not too conversant with any shows staged before I got back here, but in recent months, I've seen or heard several companies perform shows with gay-related themes.

Aside from Illusione, New Voice Company's The Falsettos (a musical that dealt about the issues of a father turned gay, his lover, ex-wife, kid, etc. Quite good, too.) was staged just last month.

Manila's art scene has always been well developed, to the delight of many gay art and performance lovers. But the fact that the art scene is now exploring issues of gay life and lifestyle is personally very encouraging for me. Much like the changes in mainstream media, perhaps the live performance arts are ready to acknowledge the realities about being gay in Manila.

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One thing that delighted me about Illusione was the vivid symbolism that enriched the show. Somehow, it exposed underlying truths without being offensive or coming on too strong. One such symbolism that stuck in my mind was when the dancers in the gay bar performed Magic to Do wearing double-sided masks to highlight their male/female duality.

While I also appreciate and understand the idea that the gay bar is the best place to depict a slice of a gay man's life, I'm not sure if it's entirely accurate. However, we all know that one can only do so much in a short time. Still, I did like the idea that in a bar, like in a theatre, people from disparate backgrounds and with possibly conflicting natures can come together. The fact that the deeply closeted gay lead could develop a good friendship with openly gay characters says that there may still be hope for unity in Manila's gay circles. Granted that it probably couldn't happen outside of the setting - heck, they probably would never even meet outside of that setting - it is still encouraging. I've always felt that the barriers in the culture here are more internal than anything else. It's ironic that the straights are often more willing to accept gay men, than gay men are willing to accept each other.

Of course the show has its own points to make, and I don't agree with all of them. But on another level, at least it coyly addresses issues that many of us loath to even explore. Finally, I applaud its call to the terrified closet queens in our midst to cast off their ties and briefcases, and to embrace their gayness. Not necessarily to turn into a drag queen, but to at least give gay life a chance.

The most potent imagery for me, however, was stark in its simplicity. Near the end of the show, the cast reappears onstage. This time, shorn of wigs, scrubbed of makeup, stripped of feathers and colours. Dressed in pure, clean white, they danced to (unfortunately) I Am What I Am and celebrated what it is to be gay. Yet while I loved the idea of offering one's true side and nature up, shorn of the pretensions, masks and illusions we all hide behind, I just wish they'd chosen a less worn and tired song.

But in a way, it was fitting. Deep inside, after all, we're all singing the same old song, anyway.