Sports paired with life lessons calls to mind Jerry Maguire and his fateful mission statement, with his vociferous mentor delivering pithy one-liners on the side. But the real deal is found in Tuesdays with Morrie, the best-selling book about how the author, Detroit sportswriter Mitch Albom, sought out his dying professor and was given pointers to living a better life. The latter was made into a movie and is now a play, to be debuted in Manila by Repertory Philippines.
Opening the theater group's 41st year, Tuesdays with Morrie is directed by Baby Barredo, whose handpicked actors are Bart Guingona as Albom, and Jose Mari Avellana as Morrie Schwartz. Both actors are veterans of the stage — last seen together in Woman in Black in 2000 — and directors in their own right. This play marks their return to their first love of acting.
"The theater bug bit me again. I was working on co-productions in the States when this came along. It's a beautiful play and I had the opportunity to work with Bart Guingona... he's a wonderful actor. All the temptations were there... it's challenging on so many dimensions: not to get mushy, don't drag your audience through mores of tears... get the laughs at the punchlines, the right way, with the tears at the end. You can't be too somber about this, with one hour and a half on a heavy subject, it's just too much. But it goes by fast," Mr. Avellana told BusinessWorld in a phone interview.
For his part, Mr. Guingona had wanted to give directing a rest. "I haven't been acting. I have been directing more. I'm dying to try a nice, juicy role. I had my reservations at first; I thought it was going to be sappy. But when I read it, it's a true story, both painful and at the same time redemptive, it was too good to pass up," he told BusinessWorld in another phone interview.
The truth about Morrie
Mr. Albom himself worked on the script with acclaimed playwright Jeffrey Hatcher, spinning out a distilled version of the last months of Morrie, who despite being stricken with Lou Gehrig's disease, manages to impart to his old student the lessons that needed learning the most. A didactic discourse on the meaning of life may not be characteristic of Repertory productions of late, but it's certainly not out of place.
"When they started, there were plays that they wanted to do but were not what the audience wanted to see, serious plays that would change the face of theater. But there's also the practical side of theater, and it's been a frustration for Rep, but if you didn't do it, then you would not have had such beautiful stuff as their musicals. This is going back to their roots," said Mr. Avellana, whose career spans four decades, traceable to the Barangay Theater Guild alongside his parents, National Artists Daisy Hontiveros-Avellana and Lamberto B. Avellana.
Mr. Guingona ventured that Repertory Philippines, while picking out plays, saw something in this one that would resonate. "All art is propaganda, it has to give life lessons, although not all propaganda is art, some of it is just simply trash. But life lessons are valid; all art gives lessons, even if it purports to be about nothing. It's less metaphorical this time, it's very clear — what better way to talk about life than against the backdrop of death? It offers a nice contrast and a real perspective," he said.
All the punchlines belong to Morrie, but since Albom adapted it himself, lines and scenes were lifted straight from the book. What makes the difference is that it's easier to digest when seen onstage, said Mr. Guingona. Although he describes himself as a cynic that shies away from "inspirational" books, he admits that the book is very well-written and in the same spirit, the play sticks to the bare essentials.
"Baby Barredo decided to make it as stark as possible, it's a black set on stage, all the furniture is there, the lights are exposed, and you see everything happening on stage... It's different that way, you're forced to listen to the ideas, and you don't let your eyes wander around the stage," said Mr. Guingona.
You live, you learn
Mr. Guingona pointed out that what makes Morrie such a powerful influence in a life intervention is that he's a sociology professor who has made mistakes, and not only learns from his mistakes but is able to articulate the lessons that he's learned where others may be at a loss.
"He sees Mitch is heading toward regret, and he's racing against time to save this boy from disaster. 'Before I die, I'll tell you how to live.' articulate exactly why this is wrong, this is right, and it's irrefutable. 'You're going through the same thing I did, don't make the same mistake... I'm telling you now, it's not important, let it go.'
"A play like this grounds people, it's a reminder that we have a spiritual life — don't go after the material and expect to be fulfilled, live a little better, and practice a little self-criticism. It's about walking into life with your eyes open and seeing things that matter, the things you miss in your pursuit of everyday, mundane, material things," said Mr. Guingona.
Mr. Avellana recounts a scene where Mitch Albom talks about all his achievements for the past 16 years, and it's not until the end where he says, "oh by the way, I'm married too," which is all he said about his personal life. Even if it's a clichè to say that people have a tendency to live on the surface, he believes it has to be reiterated.
"Has anybody taken notice of the fact that this clichè is true? I'm older now and supposedly wiser, but the culture that we picked up in our youth, it's still difficult to say what you mean and mean what you say... Mitch represents Morrie's youth; Morrie sees in Mitch what he was, insensitive, materialistic, chasing the wrong dreams... It's two stories, not just one, and you don't see that too much in the book. But it's Mitch Albom who transforms from a jaded person into someone with more heart," said Mr. Avellana.
Originally published on 11 January 2008 in BusinessWorld.