Repertory Philippines’ presentation of Pinocchio has a clear vision. This is a part of the company’s Theater for Young Audiences Program and the group is firm in that direction. Repertory Philippines showcases that it is not enough to choose a material that would interest the youth. It is equally vital that the way it is presented – from the set design, the lights, the costumes to the effects and the performances — will also appeal to its intended viewers. It is a commendable feat for a medium that continues to strive to build and sustain an audience. The young will find this presentation highly enjoyable, while the adults will see this as a family bonding experience worth remembering.
It helps that the material takes a lot from the animated adaptation of Disney. Carlo Collodi’s original text tends to be dark and bordering tragic (Collodi originally intended to finish the story with Pinocchio’s death by hanging). Jim Eiler’s stage adaptation (while it disappointingly doesn’t include the famous Jiminy Cricket) is light-hearted and fast-paced. The music and lyrics by Eiler and Jeanne Bargy are equally memorable and witty.
Complementing this material is the staging’s fantastical appeal. The stage is full of movement, the set design is cleverly elaborate, and the costumes are engagingly colorful. Director Joy Virata engineers an entire show that unapologetically caters to children. It cuts the sharp transitions between scenes as it breaks the fourth wall and directly narrates and engages with the audience. The choreography is amusingly lively. The set design ultimately realizes the wonders that could have only existed in children’s imaginations.
For its entire run, Pinocchio boasts a huge cast with several alternates, especially for the character of Pinocchio with six child actors playing the part. Hence, it might be a disservice to the show and the company to weigh the performances based on a single viewing. Suffice it to say that the characters are inherently engaging and fun to watch, especially with Pinocchio’s lively playfulness, the Blue Fairy’s enchanting presence, and the Wolf and the Cat’s comic antics.
On top of this, the show’s technical aspect is equally sound. As engaging as the performances can be, the technical portion of the presentation complements the direction and vision of the musical. The lights are generally bright with occasional animated accents to highlight a particular scene or character, the costumes are colorful and eye popping, and the sound is coherent and consistent with the tone that the show seeks to achieve. The show’s set design is extremely mesmerizing and clever. It maximizes the space by extending the limitations of the stage through a series of backdrops to justifiably narrate the physical road trip of Pinocchio. This can render a magical appeal to the audience, especially the children. From the humble town of Italy, the (seemingly) fun-filled world of toy land, to the cold depths of the forest and the animated tummy of a whale, the show visually showcases the journey of Pinocchio throughout his adventure.
If there are reservations on this entire production, it will have to be the source material’s lack of depth. Eiler’s adaptation tends to focus more on presenting vignettes of cautionary tales to children, thus eliminating the opportunity for the lead characters – Pinocchio and Geppeto – to tell a potentially multi-dimensional tale of growth, forgiveness and love. Separately, its segments can exemplify moral and ethical standards for children. But as a whole, it trivializes certain virtues and ultimately sends a wrong message to impressionable youngsters, which they may carry as they grow up. After all, forgiveness must not be generously given all the time. People do not always deserve nor get second chances. Mistakes, while necessary for growth, will always be weighed for its repercussions. Errors require accountability and responsibility. And sometimes, mere apologies will never be sufficient. This may be heavy stuff for a children’s show, but is a relatively holistic perspective on humanity and the realities it entails.
In the end, Repertory Philippines’ fantastical staging of Pinocchio is a fitting follow-up to its Theater for Young Audiences program, after last year’s Alice in Wonderland. A close look at the material will find flaws in its narrative structure and the over-all text it carries. But the show’s lightness and its playful and colorful execution ultimately make it a fun-filled treat to the young and the young-at-heart.
