At first glance, it may be easy to misconstrue Full Gallop as a production that can only be treasured by the fashion literate. It may appear intimidating for people who are not in that medium. But the show offers more than that; Full Gallop is rich in layer. It works to highlight the life of fashion icon Diana Vreeland while discussing fashion as an art form.
The one-woman play follows fashion icon Diana Vreeland, then just coming back from a four-month vacation in Europe after getting fired from Vogue as editor-in-chief, as she decides on a fresh career direction. Written by Mary Louise Wilson and Mark Hampton, Full Gallop narrates Vreeland’s life and insights through a serial spur of anecdotes and philosophies. The rhythm of the script showcases a poetic sense of push and pull by jumping from a serious anecdote to a funny bit and back in a seemingly calculated and effective pace.
Complementing this rich material is the natural and powerful mixture of direction and performance as it paints an over-all production that is funny, and non-alienating. Theater stalwart Bart Guingona directs the show with true appreciation to the material and subject. He drew a roadmap, by which the material is given justice. Cherie Gil, on the other hand, delivers a tour-de-force performance as fashion icon Diana Vreeland. From the way she delivers her dialogue, stretches and bends her arms, extends her fingers, to the way she moves around the set and play with the props, Gil essays the role with passion, sincerity, intelligence, grace, and credibility. She owns the stage as she conquers the set with her presence and movements while simultaneously engaging the audience with her performance. The material drops names of people that one may have never heard of – but that doesn’t matter – because they are given persona from the way Gil’s eyebrows lift, body moved, or her lips are pursed. It says a lot when a lone performer gives glimpses insights and persona to characters that aren’t on the stage.
Warren Munar and Ruben Nazareth’s work on hair and make-up struck the intricate balance of hitting Vreeland’s semblance without drowning Gil’s visage. Joey Mendoza’s monumental set design effectively captures the character’s persona: rich and vivid with flair, color, flamboyance, and scale. At the same time, it becomes a representation of her poignant solitude.
Actor’s Actors Inc., along with My Own Mann Productions, continues to render justice to its “Necessary Theater” series. After the critically-acclaimed Red, comes another thought-provoking and brave production, which gives more depth to today’s theater scene in the country. And with Full Gallop, these companies provide layered, fresh and necessary insights to the audience.
It is refreshing to have a material focusing or revolving around a person’s life and yet keep it engrossing. There have been cases when productions with these subjects tend to become self-indulgent and alienating. Needless to say, the narrative framework – the way by which the story is told – remains to be a vital part in adapting such stories. In this, Full Gallop highlights the life of an industry icon. It doesn’t matter if you knew who Diana Vreeland is. A preconceived knowledge on her stature and impact are rendered as a non sequitur. What she has to say about art, life, and fashion still deserves to be heard and pondered upon.
Furthermore, it is easy to dismiss fashion as nothing more than merely a display case of shallow aesthetic – especially today when lots of it has been degraded to commercialization commanded by brands and costs. Full Gallop reminds the audience that fashion has had and still has depth. It has philosophies, ideologies, and technique. Fashion goes beyond what one sees. Colors have voices and each piece may be subjected to semiotics. It is still an art form.
One doesn’t have to agree with the ideologies and principles presented in the show. But it makes one think. And thinking is a giant leap towards understanding and appreciating art. In a society such as ours whose art appreciation has been prevalently dumbed down to what’s funny and light-hearted, Full Gallop enriches the perspective on art. The subject may not be local, but the way the show helps address the need for deeper understanding and appreciation on various art forms – whether it’s theater or fashion – makes it deserving for a space in the local scene.
Much has been said about the state of theater in the Philippines. It has become heavy feel-good family and romantic productions. Filipino-developed narratives don’t get as much support and patronage as well-publicized and highly popular Broadway hits. Even the lack of theater spaces in the country has been raised. But the local theater scene has matured. In fact; it has even branched out to being experimental. What it needs now is to build its audience. Through Full Gallop, it captures a different public interest whose main audience can develop the love for theater. And to achieve – or at the very least attempt to achieve- makes the production an important and noteworthy show.
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'FULL GALLOP' runs at Carlos P. Romulo Auditorium in Tower 1 of RCBC Plaza, Ayala corner Sen. Gil Puyat Ave., Makati. The one-woman play runs on weekends of March 2014 (March 14, 15, 16, 21, 22, and 23).
For the March 14 gala night, ticket prices are at Php3,000 orchestra center; Php2,000 for orchestra side and loge; and Php1,000 for balcony inclusive of cocktail food. Tickets for regular nights are at Php1,500 for orchestra center, Php1,000 for orchestra and loge, and Php600 for balcony.
For ticket inquiries, please call (63 2) 215-0788, (63 917) 537-8313 or Ticketworld at (63 2) 891-9999. Purchase tickets online here.
