Request Sa Radyo

REVIEW: When kadamay is the ‘Request Sa Radyo’

Actress Dolly de Leon takes us on a journey through one woman’s mind as she grapples with loneliness and isolation.

In a world that is so connected, never has there been a time when people have felt more disconnected. All over the world, people sit in desperate isolation within their homes and their minds. Caught up in the busyness of our own lives, a lack of empathy has become the norm. Request Sa Radyo takes all these painful truths, and leaves them out on the stage. Through Dolly de Leon’s eyes, they dare the audience to see, feel, and try to comprehend it all.

There is no other word to describe the experience of watching Request Sa Radyo other than voyeuristic. The whole play unfolds with the audience looking into the apartment of Ms. Reyes, an OFW and caregiver. Tony Award-winning set designer Clint Ramos creates a space that is sparse and utilitarian, void of personal touches. In a figurative sense, it amplifies any feelings of detachment and sadness. What it did have was working appliances and running water. Watching De Leon wash the dishes, boil tea, and cook rice right there on stage was giving Hitchcock’s Rear Window. The feeling escalates as she volleys between stoic repetition and fleeting sparks of happiness with all of us watching closely. 

(Above and below) OFW and caregiver Ms. Reyes (portrayed by Dolly de Leon) in her stoic apartment.

The point Request Sa Radyo drives home is that the human condition is a fragile one. One that is not built for isolation. Dolly de Leon’s years as a character actor on stage and in film shine through here, as she captures every nuance of that solitary experience. The pauses in front of her bathroom mirror, or staring out an imaginary window give you a brief glimpse of the seeming depths of her despair. De Leon offers a level of transparency to the audience, where you understand she is pulling from something deeply personal to her. Even her brief dance break to Bamboo’s ‘Hallelujah” felt visceral, turning such simple movement into a release — of joy, pain, sadness, and everything in between. A self-confessed alternative music fan, the decision to rock out seemed like her natural go-to should her favorite song come on.

Honestly, it hurt watching this whole narrative all play out. While De Leon never breaks the fourth wall, each sideward glance in our direction spoke volumes about how conflicted her character felt inside. As that painful choice was made, and the lights faded to black, there was a collective, yet barely audible, gasp that echoed through the theater. At that moment, the emotional depth and introspection that De Leon so generously brought to the surface delivered this impactful and moving performance. In turn, the audience rewarded the effort with a well-deserved standing ovation.

Going into it, I was curious to see how director Bobby Garcia would root this study of loneliness and despair in Request Sa Radyo, the radio program that Ms. Reyes listens to. As the play goes on, it becomes clear that he intended for the radio show to be the second character in this narrative. It becomes the soundtrack to her evening, and the voice floating through the airwaves are her lifeline to the outside world. Once the program ends, there is a visible shift in De Leon’s demeanor as the silence takes over. Garcia skillfully draws out emotion and nuance from his actors, so each reaction is raw and real. While Request Sa Radyo played out sans spoken words, every single motion and expression from De Leon hit home and hit hard.

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With Manila being such a musical-loving audience, it’s safe to say that mounting Request Sa Radyo, an adaptation of Franz Xaver Kroetz’s original work, is a rather brave move. By all accounts, it is a heavy drama, sans a real script, and would be akin to watching a silent film. Perhaps that was part of the appeal, along with its headliners of powerhouse talent, De Leon and Salonga. Or it is a timely story that needs to be told, with loneliness being declared a global public health concern by the United Nations. It is also the true story for many Filipinos working as OFWs — the Philippines’ largest export — all over the world. For De Leon, this narrative reflects personal truth — growing up with an OFW parent, and also spending months away from home during shoots abroad. Her only ‘request’ from the audience as we walk out of the theater is one of compassion, empathy, and understanding — for ourselves, for those around us, and for those who are suffering in silence. 

Request Sa Radyo forces us to confront that part of ourselves that fears a solitary existence.

Someone once said to me, “Sometimes, it can be tough going home to an empty house.” When the stage lights came on, and De Leon stood by the ‘entrance’ of her ‘house’, the full weight of that statement from long ago sunk in. Over the course of 80 minutes, Request Sa Radyo forces us to confront that part of ourselves that fears a solitary existence, and the battle loneliness wages with our minds. Some days are easier, while others may feel like an uphill climb. For a few, those days could lead to a breaking point. Without saying a word, this play challenges us to place ourselves in Ms. Reyes’ shoes — to feel for and with her. To see the pain that many secretly carry, and the apathy we feign not to have towards them. To ask ourselves, what does our humanity call on us to do. That no one ever needs to feel so alone while in the midst of many.  

Request Sa Radyo runs until October 20 at the Samsung Performing Arts Theater, with Lea Salonga and Dolly de Leon alternating in performances. Tickets are available via Ticketworld. 

Photo credit: Sandro Paredes/RequestsaRadyo

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