Request sa Radyo exposes the deep loneliness of overseas Filipino workers (OFW) living alone abroad. Its raw portrayal of a night in the life of an isolated Filipina nurse is bleak yet captivating, even if it’s not an easy watch.
The new theatrical play by creative producer Clint Ramos runs from October 10 to October 20, 2024 at the Samsung Performing Arts Theater in Makati.
It stars Tony and Olivier winner Lea Salonga, and Golden Globe and BAFTA nominee Dolly de Leon, in the same role as an unnamed OFW nurse who tries to survive a lonely night in her apartment during a hushed winter, with only her favorite radio program to keep her company.
The play is directed by Bobby Garcia.
Read: Dolly de Leon, Lea Salonga share thoughts on yelling at workplace
LEA SALONGA IN REQUEST SA RADYO
This reviewer saw the preview with Lea Salonga in the lead role.
Lea’s performance here is a departure from her usual roles, showcasing raw emotions and an intensity that captivates throughout.
Lea strikes at the heart even from the first scene. Her facial expression as she enters her small apartment—her sanctuary and her prison—is immediately heartbreaking.
Then we watch as she painstakingly tries to settle down for the night. She turns on the radio, makes a meal for one, washes her clothes, and more. Her apartment is neat and tidy, and she keeps cleaning it endlessly, to the point of addiction.
The piece is delivered entirely without dialogue and without cuts, so the audience is easily brought in to the whole experience.
The play is as much about the feeling of being watched as it is about the unfolding story, exploring themes that resonate with our age of voyeurism.
Lea brings this to life with such depth, making her character relatable and deeply moving, even as the role’s neurotic and stressful nature simmers quietly beneath the surface.
PINOY VERSION OF REQUEST CONCERT
Request sa Radyo is a direct adaptation of the landmark theatrical piece from Germany called Request Concert, helmed by Franz Xaver Kroetz.
Since its initial staging in 1973, Request Concert has had adaptations on different stages worldwide, and each time, the different versions feature some localizations that make the show more grounded.
The Philippine staging, thus, has some Pinoy touches that add lightness to the story. Lea, for example, operates a rice cooker to make her meal. The radio program she listens to also features some popular OPM songs.
Sound quality, though occasionally too low, seems purposefully understated, possibly an intentional element to heighten intimacy and realism. However, this can also present a challenge, especially during moments that deserve clarity.
The one drawback is the abrupt ending. It leaves the audience wanting more, and a bit of development here could elevate the emotional payoff.
Nonetheless, Request sa Radyo is powerful and affecting, driven by Lea's performance and the play’s resonant portrayal of life, separation, and the quiet tensions within.