Oftentimes, the limelight shines brightly on the actors, musicians, and other visible performers who take center stage, while the tireless efforts of the backstage and production crew remain concealed in the shadows. Unbeknownst to many, these backliners invest an equal, if not greater, amount of time and dedication in bringing a production to life.
While the cast garners well-deserved praise, the unsung heroes of the backstage crew often labor unnoticed. The costume designers who meticulously craft fittings and alterations, the technical experts who seamlessly orchestrate lighting and sound behind the scenes, and the production team who translate artistic visions into reality with tools like hammers and paintbrushes, all contribute to the production’s success.
Though often thankless, there are individuals who take immense pride in their work behind the scenes. Annie Ignacio and Amado Bonifacio III, both integral members of the production design team at the Cultural Center of the Philippines, exemplify this dedication.
A graduate in theater arts from the Polytechnic University of the Philippines, Ignacio’s introduction to CCP occurred as a performer in Pasinaya: The CCP Open House Festival, a grand multi-arts event held every February. Impressed by her friends’ accounts of CCP’s dynamic environment, she sought opportunities within the institution. Her perseverance paid off, and she secured a position as a theater crew member at the Production Design Center, eventually earning a promotion to draftsman.
For Bonifacio, his journey began with an on-the-job training stint at CCP in 2016, a requirement to complete his engineering degree at the University of Manila. By 2018, he transitioned to become a reliever for the theater crew, and later, he spearheaded the layout design for CCP’s festive Christmas decorations.
Under the tutelage of Francisco M. Galvero Jr., affectionately known as Manong Junior, both Ignacio and Bonifacio honed their skills. Manong Junior, the sole scenic painter at CCP for over five decades until his retirement in the prior year, inspired them through his dedication. They observed his meticulous creation of grand sets and followed him as he translated scale models into life-sized, immersive sceneries.
Driven by curiosity, Ignacio embraced her artistic path. She eagerly inquired about the intricate process of set production, exploring ways to imbue designs with realism by experimenting with colors and textures. Reflecting on Manong Junior, Ignacio recalled, “I noticed his hands while working. They reminded me of my father’s hands.”
Bonifacio echoed her sentiment, highlighting how Manong Junior served as a paternal figure and mentor. Under his guidance, artistic freedom flourished, allowing the mentees to express their creativity while receiving patient guidance and constructive feedback.
The backstage crew’s role is marked by peaks and troughs. At times, multiple productions coincide, demanding synchronized efforts that can overwhelm the crew. Ignacio shared a moment of vulnerability when an abundance of work left her feeling lost, yet she rebounded resiliently. Bonifacio experienced a similar sentiment, acknowledging that the demanding nature of their profession sometimes compels them to be devoted workaholics. Despite the occasional stress and fatigue, their unwavering passion fuels their persistence.
For both Ignacio and Bonifacio, work transcends mere obligation; it’s a source of fulfillment. Witnessing their hard work manifest on stage, embodying their dedication and creativity, brings them unparalleled satisfaction.
Ignacio’s proudest achievement to date is the creation of the iconic eye balloon for Cinemalaya 2019. This captivating artwork adorned the CCP Main Building Grand Staircase, becoming an instant Instagram sensation. She also crafted lifelike bibingka and puto bumbong props for Tuloy Ang Pasko, overcoming challenges through trial and error. Acknowledgment and compliments validated her efforts, reinforcing Manong Junior’s philosophy of embracing experimentation.
Bonifacio, instrumental in projects like the Art House Cinema Facade decor and Sinag: Festival of Lights, initially hesitated to identify as an artist. It was only upon Manong Junior’s recognition that he truly embraced this label.
Working diligently behind the scenes, Ignacio and Bonifacio acknowledge the lack of recognition for backstage contributions. Nevertheless, they aspire for change. Within the Cultural Center of the Philippines, the backstage team stands as essential as those gracing the stage.
The CCP’s Backstage Pass series, a collection of mini-documentaries by filmmaker Joseph Mangat, pays homage to these unsung heroes. The series spotlights the backstage crew, with plans to expand coverage to CCP film technicians, sound experts, costume custodians, and front-of-house operations. This series grants audiences a glimpse into lesser-known roles within cinema and theater, celebrating the dedicated individuals who ensure the show’s success beyond the spotlight.
