Filipina Focus: Lisa Tejero, Actor

By: Lou Maningas Cabalona

 

Despite barely getting over my jet lag from my Manila trip, I was determined to catch all the “terrible things” by A. Rey Pamamat, staged by About Face Theatre. I was, like always, very curious of stories that offer a window to Filipino writers’ interests, experiences and motivations.

As the two-character play had my feelings ping-pong from sympathy, to disbelief and anger, I was also slowly drawn to the character Lisa, a Filipina bookstore owner whose gay son committed suicide, and the actor that played with her.

Seeing Actor Lisa Tejero, dramatically yet comically word sparring with Daniel (Colin Sphar), her employee and a young gay writer, as she tries to battle out her inner demons and protect herself at the same time was, to say the least, thrilling.

Although, I have not seen her in theater circles I was familiar with, only a powerhouse, experienced actor could deliver.

The daughter of a doctor hailing from Bangued, Abra and a nurse from St. Louis, Missouri who is a regular of Chicago’s Goodman Theatre, Lookingglass Theatre Company, and Steppenwolf Theatre Company. as well as prestigious regional theaters around the Midwest, Tejero credits her parents in part for her artistic inclination.

Her work has taken her all over, playing an over-analyzing therapist on Broadway to a “wigged” blonde in Repertory Philippines in Manila, I caught up with her after the show to find out more.

I loved your Filipino accent playing Linda, a Filipina Bookstore owner, in all the terrible things! You captured the right “filipino intonation” rather than just relying on exchanging F’s and P’s. How did you learn it?

My father was born in the Philippines so I grew up with listening to the sound of his (voice) in my ear. After college, I decided to live abroad to get a broader sense of the world and the Philippines was the automatic choice. So I was submerged in the culture and the Filipino intonation for an entire year.

I was also helped out a lot by a friend and fellow actor Christine Bunuan who was the Assistant Director on this show. (She) not only refined what I was doing but (she also) made some really tasty chicken adobo while line coaching. So the music of the food could live in my mouth.

Prior to all the “terrible things,” it seems like the roles you have played are not the typical characters Filipino or Asian actors are given. Is this by choice or by chance?

A bit of a combo of both- I think one of the motivations of people to become an actor is to explore points of view and experiences beyond what their own personal basic one is. That is definitely one of my major philosophies. It is what (has) informed the projects and plays and roles that I’m drawn to and what are drawn to me.

I have been cast in the gamut of queens, maids, princesses, nuns, goddesses, witches, doctors, reporters, madams, and lawyers, of all ages, persuasions and religions, (even) waves, monkeys, tree and the tail of a snake…so philosophy by choice and then chance sort of regulates the rest.

How is playing Linda different (or same) from all the other roles you have played?

I find it to be a particularly special event for me to be able to align my DNA and represent aspects of a culture in a strong character. I will say that Linda has the broadest spectrum of deep emotions of any character I played which I found exhilarating but also left me emotionally and physically and spiritually drained after each performance. To do A.Rey (Pamatmat)’s beautiful script justice– she had to be that completely invested and formed.

Most of your theater work is in the Midwest, what roots you here?

I was born and mostly raised in the St. Louis area. I went to Webster University out there which had a professional Theatre Conservatory. After I graduated and lived in the Philippines, I wanted to be closer to my family so Chicago seemed like the best choice. After considering it as my artistic base for a few decades, it has turned out to be a unique, fabulous and exciting Theatre town and it was (the best choice).

You also lived in the Philippines for a while. How was the experience?

All of it was a life-changing and enriching experience. I found myself working at the Philippine Repertory Theatre. It was an exciting time since that was also during the people power revolution (but) that might not have been the most accurate read.

When did you know you wanted to become an actor?

I was always artistically inclined – to which I credit my parents despite them being in the medical profession. There were always painting, sculpturing and ceramics projects that they were doing. I intended to go into the fine arts but in my Senior year in High School. I had a very influential teacher who was the coach of the Speech team and I started winning a lot of tournaments so theatre seemed to be the place where I needed to be.

Did being multi-racial play a role in pursuing your career? Does it help you in learning about and being your character?

Of course, it has (and it) does. I feel like it has both kept me from roles I could have done and (at the same time it has) gotten me jobs that I wouldn’t have necessarily been auditioned for.

Maybe, at its basis, it’s because I’m a mestiza (mixed race), I automatically see the world from a very wide perspective. For me, acting is a way to build empathy and tolerance in the ethos. So I tend to focus on plays that have an exciting take on the world that supersede any narrow definitions.

In one of your plays, Metamorphoses, the stage was a pool! What was your most memorable production/role?

At this point, I have done over a 100 productions so it’s not so much that they all blend together, but more that there’s so many that it’s more of specific moments.

What is the one character you would like to play before you die (or retire)?

I have had this question before and (I) am always sort of struck by my reluctance name something out of context. To me, the whole play and production is such a strong part of the equation. To me, it is also timed to what is going on in the world and what is needed.

I’ve been lucky that I’ve played a lot of fascinating, challenging, strong women. I think maybe part of my resistance to name or claim it to one feels limiting since I feel like I have already done many that could fit that bill. (I) want to keep going and allow myself to be surprised.

You can catch Lisa at the following shows: One night only stage reading of The Oldest Boy by Sarah Ruhl at The Goodman Theatre, Chicago April 25th 7:30. Tickets are free, reservations recommended. De Kiss at the Stages Theater, Houston, this Fall.

—- Also, catch the Filipino Musicians of Chicago, Inc’s Spring Jam 2016, April 23 at Miraj in Niles, IL at 7pm. Tickets at $25, dinner included. Call 708-528-6321 ————

Louella Maningas Cabalona is a singer, actor, and a Manager at Sears Holdings. She is the co-founder of the Filipino Folk band, SamaSama Project, ILPRO (Illinois Philippines Recovery Operations) and is one of the inaugural delegates of the FYLPro Immersion program of the Philippine Embassy in Washington DC in 2012. She is passionate about sharing Filipino culture in the modern world and actively supports all outstanding Filipinos around the globe. If you would like to connect, email louellarose@gmail.com

Chicago-based Actor Lisa Tejero says her Father, a Doctor originally from Abra, helped in making her character’s Filipino accent authentic.

Louella with Lisa Tejero with after the show

Baron taking a signature one brow raised selfie with FMOC Officers and members. From L to R, Louella, Patty Soliman, April Garcia, Sam Interino, President Rudy Campos, Lani Del Rosario, Rogel Arceo, Roland Del Rosario.