Kakki Teodoro spent decades on stage. Now she speaks up about what’s changing—and what isn’t

Not many people know that Teodoro did not have formal and academic theatre training, although widely known and acclaimed she was in this industry. What she had instead was her wealth of experience through her extracurricular activities. In grade school, she joined school plays and musicals, including Christmas performances, whether it was a song or a dance. In high school, she was one of those who would deem Shakespeare and classical drama intimidating and very serious.

“I just want to have fun,” Teodoro says. ”Let’s create something happy,” she recalls.

In her college years, the avid Trumpets Playshop workshopper found herself having the courage to join the Ateneo Blue Repertory (BluRep). “Even though my course was communication arts because I wanted to be a broadcast journalist, entering BluRep really was the one that ‘ah, it just made sense’. Even if I felt tired every rehearsal, it was very fulfilling. I found meaning in it despite the challenges,” Teodoro says.

Growing artistically in the company of fellow actors and hardworking directors, Teodoro dared to test the waters of professional theatre by auditioning for musicals. She became part of Repertory Philippines’ children’s theatre productions like Cinderella and Aladdin Jr, as well as Trumpets Inc’s High School Musical, with which she had a similar production with BluRep years prior. This popular musical production became her entry point to Hong Kong Disneyland after college.

“I used to say that High School Musical was my Miss Saigon,” Teodoro laughs, recalling her early career’s trajectory.

She believes that doing corporate musicals whenever she comes home to the Philippines has opened doors of opportunity for her. After working with esteemed director Chris Millado for a musical performance meant to promote a particular FMCG brand, she was invited by theatre veteran Vincent de Jesus to audition for a voter’s education show. Eventually, Teodoro would get parts for Peter Pan, Orosman at Zafira, and Zsazsa Zaturnnah ze muzikal, among others.

“The intention was that I didn’t want to be stuck with the Disney image,” she says.

Having experienced working locally and abroad, Teodoro finds the casting process different. For one, many of the western musicals she joined used to have standards that needed to be met.

“If it’s a Broadway show, we had to make it exactly like what was being shown there, so it leaves a little room for experimentation,” Teodoro recalls. “But gosh, that was 20 years ago. Now, actors are encouraged to be authentic and really make it their own.”

In comparison, she finds Filipino musicals more liberating as they are mostly original. If it was a restaging, there would be modifications to update them with the times.

“Directors would ask me for my ideas, to bring in some lines, make some adlibs, build my character. I can even decide on what they would wear—everything from the ground up,” she exclaims. “The environment is so collaborative... the show can grow and grow.”

Read more: From Manila to the West End, how Joaquin Pedro Valdes built a stage presence that shines beyond borders

One example of this was when she was offered a role in Zsazsa Zaturnnah. Feeling that she wasn’t fit for it, she tried auditioning for the antagonist role of Queen Femina of the Amazonistas.

“My take was that it’s not your typical Amazonista: six-footer, skinny, and modelesque in height. It’s someone who’s like five feet, but she’s also a baddie. She’s tough. Also, with my body shape, I wanted to show an ultra-feminine woman who is round, has chubby and strong arms, who went through war,” the actor explains.

This unique take on the iconic role opened new doors again for Teodoro. The renowned thespian saw beams of hope for the industry after doing Every Brilliant Thing, an uplifting material that tackles depression, when the world was slowly opening up after the pandemic. Now, people fully embrace topics like mental health and others. Now, she would get roles for films and television because directors found her theatrical performances honest and brave.

Teodoro was later seen in the youth-oriented show Senior High, in the film A Very Good Girl, alongside Kathryn Bernardo and BAFTA recipient Dolly de Leon, in the GMA soap opera Slay, and just recently in the Netflix series How to Cheat Death.

“Definitely, it’s important for actors to be assertive in getting roles they want,” she explains. “Assertive but not aggressive. It’s not a linear growth for actors, as there is no assurance that you will always get the part. So, you need to be assertive with what you want and sincerely give this particular role justice.”

Having transitioned from theatre (her comfort zone) to film and television, Teodoro realised that there is more she can use as her platform and medium as an actor. Whatever resistance or reservations she has had to crossover, she has now learnt to adjust and gain experiential wisdom.

“Winning at the Metro Manila Film Festival (MMFF) was very surreal. I feel that it is a gift. Himala really is a miracle that keeps on giving,” she says. Coming from the 2018 production and immortalising her performance through the magic of cinema has allowed Teodoro to make the story of Nimia clear and taken with much care.

“I introduced myself that way not realising at the time that it brought so much joy to the theatre community,” she recalls. “Everyone felt like they were introduced. Everyone felt included.”

The actor remembers receiving a flood of messages right after: from theatre people, personal friends, everybody at the venue screaming her name. “Ate Dolly messaged me saying, ‘You won that. You deserve that. And also you won that for all of us.’ I didn’t expect that and now I carry the win as a badge of honour, representing the theatre world wherever I go.”

It was a moment indeed of sheer joy that she almost missed as she was sick the whole day and the duration of the evening programme.

“I brought medicines with me that night, taking each moment slowly as I had to make sure I would be able to celebrate with the cast afterwards, whatever happens. What was going on in my mind was that I had to get through the night and not the award,” she continues.

Teodoro further shares with Tatler snippets of her conversation with fellow theatre actor Cedrick Juan, who won Best Actor at the MMFF the year prior. 

“I think based on the reactions of the theatre industry, it will continue to open doors for actors of whatever background and encourage them to do well in whatever medium. Cedrick has been doing that before, and I’m very much a newbie. But he mentioned how winning these awards becomes a responsibility and an opportunity to allow us to let the spotlight shine upon other aspects of our industry.”

She mentions the call for fair treatment in the workplace, the need for an intimacy director, protecting the welfare of actors and staff, and creating a safe space for artists to unleash their creativity.

“We now have the opportunity and platform to speak up and protect our co-actors. We still have a long way to go with regards to achieving all these but at the very least, we have taken baby steps now,” Teodoro says.

Right now, there are three people on top of her mind who are introducing intimacy directing to the Philippine theatre industry: Jenny Jamora, Missy Maramara, and Regina De Vera.

“All women! Producers need to believe in the importance of that. They know how toxicity in the workplace creates trauma, so we need to encourage changing the system. Safe environments are creative environments,” Teodoro says.

Now, the actor is counting the weeks until general rehearsals for the much-anticipated Philippine staging of Into the Woods to commence in July. Under the helm of producer Tony winner Clint Ramos, Teodoro feels nothing but pride to be part of the powerhouse cast of Filipino talents from all over the world. Another thing about the project that excites her is working again with her mentor Chari Arespacochaga, who would be directing the show. As she waits, she cheers for the country’s growing and dynamic theatre community to blossom further.

“What I have learnt—and still learning—is that as an actor, every platform is different. There are going to be adjustments. Every platform requires something different from you. And the common denominator for all these is who you are, how you work, and the truth that you bring to the character,” she says. “And I think, to make sure you’re able to give your best work, it all boils down to how you take care of yourself, what values you have, your work ethic, and how you are as a person. Rest enough to deliver your best work.”

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