Jeremy Domingo: Talent and tenacity

Since 1967, Repertory Philippines (REP) has been the only theater company that never ceases to teach and train deserving and aspiring actors. Except for the summer months when attention turns to performing arts workshops, REP produces Broadway and West End modern and classic straight plays and musical plays non-stop throughout the year.

In the summer of 1990, Jeremy Domingo took his acting workshop with REP in the Landbank Buendia branch. He studied Political Science at University of the Philippines (UP) Manila before transferring to UP Diliman, where he took up English. REP was still at the Insular Life Building and his teacher was the award-winning actress Roselyn Perez. Later that summer, REP was having an audition for The King and I, Domingo had his first taste of professional theater 23 years after REP’s founding and has not stopped ever since.

Domingo recalled that he was not into theater all that much until he reached high school. He revealed that if he had a chance to do professional theater, he would give it a try to keep the door open. He came from a family of career diplomats — his father, aunt, and only brother worked in the Department of Foreign Affairs. He was born in San Francisco, United States, and has lived in Germany, Hawaii and Brunei.

Of the 120 productions that he did, only 55 of them were with REP. If he was not doing a REP show, Domingo would act with other theater companies such as Dulaang UP, Dramatis Personae, and even Newport World Resorts.

“These people became my family because I am with them year in and year out, where I share rehearsal time backstage and onstage,” Domingo said.

Domingo’s first lead role with REP came in 2001. Our Town, a three-act play written by American playwright Thornton Wilder in 1938 was the first straight play staged at the RCBC Carlos P. Romulo Auditorium. With a ladder and a three-page monologue on a bare stage, Domingo played the role of the stage manager with Baby Baredo, Joy Virata and Miguel Faustmann in the cast.

“Eleven years into being an actor, I was acting with my mentors on stage. I could see that when they’re actors, they only wear the actors’ hats, and when you get to know them you see their love for the theater that they don’t impose they’re being directors,” Domingo recalled his fondest memories with REP.

“It was a stretch of the imagination and that was a production that I enjoyed because that was really where I got that sense of what I want to keep on doing for the rest of my life,” he shared.

“Memorize your lines and don’t bump into any furniture” is Domingo’s favorite quote on acting by Anthony Hopkins. Internalization is an optional term, a term that they don’t use in REP. Domingo shared that when a veteran actress interviewer asked about that, one of the directors said, “I don’t know what you mean by that.”

“It’s really about doing your homework and being prepared. When you are truly prepared for something there is no reason to be nervous you just have to trust, you have to be in the moment. When you are truly attuned to what you have to do, all the preparation, the mind work that goes into learning the lines and knowing the character you just go right ahead and do it. When there is nervousness or stage fright it probably means it’s rediverted energy or lack of focus,” advised Domingo on preparation.

“Theater has taught me so much discipline that I’ve been able to apply to so many other fields, which is probably why I still manage to keep working,” he shared.

His last production was Ronald Harwood’s 1980 The Dresser, starring veterans Audie Gemora, Teroy Guzman and Loy Arcenas who debuted as a director. Domingo played Oxenby during REP’s 82nd season in 2019. Aside from acting, Domingo was an assistant director to stage and concert director Leo Rialp for Going Home to Christmas, an original jukebox musical based on the music of Jose Mari Chan and REP’s 87th season ender for this year.

He’s more of a straight-play actor than a musical theater performer who has played Hamlet and the King of Siam. Domingo’s dream role is the famed Belgian detective Hercule Poirot in Agatha Christie’s Murder on the Orient Express. A recurring character who must uncover the murderer of the wealthy industrialist Ratchett aboard the Orient Express. He leaves this option completely open. For now, he is more concerned with the overall operations of REP as its newest artistic director since 1 June. He was in the middle of a voiceover gig for an event produced by Tim Yap when he got news on 19 April.

“I prefer doing straight plays to musicals and comedies to dramas but I’m open to any challenge especially if I could sing it,” Domingo said.

I Love You, You’re Perfect, Now Change is currently running at the RCBC Carlos P. Romulo Auditorium until 6 July. This will be followed by Repertory Theater for Young Audiences (RTYA) in the all-new children’s folklore musical Jepoy and the Magic Circle an adaption of The Magic Circle. The children’s short story by Philippine cultural icon and literature legend Gilda Cordero Fernando will be on stage at REP’s new home, a 500-seat theater in Eastwood opening on its 25th anniversary. After 47 years in Makati and 10 years in Mandaluyong, REP is bringing premiere theater in Eastwood.

“Theater now is so vibrant. It used to be a pastime, it was a hobby generations ago. Now a thriving industry, people can work in theater full-time. RTYA has up to 80 to 100 performances and some performers do it full-time. There are so many original productions as well in Filipino and English. There’s so much activity now,” Domingo shared.

When Zenaida Amador and Baby Baredo founded REP in 1967, one of their missions was to make and to create a theater-going habit where REP was the only English-speaking theater company. There’s the Philippine Legitimate Stage Artists Group (Philstage), an alliance of 18 professional companies in the theatrical arts.

“Not all directors are actors and vice versa but I realized I love that process because it made me zoom out and look at the big picture. And manage everything so that when I went back to becoming an actor. It made me appreciate acting even more because I don’t have to be a parent I don’t have to run around chasing down the designers and the whole cast but it’s something that I enjoy doing,” Domingo explained.

“It’s a big responsibility because there is so much history of REP that we have to continue. I worked with some very generous mentors and this is also my way of giving back. I was lucky enough to be trained by my mentors so everything that I learned from them, it’s really up to me now to pass on to the next generation,” he said.

“Never stop learning. Theater and the craft of acting is a never-ending process. You can reach your 70s and 80s and still have something to learn. You can always retire at an early age, you can stop and do something. But if you are an actor never stop refining your craft. It keeps you young, it gives you something to always look forward to because there’s always something new to learn,” Domingo advised aspiring actors.

On his take on facing challenges, he said, “I always embrace the challenge of my next production the uncertainty of it makes it exciting. Theater is not for everyone. You have to be tough and resilient. Life in the theater teaches you to deal with disappointment, rejection, and embarrassment sometimes and that’s all part of it.”

Domingo’s secret in staying in the industry for 34 years? “Tenacity. I love what I do. If you love it and you nurture it. It loves you back. It takes care of you.”