MANILA, Philippines ? I can?t remember when I first met Johnny Delgado. He was a standout because he was a serious actor who didn?t aim to be a matinee idol. I wasn?t too surprised about this, because he was a nephew of respected writer, Marina Feleo, and a grandson of legendary labor leader, Juan Feleo.

I met Johnny in the mid-?70s, during the height of martial law, when most actors were afraid of involving themselves in the growing protest movement. I was staging antimartial law plays with the UP Repertory Company, and since Johnny had confided to me that he was interested in theater, I asked him if he could appear in my play, Domingo Landicho?s ?Dapithapon,? which centered on the love story of revolutionaries, Andres Bonifacio and Gregorio de Jesus, during the 19th century uprising. I wanted the play to remind viewers of the stifling conditions of the present.

Major attraction

Johnny was interested to do the play, no matter if UP Rep couldn?t afford to pay him his usual professional fee. Furthermore, the material was seditious, and I was well-known for staging such productions. Miss Universe Gloria Diaz, who was certainly a major attraction for such a politically charged piece, was cast as Oryang.

Johnny alternated with Dennis Asencio, a medical student and son of opera singer, Fides Cuyugan-Asencio. The duo acted opposite Gloria, Emma Valeros and student Fe Ramos (it was my habit to alternate students with professionals, thereby never withholding a leading role from students, but giving them an opportunity to learn from professionals).

Johnny was appearing with Domeng, as well as National Artist Bienvenido Lumbera, Menggie Cobarrubias, the Oliveros brothers, Raul Dealino, Gregorio Morales and Dennis Estrada.

Those were dangerous times, so to appear in a play that was blatantly antimartial law took courage. It was obviously risky for Gloria and Johnny to do the play. By 1977, I had been arrested for the third time, and being closely associated with me was professionally unwise for the duo. So, I truly appreciated their participation and friendship.

We bonded because of that experience. Everytime we would meet, we would recall memories of those dark and perilous days.

We got closer when Johnny married Laurice Guillen. I first met Laurice as a student of the late Rolando Tinio. She then worked with me in George Bernard Shaw?s ?Mrs. Warren?s Profession? for Repertory Philippines.

Anniversary

Years later, their eldest daughter, Ana, became my student at UP. I also cast her in ?100 Years of World-Class Music,? produced by the UP Alumni Association for the centennial anniversary of the national university. I asked Ana then if her parents were going to the show. She replied, ?No, kasi may sakit si Papa.?

It was the first time I had heard that Johnny wasn?t well. I called up NUT, who confirmed it. Last time I saw Laurice, I asked her when we could get together in her home, so we could watch the DVD of the concert. I said Johnny would certainly enjoy the concert and Ana?s vibrant participation in the show.

Last week, I received an e-mail telling me about Johnny?s passing. He will be sorely missed.