The
Metropolitan Theater (Met) is now owned by the National Commission for Culture
and the Arts (NCCA). The national government’s agency in charge of arts and
culture acquired the prominent heritage landmark in Manila for the sum of P270
million from the owner, the Government Service Insurance System (GSIS). The
Deed of Absolute Sale (DAS) was signed and the original titles were formally
transferred on June 10,2015, at the national social insurance agency’s main
office in Pasay City, led by NCCA chairman Felipe de Leon Jr. and GSIS
president and general manager Robert G. Vergara.
This
marked a new chapter for the theatre, a National Cultural Treasure. According
to De Leon, “this is a very touching, historic occasion and milestone because
the Met is one of the best, most creative products of Filipino artistic excellence.”
On
the other hand, Vergara said: “GSIS is privileged to turn over this
extraordinary asset to the NCCA. In more ways than one, we see this as an
agreement handing the Met back to its rightful owners, the Filipino people.”
The
NCCA credits the national government and President Benigno Aquino III for this
development. The Department of Budget
and Management (DBM) earlier released the amount of P270 million to the
National Endowment Fund for Culture and the Arts (NEFCA) for the acquisition of
the Met. This was announced by DBM Secretary Florencio Abad in late May of this
year.
“The
Met was once a testament to the richness of Philippine culture and artistry,
but decades of neglect brought this beautiful landmark into serious disrepair,”
he stated. “The Aquino administration, through the NCCA, has taken the first step
to restoring the MET to its former glory. It will take some time, but we are
confident that the NCCA has the capacity to take on such a formidable task.”
“We
cannot claim to pursue national development if we fail at preserving our
culture and heritage,” he added.
According
to the NCCA, the purchase of the Met is an important initial step towards the
fullest conservation of the property by the NCCA in coordination with the
concerned cultural agencies, commensurate with its status as a National
Cultural Treasure and National Historical Landmark.
Additionally, the NCCA Board of Commissioners
expresses that there is need for the Met, described as “a great architectural
landmark of the artistic and cultural creativity of the Filipino people” and to
restore it according to the highest standards of heritage conservation: “This will indeed be an iconic building of
Filipino heritage that affirms the vision of the NCCA that Filipino culture is
a wellspring of global and national well being. Restoring the Met is befitting
a national treasure that eventually would be an office for the conservation of
the NCCA and a center for arts and culture for use by the nearby students and
the general public.”
In the district of Ermita, among flyovers,
bridges, the fumes of traffic, parks and other buildings, the Metropolitan
Theater presently stands out with its motley of colors. The facade has a
curving top crowned with pinnacles, colored glass window and iron grills
depicting stylized birds-of-paradise.
The Met was inaugurated on December 10, 1931,
designed by prominent architect Juan Arellano (April 25, 1888-December 5, 1960).
Having studied in the United States as one of the first pensionados in architecture, Arellano was influenced by the
neoclassical and eclectic styles, which are evident in his major works such as
the Legislative Building, built in 1926 and now housing the National Museum of
the Philippines (NM), and the Manila Central Post Office Building, also built
in1926, with its impressive portico with Ionic columns. He also designed the Central
United Methodist Church (1932) and the Negros Occidental Provincial Capitol
(1936) in Bacolod City.
To many people, Arellano is known for the Met.
Veering away from styles he was known for, the Met is in the Art Deco style. He
was sent to the United States to study under Thomas W. Lamb, American theatre
design expert, of Shreve and Lamb. In designing the theatre, it is said that
Arellano was inspired by the phrase, “On the wings of song.” The Met also
exemplifies his belief in incorporating native art forms and motifs in designs.
The idea for building a theater in Manila was
developed in 1924. A theatre existed in the area before, the Teatro del
PrĂncipe Alfonso XII, built in 1862 at the Plaza Arroceros and burnt down in 1876.
With approval from the Philippine Legislature, 8,239.58 square meters of the
Mehan Garden were allotted for the new theater and construction started in 1930.
With a program of music, drama and film, the
Met opened the following year and was immediately hailed as an architectural
achievement, both modern and romantic. Local motifs were used, particularly
images from Philippine flora. A frieze of mango fruits and leaves, for example,
adorned the ceiling. Local flora and fauna as well were depicted in the stained-glass
central window of the facade which served as signage and a way to bring in
natural light to the lobby. The walls were curving and sported patches of
colors resembling batik patterns. Inside, there were lamps of capiz shells and pillars in the shape of
banana leaves. Colorful walls, bas reliefs and sculptures were interspersed inside
the theater.
Other prominent artists contributed to the
grandeur of the Met. At the main lobby were sculptures of Adam and Eve by Italian
sculptor Francesco Riccardo Monti, who lived in Manila from 1930 up to his
death in 1958. At the balcony overlooking the entrance were National Artist Fernando
Amorsolo’s murals The Dance and History of Music as well as Monti’s
other statues. Sculptor Isabelo Tampingco made the carvings of local flora in
the interiors. Arellano’s brother, Arcadio, painted images of local flora in
the main auditorium.
With the auditorium’s original capacity of
1,670, the Met hosted performances of zarzuelas, operas, concerts and foreign
classics up to the Japanese occupation. The works of National Artists Antonio
Buenaventura and Nicanor Abelardo have also been performed at the Met.
In World War II, during the Battle for the
Liberation of Manila in 1945, the Met suffered damages, and thus began its deterioration
and neglect. With the US Rehabilitation Act of 1946, the Met was repaired, but
it was not able to bring back its glory days. The building eventually has been
used by different agencies and sometimes misused.
There were several efforts in restoration and
rehabilitation. In the 1970s, then First Lady Imelda Marcos led an effort to
restore the Met. The National Historical Institute, presently the National
Historical Commission of the Philippines (NHCP), declared it a National
Historical Landmark in 1973. A
restoration was conducted under the supervision of Arellano’s nephew, Otilio
Arellano, and the Met was inaugurated on February 4, 1978. Kabataang Barangay
staged a show tracing the roots of the Filipino people through poetry, song and
dance called Isang Munting Alamat. Up until the 1990s, performances were staged at
the Met including the musical adaptations of Jose Rizal’s novels Noli Me Tangere and El Filibusterismo by Ryan Cayabyab and National Artist Bienvenido
Lumbrera in 1995. But it was eventually closed in 1996 after prolonged disuse.
Already falling into neglect and
disrepair, the Met saw another effort in restoration. In 2004, then President
Gloria Macapagal-Arroyo released P50 million to the NCCA for it, and the NCCA,
the city of Manila and the GSIS signed a tripartite agreement to rehabilitate
the theater. In 2007, the newly-formed Manila Historical and Heritage
Commission came in to manage and supervise the restoration. This effort led to
a “soft opening” on April 29, 2010, with the performance of a senakulo, a performance from Pilita
Corrales and an excerpt from the original zarzuela Baler sa Puso Ko by Isagani Cruz. The National Museum declared the
Met a National Cultural Treasure on the same year on June 23. Rock
band Wolfgang was able to hold a concert in 2011. However, it was closed down again
in 2012 because of ownership dispute between the city government of Manila and the
GSIS.
Interest in the heritage structure did not die
down. In September 2014, Manila mayor Joseph “Erap” Estrada announced the city
government’s plans to buy the Met for P200 million, to restore it to its former
grandeur and to house the Institute of Performing Arts (IPA) of the Universidad
de Manila, which is near the Met, as well as to serve as a venue for performances
by the Pamantasan ng Lungsod ng Maynila. The Manila city government has asked
for a loan from the Landbank of the Philippines for the purchase as well as for
restoration which was estimated to be at about P700 million.
In February 20, 2015, Estrada informed the NCCA
of the city government’s intent to purchase the Met and requested the cultural
agency to waive its right of first refusal. According to Section 9 of the
National Cultural Heritage Law of 2009 or Republic Act No. 10066, “the appropriate
cultural agency shall be given the right of first refusal in the purchase of
cultural properties declared as national cultural property. Prior to the
finality of the sale, the appropriate cultural agency may likewise match any
offer made for the purchase of national cultural property.”
After a few days, the GSIS informed
the NCCA of the formal offer of the mayor of Manila and offered to the NCCA and
the NM to exercise right of first refusal and match the formal offer. The NM,
through its director Jeremy Barns, waived its right of first refusal in favor
of the NCCA. The NCCA finally decided to purchase the Met on May 14, 2015. It considered
a counter-offer and requested funding from the DBM. It initially requested P550
million, which will also cover other expenses such as service utilities dues
and conservation and restoration works.
According to the NCCA, its purchase of the MET
stems from its mandate under Republic Act No. 7356, or the NCCA Law, with
reference to other laws related to Philippine national cultural heritage, which
is to formulate and implement policies and plans to conserve and promote the
nation’s cultural and historical heritage by supporting and promoting the
establishment and preservation of cultural and historical monuments, markers, names,
and sites. NCCA’s acquisition of the Met is said to ensure minimization or
prevention of damage to the property in accordance to a related law, the Republic
Act 10086, or the NHCP law, which defines preservation as referring to “all
activities that employ means to control, minimize, or prevent damage or
deterioration to cultural property.”
The Manila city government respected
NCCA’s decision, expressed support and proposed partnership in the Met’s
restoration. In turn, the NCCA took into account the initiatives of the city of
Manila on the Met, particularly its effort in reducing the initial price of
P600 million during its negotiation with the GSIS, and its vision for the
theater. It promised to give priority consideration to the city government, particularly
the Universidad de Manila and the Pamantasan ng Lungsod ng Maynila for the use
of the theatre.
The NCCA initially envisions a restored Met to
become a center for arts and culture, with additional exhibition galleries and
its theater and performance halls for use by artists and cultural workers as
well as by students and the general public. Additional space is planned for its
needs in the implementation of the National Cultural Heritage Act.
The Met remains today as “the only existing art
deco building in its scale and integrity in Asia,” according to heritage
experts. Its Western design is infused with Philippine motifs and elements as
well as the creativity and craftsmanship of Filipino masters and National
Artists. It was considered as the country’s first “national theatre,” hosting
cultural performances, social events, and visual art exhibits; a place where
Filipino artists were nurtured and launched their careers, and where many
Filipinos were inspired and made to dream.
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