“Rivers belong where they can ramble
Eagles belong where they can fly
I’ve got to be where my spirit can run free
Gotta find my corner of the sky…”
From the musical, Pippin
In 1970, he was Romeo in the Paramount Picture’s search for the lead actor in Romeo and Juliet.
He would soon be Nora Aunor’s leading man in Lollipops and Roses in 1971. The following year, he joined Repertory Philippines in the staging of Fiddler on The Roof and later in The Fantasticks.
He interrupted theater appearances to audition in New York at the American Academy of Dramatic Arts where he received his diploma from no less than the legendary Helen Hayes.
From 1973 onwards, he returned to theater appearing in Pippin, West Side Story (as Tony), Sweeney Todd (Anthony), Charlie in You’re A Good Man Charlie Brown, Sky Masterson in Guys and Dolls, Che Guevarra in Evita and John Merrick in The Elephant Man.
What followed were landmark roles in Miss Saigon in 1989. He later returned to theater in Manila in such plays as Joseph in Joseph and the Amazing Technicolor Dreamcoat, King Arthur in Camelot and Jean Valjean in Les Miserables. He played both the Engineer and Jean Valjean in the much acclaimed The Music of Alain Boublil & Claude-Michel Schonberg Concert in Manila.
Well, the rest is history.
Cocoy Laurel lived up to his Pippin signature song and finally found his “corner of the sky,” so to speak at age 72 last June 14. He was last seen in public visiting National Artist for Film Nora Aunor in her wake at Heritage Chapel.
One of the first to react was actor Jamie Wilson who debuted as Theo in Pippin with Cocoy Laurel
There was no way he could avoid the actor as his parents (Vice -President Salvador Laurel and actress Celia Diaz-Laurel) were his godparents. His family used to spend a lot of time at the Laurel house in Shaw Boulevard.
He grew up with the Laurels and he will always be thankful for them for adopting him as part of their family. “Tita Celia (Diaz-Laurel) was always wonderful to both work and hang out with. I remember watching her dress the stage for Rep plays, and she always took the time to explain to me how she created and executed the costumes she designed. She also taught me how to move in my costumes, how to walk in a long coat and boots, how to sit down in a suit, how to wear a fedora, and how to make sure I was always well put together before I stepped on the stage. I had an absolutely wonderful childhood growing up with the Laurels!”
Jamie told the Diarist.ph: “I remember my earliest impressions of him was always of his kindness; he was always gentle and soft spoken, and always took the time to ask me what I was doing or just hang out with me.”
That never changed from childhood up to when he grew up. “He always had that genuine interest in me and what kind of person I was growing up to be. Cocoy is more than a theater friend to me. He’s family. Cocoy as an actor perfectly reflected Cocoy as a person: he was generous, authentic, passionate, hardworking, and it was always a true pleasure to either watch him on stage or to share the stage with him.”
Jamie did his first professional play with Cocoy in 1980 in Repertory Philippines’ production of Pippin where he played the young boy Theo and the late actor played the title role. “When you think of Cocoy as a leading man, they broke the mold with him. He had a way of lifting you up, of cheering you on, of supporting you and working with you that made you believe in yourself. Cocoy was magic.”
He recalled that the last time they saw each other, they talked about their late mothers and how much they loved them. “We shared stories of the old days, when we were growing up, and I remember his wonderfully tender smile, with his gentle gaze upon me, silently letting me know that he was happy and proud of the way I turned out.”
He recalls the plays where Cocoy shone as an actor.
“In Pippin, it was wonderful just watch him soar in that role, and what an honor it was to share the stage with him. As Jean Valjean in Les Miz, I remember his Bring Him Home being so full of fragile soulful strength. It still stands out in my memory as one of the best performances of that song I have ever seen.”
It was Cocoy in The Elephant Man that he remembers the physical transformation of an actor on the stage. “I remember not even being a teenager yet, watching in amazed disbelief, because there was absolutely no hint or evidence of the Cocoy I knew in that performance!”
On the whole, Jamie equates Cocoy with gentleness, generosity and compassion and a genuine interest in his peers as co-actors. “He has a genuine interest in you with an authentic passion for seeing you shine. I will always remember him as the kindest and gentlest soul, my guardian angel, my cheerleader, my confidante. I will always remember him in times of struggle and adversity, as a source of strength and encouragement. I will remember the many talks we had, the laughter and tears we shared, and the songs we sang. He will always be my brother, and my friend.”
Long before Audie Gemora got to work with Cocoy in the theater, he was already his fan. “I watched his movies, like Lollipops and Roses at Burong Talangka with Nora Aunor and Oh Margie Oh with Margie Moran. I remember watching his Araneta concert where I first took notice of this lanky musical director named Ryan Cayabyab (now National Artist for Music). Cocoy was a handsome matinee idol who was an outstanding singer and guitar player. I finally met him in Repertory Philippines when I joined the company. My first impression was that he was such a soft spoken, humble guy. Not at all the star that he was on screen. In fact he was humble to a fault. Always asking for prayers before a show, asking if his performance was ok. Of course every time he’d take to the stage he would shine. He would never take a compliment without passing a compliment back to you.”
Gemora was lead player when he shared the stage with Cocoy Laurel in Pippin. “In West Side Story where he was Tony, I played his best friend Riff. We alternated as Che Guevarra and Magaldi in Evita. Then we played enemies in Les Miserables where I was Javert to his Jean Valjean. I saw him as The Engineer in Australia’s Miss Saigon. He was marvelous.”
Audie has a special bond with Celia Diaz-Laurel because they were fellow Ilongos. “We were always chatting in our native dialect. Cocoy was the only Laurel child who could speak Ilonggo fluently.”
Sadly, the last time he saw Cocoy was a month and a half ago at his sister Suzie Delgado’s wake.
Audie told the Diarist.ph: “This generation does not know him anymore. So, let me tell them that Cocoy Laurel was the original romantic leading man of Philippine musical theater.”
Jamie’s sister, Monique Wilson posted on FB that she first met Cocoy when she was still a baby. “As a toddler I was an extra in your film Ophelia at Paris where my mom said I refused to walk in the mud for the scene.”
Like Jamie and Audie, Monique grew up in the Laurel home on Shaw Blvd. When she was 9, director Freddie Santos placed her on top of the grand piano and asked her to sing, and Cocoy accompanied her and encouraged her all the way. “Tita Bibot (Amador) and Tita Baby (Barredo) were there and that started my life in the theatre with Repertory Philippines.”
Before London at the Rep, Monique and Cocoy were in A Chorus Line together when she just 14. “Then what a thrill it was when I was 15 to play the mistress in Evita (and you as Che Guevara) and get to sing Another Suitcase in Another Hall with you onstage.”
Monique remembers that night in London where she was Kim and Cocoy essayed The Engineer.
After West End, Monique remembered the concerts she did with Cocoy.
Posted Monique in FB: “How blessed I have been to share music with you, to sing together, perform together, feel your artists heart up close, in your eyes as you looked into mine, our souls always speaking. How grateful I am that you always nurtured the sacred gift of our voice. How you found so much joy in it. How you loved to hear me sing, and exalted it. Fly high my beloved Cocoy. Sing and soar with the angels. Because you have always been one of them. The kindest, purest heart and most glorious human being and artist that I have ever known. Thank you for your voice, your art, and your heart.”
Lea Salonga also posted in FB: “Rest in peace, dearest Cocoy. Your kindness is what I’ll always remember about you, which made you such a perfect leading man. I met you when I was only 6 years old when you played Lun Tha in The King and I, and saw you play Perchik (Fiddler on the Roof) and Pippin so perfectly.”
Lea remembers the get-together nights in London. “You sat at the piano and played We Are a Family from Dreamgirls with so much enthusiasm and passion, as if to declare to those of us that we are part of something bigger than ourselves. And you did it all with love.”
Mav Rufino remembers Cocoy who was the musical director in the Assumption Class of 1969 and who took the same task as they celebrated the golden jubilee in 2019.
The Class of 1969 paid Cocoy this tribute: “Victor (Cocoy) Laurel left an unforgettable mark on each one of us. When we celebrated our Golden Jubilee in 2019, he along with our class choreographer created a song and dance presentation that was unique in artistry as it was dazzling in movement and color. We will try to follow your example of celebrating life and spreading joy with the music you played.”
(Cocoy Laurel’s inurnment took place last June19, 2025 after 1:30 PM Mass at the Santuario de San Antonio Parish, Forbes Park, Makati City.)