Theater Review: FEU Theater Guild’s "Karne"

I had the chance to watch FEU Theater Guild’s Karne, their powerful interpretation of Roald Dahl’s Lamb to the Slaughter, and I’m still in awe of this production.

Director Dudz Teraña with the cast of FTG's "Karne"

From the moment you step into the theater, you’re transported into a barrio home preparing for Christmas. A glowing capiz parol, twinkling lights on the fence, and a modest Christmas tree instantly set the mood. Before the show even begins, Mary (Julia Nicole Banaag) is already onstage, quietly observing the audience as they trickle in. Then, almost without notice, she moves to the working kitchen and starts chopping garlic and onions, blurring the line between performance and reality.

An actual working kitchen on set!

It isn’t just what you see that pulls you in. Soon, the savory aroma of garlic and onions sizzling in butter fills the theater. This sensory detail is unexpected but brilliant; it awakens your appetite and curiosity about what’s about to unfold. Later, the media and select audience members were even able to taste the adobo cooked onstage, making the experience not just theatrical but communal and deeply Filipino.

The play follows Mary, reeling from the sudden murder of her husband, Police Captain Patrick Patrosa (RB Pascua), a domineering military man whose pride and temper cast long shadows over their marriage. Three policemen—Lieutenant Elnar (Arvin Javier), Patrolman Enopia (Justin Abalos), and Patrolman Credo (Kirstan Orbegoso)—interrogate her, but their investigation also unravels layers of gossip and judgment from Mary’s circle of friends: Dante (Jharelle Villalobos), Ellen (Maria Ysabel Delos Reyes), and Maloi (Bjorn Pestaño). Their conversations, written in a mix of Tagalog, Bisaya, and English, capture the rhythm of everyday Filipino chismis. Instead of creating barriers, the shifting languages enrich the story and make it more authentic.

Patrick is written as the man you “love to hate.” Pascua’s sharp delivery, commanding presence, and toxic pride heighten the tension each time he enters the scene. In contrast, Banaag’s Mary radiates meekness and quiet warmth, especially when she is with her spirited friends. Their lively banter, along with the playful teasing of Estang (Helena Li), provides much-needed lightness against the play’s darker undercurrents. Samuel (Julian Anabo) and Mrs. Poblacion (Cassandra Herilla) also add depth to the social fabric of the story, showing how gossip, loyalty, and perception shape community life.

The world of Patrick’s military life also comes into focus, with clever nods to law enforcement culture and practices in the late 1970s. This period setting adds depth, inviting the audience to reflect on authority, control, and the lingering echoes of that era in today’s systems. During the post-show talkback, the creative choice to set the play in this decade became even clearer through the music, costumes, and cultural touchpoints woven seamlessly into the production.

A standout achievement is the set itself: a fully functional kitchen ingeniously built from recycled materials in the FTG warehouse. This sustainable approach shows resourcefulness without sacrificing realism. Under the guidance of director Dudz Teraña, the students were able to grasp the nuances of the time period, the metaphors of Dahl’s story, and the cultural resonances of their adaptation.

Me with the cast of FTG's Karne

Karne is a testament to the FEU Theater Guild’s creativity, discipline, and collaborative spirit. That such an ambitious, multi-sensory, and thought-provoking play was staged by a cast and crew composed mostly of students makes the production even more remarkable. It is both a triumph for the Guild and an inspiring reminder of how young theater artists can breathe new life into classic stories. To build on this momentum, Teraña has revealed that the next FTG season production will be Lord of the Flies, another bold choice that promises to challenge both performers and audiences.