FEU presents Pundaquit Virtuosi in "The Seven Last Words by Joseph Haydn" on March 31

Far Eastern University through the FEU Center for the Arts presents the Pundaquit Virtuosi from Zambales in Haydn's Seven Last Words of Jesus Christ with reflections in between in the FEU Chapel surrounded by The Stations of the Cross, a National Cultural Treasure by National Artist Carlos "Botong" Francisco.

The FEU Center for the Arts (FCA) continues its Tutti Concert Series with Tutti Strings, featuring the Pundaquit Virtuosi from Zambales in a special Lenten performance of The Seven Last Words of Jesus Christ by Joseph Haydn.

Presented in partnership with the FEU Campus Ministry, this free concert will take place on March 31 at 5 PM at the FEU Chapel, offering the Tamaraw community a moving musical reflection in preparation for Holy Week.

FEU Chapel

Adding a unique dimension to the performance, each of the Seven Last Words will be accompanied by a short reflection delivered by representatives from the FEU Community.

Founded in the quiet coastal village of Pundaquit, San Antonio, Zambales, the Pundaquit Virtuosi is led by internationally renowned Filipino violinist Coke Bolipata. Through his vision, music education has become accessible to children in the community, transforming lives and nurturing young talents through classical training and performance opportunities. What began as a grassroots initiative has grown into a respected ensemble known for its heartfelt performances and advocacy for arts education.

Pundaquit Virtuosi

Stations of the Cross by Carlos "Botong" Francisco

Coke Bolipata

Reflecting on the significance of the featured piece, Bolipata shares, “Haydn’s Seven Last Words is a rare piece of music: one that invites stillness. It does not dramatize Christ’s suffering so much as meditates on it.”

Composed in 1786, Joseph Haydn’s The Seven Last Words of Christ is a deeply contemplative masterpiece originally written for Good Friday services in Cádiz, Spain. The work consists of seven sonatas, each reflecting one of Christ’s final utterances on the Cross, framed by a solemn introduction and a powerful concluding movement. Revered for its emotional depth and spiritual intensity, the piece invites listeners into quiet meditation through expressive melodies and profound musical storytelling.

The concert is open to all but with limited seats available through pre-registration via the QR code on the poster or the registration link below.

Interested attendees may also contact the FEU Center for the Arts through its official platforms for further inquiries.

Reserve your seat through this registration link: https://forms.office.com/r/Tb3m5a9W49.
For more info, follow the FEU Center for the Arts at https://www.facebook.com/FEUcenterfortheArts
Email: fca@feu.edu.ph

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Randy Ortiz Man #Unofficial40 Menswear show set on March 19

The show aptly titled "Randy O. Man" menswear collection is a bridge of the spring- summer and fall-winter for 2026 featuring club, lounge, leisure, and formal fits of various silhouettes using fresh and vibrant hues, cool and soft colors, warm and earthy tones, bold and darker palettes to capture each season.

 

The 'strictly by invitation' event is the 1st major men's show of Randy Ortiz which aims to reintroduce Men's Wear in the retail landscape and to cater to the ever growing vanity of the modern Filipino Man.

Randy O. Man will be staged and directed by Mr. Jackie Aquino of JCA Productions in collaboration with Ms. Angel Ortiz of AF Eventbiz in partnership with The Peninsula Manila.

The collaborators are Eric Maningat for grooming; guest DJ Bombi Balquiedra; furniture by Moodie; Lights and Sounds by Forsc Ink; staging by Ralph&Co; Avignon; Ralph's Wines; Lito Sy Photography; Jason Magbanua Film; video highlights by Amady; Emirates; Belo medical Group; SMB Premium Beers; Pilgrims Coffee; Memovid 360 Studio; MIB photo Studio; FIC Ice Cream; Linkage Inc; Ilumi Cosmetiques.

The sunset show features 30 of the best professional male and female local and international models plus surprise appearances of muses who are celebrities and prime movers in their respective industries.

Ms.Tweetie De Leon Gonzales and Ms.Apples Aberin shall present Randy O in an evening of precision men's and women's sartorial fused with music coming from a saxophonist, a mixture of DJ and reels combined with a live led broadcast and social media streaming.

For almost four decades, RANDY ORTIZ personally have experienced the best tailors in his career doing formal men's clothing as a regular part of their job for grooms, celebrities, top CEO's and public servants.

 

It is lucrative and a worthwhile endeavor but making contemporary, trendy ready to wear and really pushing the men's line of Randy Ortiz brand out there again for everyone is still part of his passion and dream.

Randy Ortiz was able to go mainstream in the 90's via Manila Hotel's Moda Maynila, an all men's collection which catapulted to the consciousness of the who's who of Manila.

The bespoke and off the rack menswear gained so much traction though it was avante garde that time when the Philippine men's Fashion was still confined to basics, classics, and simple outfits.

 

 

He pioneered as the first designer to revolutionize the way Pinoys view grooming and styling through precision men's sartorial and bespoke, putting colors and pieces together, shirts and vests with print on print, and more pieces that go beyond a typical male's comfort zone.

Fast forward to 2026, Randy sees and feel that the time is now - being fashionable is not only for women but for every Pinoy who is a go-getter, a fierce competitor, and a man on a mission.

Being in the industry for more than 38 years, Randy Ortiz noticed that Filipino men's fashion especially for the luxe and lifestyle segment has not been given its due attention in the last 10-15 years. But after the pandemic, a dramatic shift in the psyche of vanity among Pinoy men has expanded to Hair and Skincare, Fitness and exploring the unlimited boundaries of fashion.

Men now are vain - they aspire for dream cars, luxury watches which is a great synergy and partnership of the Randy Ortiz brand with the companies that cater to luxury and lifestyle.

Randy is now going full circle and going back to his roots as a men's designer - his first love and undoubtedly one of our core strengths as a designer.

It's a man's world right now, being boring and conservative is dated, men's penchant for the better things in life and looking great is a thing of the now and the future and Randy's brand is a solid fit for that vanity.

He will still be pushing the buttons and limits of Pinoy masculinity with a healthy restraint with his famous signature "randy dandy" which took retail by storm back then. And very soon, these collection will be available for retail.

The signature Randy O will always be there and his stamp will be a reflection of how the Philippines Men's Scene fashion has also evolved throughout the years.

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ROSÉ leads Levi’s “Behind Every Original” Campaign

Global denim brand Levi's continues to celebrate creativity and individuality with its latest campaign, “Behind Every Original.” At the center of the campaign is Rosé, the global star from BLACKPINK, who joins Levi’s as one of its global brand ambassadors.

 

The campaign highlights a collective of creators whose personal stories shape culture today. Through music, fashion, sports, and art, these individuals embody what it truly means to be original. “Behind Every Original” brings together a diverse group of ambassadors whose creativity continues to influence their respective industries.

“When I create something new, I start with myself. Each project begins with a clear vision—one I carefully shape and bring into the world,” shared Rosé. For her, originality begins with authenticity—something that perfectly aligns with Levi’s legacy of self-expression through denim.

Rosé’s artistry is rooted in intention and self-expression. Known for her distinctive voice and effortless style, she approaches every project with a strong creative vision. Her partnership with Levi’s highlights denim as a timeless staple—one that evolves with the person wearing it. In the campaign, Rosé brings a refined yet relaxed aesthetic, showing how classic denim pieces can feel both personal and modern.

Artist Doechii represents bold creativity. Her fearless approach to music and style reflects the same spirit of individuality that Levi’s has championed for generations.

NBA star Shai Gilgeous-Alexander brings a multidisciplinary perspective to the campaign, drawing inspiration from the world around him and translating it into his personal style.

For musician and producer Questlove, Levi’s is tied to a formative memory—one that ultimately played a role in the early days of The Roots.

Model Stefanie Giesinger represents relaxed authenticity, embracing denim in its most natural form—comfortable, personal, and timeless.

For decades, Levi’s has been more than a denim brand—it has been a symbol of individuality and cultural expression. The “Behind Every Original” campaign continues that legacy by spotlighting creators whose stories inspire others to embrace their own originality.

With Rosé leading the campaign alongside a global roster of artists and innovators, Levi’s reminds us that behind every iconic style is something even more powerful: the person who wears it.

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Dulaang UP’s thriving fresh Talents, returning Alumni and Collaborators

Dulaang Unibersidad ng Pilipinas (DUP) has been a home for Filipino theatre talent to flourish for almost 5 decades since its founding by National Artist for Theatre Tony Mabesa. Alumni and past collaborators have gone on to pave their own unique paths in the creative and entertainment industry, some taking their learnings to explore other fields as well. Whether the artist performs, directs, writes, designs, researches or manages, passion and out of the box thinking is embedded within the DUP training into each student and colleague.

In their 48th Theatre Season, “Paano umuwi nang may pagpapasya?” Dulaang UP picks up on probing the question of intentionality in coming home through looking back at their humble beginnings building upon the nearing 50th Theatre Season. Sir Tony’s legacy lives on with the university-based company bringing their student-artists, collaborators, and alumni at the forefront, initiated by their recently staged first ever all student-led twin-bill production, Para Kay Tony: Tungo sa Ginintuang Alaala, A Tribute to our National Artist for Theatre Tony Mabesa.

Continuing the discourse on homecoming and widening their student spaces, their production in the works is a revival of UP Playwrights’ Theatre (renamed to DUP Playwrights now on its 29th Theatre Season): Ang Kaliitan ng Kasalukuyan, written and directed by Don Carlos Palanca Memorial Awards for Literature multi-awarded playwright, returning alumni and newly-appointed Artistic Director, Arlo Deguzman.

Written from a place of diasporic experience, this piece is a powerful and contemporary work that tackles the emotional landscape of and an ode to our present day heroes, Overseas Filipino Workers (OFWs). These stories, embodied in movement and lyric, aim to negotiate the melancholically veiled struggles of an OFW: a father’s frustration from unending remittances, a mother seeking to make the sacrifice worthwhile, a sister negotiating the promise of separation, and a son bearing the silence of a deafening burden. DUP invites us to contemplate on our origins and bids for connection and home.

Industry professionals and students will work more closely with each other as alumni, returning and new guest artists lead the ensemble with Sandino Martin, Tess Jamias, Fermin Villegas, Sheryll Ceasico, Marichu Belarmino, Jojo Cayabyab, Hazel Maranan, Domileo Espejo, and Mitzie Lao. Current artist-scholars Kerr Allen, Angel Manansala, Raymond Aguilar, Julianne Quimio, Ralph Onrubia, Janae Delos Santos, and Cy Guerrero craft their own creative footprint alongside the professionals.

The artistic team is likewise a team of alumni, previous guest artists, and artists-in-training — from freshmen to graduating students. Joining Arlo Deguzman are Angel Dayao for Music Direction and Sound Design — together with Neil Shane Alcain and Jisu Jang, siglo for Puppetry Design, Jonas Gabriel Garcia for Dramaturgy, Kirby Dunnzell as Movement Collaborator, Dan Wesley as Associate Movement Collaborator, Aaron Misayah leading the Scenic Design, Tilda Oreta for Costume Design, Third Salamat for Lighting Design, and Jada Bartolome for Projection Design.

The production will run from March 12, 2026 to March 29, 2026 at the IBG-KAL Theater, UP Diliman; Thursdays and Fridays at 7:30PM, and Saturdays and Sundays at 2:30PM and 7:30PM. Tickets are available via Ticket2Me.net and direct purchase (https://bit.ly/AKKDirectPurchaseForm) with the following prices:

• Php 1,000 - Regular Price
• Php 800 - PWD / Senior Citizens / Non-UP Students
• Php 700 - OFWs—current and former, ticket is transferable; available via direct purchase
• Php 650 - UP Community (Students and Employees): Friday–Sunday shows; available via direct purchase
• Php 550 - UP Community (Students and Employees): Thursday shows; available via direct purchase

Note that discounts/promos are not stackable on each other.

Follow Dulaang UP's social media pages Facebook, Instagram and Tiktok

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PETA’s Control + Shift: Changing Narratives StudioLab A Brave Exploration on Narrative Change

With a decades-long commitment to telling Filipino stories, the Philippine Educational Theater Association (PETA) is once again redefining the power of People’s Theater. This April, PETA’s Control + Shift: Changing Narratives returns to the PETA Studio Theater from April 10 to 19, 2026. Featuring a "StudioLab" of fresh stories and restaging classics, the showcase invites audiences to reclaim the Filipino narrative.

Since its successful 2024 debut, followed by a month-long festival in 2025, Control + Shift: Changing Narratives has been pushing the boundaries of what theater can be. Through a unique collaboration between PETA artists, students, and community partners, this year’s StudioLab continues to tackle the tough questions of our time. It’s a creative space designed for crafting stories that confront the present, hold space for healing, and envision more humane and democratic futures.

This year, Control + Shift: Changing Narratives StudioLab presents two new works, a product of the PETA Artist-Teacher Training, alongside two returning pieces from last year’s festival, including one developed with a theater group from a community partner. The lineup includes:

Set A: When Power Falls into our Hands
In a classroom and a workplace, people discover how easily violence, corruption, and silence can become normalized. But when power falls into our hands, we also face a choice: to comply with the system or to interrupt it.

 

CLEANERS
Playwright: Jhudiel Clare Sosa
Director: Julio Garcia

A group of senior high students discovers that their graduation depends not just on cleaning classrooms but on how far they’re willing to go when violence, power, and truth land in their hands.

MONIT-OH! MONIT-AH! (Restaging)
Playwright: Herlyn Alegre
Director: Norbs Portales

A forum theatre piece that follows Jaylord, a rookie waiter hoping to win his boss’s favor through a Christmas monito-monita gift, only to uncover how seemingly harmless acts can feed into the larger, corrupt palakasan system—until one brave decision challenges the cycle.

Set B: When Care Becomes Survival
In war-torn landscapes and communities living at the edge of disaster, care becomes something embodied… shared through faith, ritual, play, and collective endurance.

 

Tanghalang Bagong Sibol’s AT NAGKATAWANG-TAO ANG VERBO (Restaging)
Playwright: Mikaela Regis
Director: Anthony Cruz

In a small urban fishing community along Ilog Tullahan, religious icons and biblical imagery come alive—not as distant saints, but as reflections of the people themselves—revealing how faith becomes flesh in the daily struggle for dignity, livelihood, and hope.

BAGA NG GUMUGUHONG LANGIT
Playwright: Anj Heruela
Director: Ian Segarra

Amid the chaos of war, orphaned children fight to survive in a world that has forgotten them, begging for care from communities pushed to the fragile edges of survival.

BE PART OF THE SHIFT!

Tickets are now available via Ticket2Me or bit.ly/CS2026Tickets. Rates are at Php 700 per set. For more updates, follow @petatheater on social media.

Complete Show Dates

Set A
Fri, 10 Apr. 2026 - 2:00 PM
Fri, 10 Apr. 2026 - 7:00 PM
Sun, 12 Apr. 2026 - 2:00 PM
Sat, 18 Apr. 2026 - 7:00 PM
Sun, 19 Apr. 2026 - 7:00 PM

Set B
Sat, 11 Apr. 2026 - 2:00 PM
Sat, 11 Apr. 2026 - 7:00 PM
Sun, 12 Apr. 2026 - 7:00 PM
Sat, 18 Apr. 2026 - 2:00 PM
Sun, 19 Apr. 2026 - 2:00 PM

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Shop All-Out at SM City Marikina’s 3-Day Sale

Get ready for an all-out shopping weekend as SM City Marikina brings back its much-awaited 3-Day Sale happening on March 13, 14, and 15. It’s the perfect time to pursue your gala plans, discover exciting promos, and enjoy bigger savings from your favorite stores.

From fashion must-haves and beauty finds to gadgets, home essentials, and everyday favorites, shoppers can enjoy discounts of up to 70% off mall wide. Whether you’re shopping for yourself, looking for gifts, or simply spending a fun day at the mall, this is the moment to max out the deals and enjoy a rewarding shopping experience all for you.

Every ₱1,000 single or accumulated purchase earns you an e-raffle entry for a chance to win exciting prizes. Make the most of your visit by dropping by during the weekend, when shoppers can max out their chances with double e-raffle entries on Saturday and Sunday.

You can also earn more entries while dining or catching a movie. Get one (1) e-raffle entry for every ₱250 single-receipt purchase at the SM Foodcourt, and one (1) e-raffle entry for every purchase of four (4) cinema tickets at SM Cinema—making your mall gala even more rewarding.

Shopping gets even better with exclusive perks at SM Store:

• Up to 50% off on select items
• Exclusive early access with extra 10% off for SM Prestige Cardholders on March 12
• SMAC Weekend with extra 10% off for SMAC Cardholders from March 13 to 15

Round up your shopping crew and go all out this March at SM City Marikina’s 3-Day Sale. With irresistible deals, exciting promos, and rewarding experiences waiting around every corner, it’s a shopping event designed all for you.

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OFW Realities Mirrored Through Theatre in Dulaang UP’s Ang Kaliitan ng Kasalukuyan

For many different reasons, Overseas Filipino Workers (OFWs) courageously make a living abroad for years and oceans away from their loved ones. Most venture far in high hopes of greener pastures for their families. They confront homesickness, loneliness, culture shock, language barriers and (frustratingly) even racism in their everyday lives. Our migrant workers endure this altogether as they are driven by the struggle of life in the homeland.

Deemed as the country’s “modern day heroes”, their remittances play an integral role in the economy. There is then a strong sense of dependence by the government on the taxes collected from our “heroes”. Sensibly, one might expect that currencies entering the country would elevate the collective Filipino way of life, but that is not the case even after decades of waging OFWs.

Their presence (or absence) has been normalized. It has become routine to see them out to the airport and greet them with Duty Free goods — often every Christmas or New Year’s season. Before leaving the country, they treasure moments at home as best as they can through feasting, meaningful conversations, and nostalgia walks. As they prepare to leave again, they take memorabilia and a new set of memories to sustain them in their workplace.

The solution to this cyclic and systemic problem is often grazed upon. Although media representations of their narratives are well-documented and shared through films, news broadcasts, social media sites, and television series, the conversation is lacking in the space of theatre.

Dulaang Unibersidad ng Pilipinas (DUP) aims to offer treatises in filling this void. Their production in the works, Ang Kaliitan ng Kasalukuyan, was written and directed by Don Carlos Palanca Memorial Awards for Literature multi-awarded playwright and DUP Artistic Director, Arlo Deguzman. A returning alumni, not only does he head home and pay his services forward to his alma mater, but also picks up where he left in the country having been a migrant worker himself for almost two decades across fifty countries.

Written from a place of diasporic experience, the piece is a powerful and contemporary work that tackles the emotional landscape of and an ode to our OFWs. These stories, embodied in movement and lyric, aim to negotiate the melancholically veiled struggles of a migrant worker: a father’s frustration from unending remittances, a mother seeking to make the sacrifice worthwhile, a sister negotiating the promise of separation, and a son bearing the silence of a deafening burden. DUP invites us to contemplate on our origins and bids for connection and home.

Perhaps this allows you to ponder on life in the Philippines or abroad and would lead you to questions or answers sought after. You might even find comfort in knowing some of the cast and crew had been an OFW, had thought (or is thinking) of being one, or longs for a loved one abroad. Whether you are an OFW or not, a story relative to yours will be told live through theatre that will certainly evoke in you a sense of yearning.

With the increasing tensions around the globe, the safety of our OFWs is then at risk — it is Dulaang UP’s hope that fellow countrymen be home safe, live and labor in their homeland with dignity and justice. Ultimately, for that time where all Filipinos are happy at home, without needing to leave, could come.

The production will run from March 12, 2026 to March 29, 2026 at the IBG-KAL Theater, UP Diliman; Thursdays and Fridays at 7:30PM, and Saturdays and Sundays at 2:30PM and 7:30PM. Tickets are available via https://bit.ly/AngKaliitanNgKasalukuyan2026 with the following prices:

• Php 1,000 - Regular Price
• Php 800 - PWD / Senior Citizens / Non-UP Students
• Php 700 - OFWs—current and former, ticket is transferable; available via direct purchase
• Php 650 - UP Community (Students and Employees): Friday–Sunday shows; available via direct purchase
• Php 550 - UP Community (Students and Employees): Thursday shows; available via direct purchase

Please note that discounts/promos are not stackable on each other.

Follow and stay tuned to Dulaang UP's social media pages Facebook, Instagram and Tiktok.

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A Story That Came Home: The Heart Behind The Moon and the Bakunawa

When Arlene Abuid-Paderanga first watched The Moon and the Bakunawa during its run in Australia, she did not realize she was witnessing a story that closely reflected her own life.

Onstage was the story of Mamay and her son Benny (Tonyong)—a mother living with dementia and the son who has devoted eight years of his life to caring for her. Written by Nitoy Chan Jr., the play weaves together the emotional realities of dementia caregiving with the haunting beauty of Philippine folklore, particularly the legend of the Bakunawa, the mythical serpent believed to swallow the moon.

For Abuid-Paderanga, the experience was deeply personal. She had once been a caregiver to her own mother who battled dementia. She knew the repetition of stories, the quiet ache of watching memories fade, and the kind of love that stretches beyond exhaustion. The script’s honesty and restraint moved her profoundly—and in that moment, she made a promise to herself that the story had to come home.

That promise now finds its fulfillment as The Moon and the Bakunawa is staged at AIMS, where the institution has been steadily building its arts programs through its Bachelor of Arts in Theater and Bachelor in Dance. For Abuid-Paderanga, presenting the play at AIMS is more than a production decision; it is a meaningful alignment of art and advocacy. The staging places a powerful narrative about memory, identity, and caregiving within an academic environment dedicated to cultivating both artistic skill and empathy.

The production also brings together a cast whose own journeys echo the emotional depth of the story. Divina Cavestany reprises the role of Mamay after being part of the play’s original run in Australia. A longtime friend of the playwright, she returns to the character with renewed purpose, seeking to portray the emotional terrain of dementia with honesty and compassion for Filipino audiences.

Divina Cavestany

Phil Panganiban steps back onstage after years of observing and critiquing theatrical productions from the sidelines. His portrayal of Tonyong marks a personal return to storytelling—this time experiencing the weight of the narrative from within rather than as an observer.

Phil Panganiban

Joining him in the role is Remus Villanueva, whose participation marks a meaningful comeback to performance. His interpretation of Tonyong brings layered nuance to the portrayal of a queer son navigating love, responsibility, and emotional fatigue while caring for a parent.

Remus Villanueva

At its core, The Moon and the Bakunawa is a simple and intimate story: a mother, a son, and a home filled with memories that repeat and slowly fade. The production embraces minimalism, allowing the story’s emotional truth to take center stage. Through its use of folklore, memory loss becomes a poetic metaphor—like the moon swallowed by the Bakunawa, Mamay’s memories dim and reappear, altered but never entirely gone.

Despite its modest scale, the play carries a powerful message. Dementia remains one of the least understood and least discussed conditions within many Filipino families, and caregivers often carry their burdens quietly. By bringing this story to the stage, the production hopes to open conversations about memory, caregiving, and mental health.

For Abuid-Paderanga, producing the show is both tribute and responsibility—a way of honoring her mother and recognizing the countless caregivers who remain beside loved ones as memories slowly fade.

Arlene Abuid-Paderanga

The Moon and the Bakunawa ultimately reminds audiences that even when memory disappears, love endures—and that sometimes the most powerful stories are the quiet ones that stay with us long after the curtain falls.

The Moon and the Bakunawa runs on April 15–16 and April 25–26, 2026, with performances at 3:00 PM and 7:00 PM, at the Jayne Offemaria-Abuid Auditorium, AIMS Tower, Pasay City. Tickets are available at https://ticket2me.net/event/22883.

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Dulaang UP’s Revival of UP Playwrights’ Theatre

Looking toward the company’s longevity in providing relevant and powerful theatre works to the people, more so as their 50th Theatre Season approaches, Dulaang UP’s invitation is a communal celebration of their students, alumni, and previous collaborators. Initiated in their recent run of DUP Classics’ Para Kay Tony: Tungo sa Ginintuang Alaala, A Tribute to our National Artist for Theatre Tony Mabesa, the first ever all student-led process and choice of plays tackling oppressive authorities were the message. The production was a display of how far Dulaang UP has transformed through its decades of ups and downs to become a space for sharp questioning and nurturing curiosity — as the late DUP Founding Artistic Director Sir Tony envisioned the program.

Dulaang UP’s 48th Theatre Season, “Paano umuwi nang may pagpapasya?” picks up on probing the question of intentionality in coming home through looking back at DUP’s humble beginnings. Sir Tony’s legacy lives on with the revival of UP Playwrights’ Theatre, renamed to DUP Playwrights now on its 29th Theatre Season, through the play, Ang Kaliitan ng Kasalukuyan, written and directed by Don Carlos Palanca Memorial Awards for Literature multi-awarded playwright and our Artistic Director, Arlo Deguzman.

Written from a place of diasporic experience, this piece is a powerful and contemporary work that tackles the emotional landscape of and an ode to our present day heroes, Overseas Filipino Workers (OFWs). These stories, embodied in movement and lyric, aim to negotiate the melancholically veiled struggles of an OFW: a father’s frustration from unending remittances, a mother seeking to make the sacrifice worthwhile, a sister negotiating the promise of separation, and a son bearing the silence of a deafening burden. DUP invites us to contemplate on our origins and bids for connection and home.

Perhaps this allows you to ponder on life in the Philippines or abroad and would lead you to questions or answers sought after. One might even find comfort in knowing some of the cast and crew had been an OFW, had thought (or is thinking) of being one, or longs for a loved one abroad. Whether an OFW or not, a story relative to yours will be told live through theatre that will certainly evoke in you a sense of yearning.

The production will run from March 12, 2026 to March 29, 2026 at the IBG-KAL Theater, UP Diliman; Thursdays and Fridays at 7:30PM, and Saturdays and Sundays at 2:30PM and 7:30PM. Tickets are available via https://bit.ly/AngKaliitanNgKasalukuyan2026 with the following prices:

• 1,000 PHP Regular Price
• 800 PHP PWD / Senior Citizens / Non-UP Students
• 700 PHP for OFWs—current and former, ticket is transferable; available via direct purchase
• 650 PHP UP Community (Students and Employees): Friday–Sunday shows; available via direct purchase
• 550 PHP UP Community (Students and Employees): Thursday shows; available via direct purchase

Note that discounts/promos are not stackable on each other.

A Full Theatre Experience Outside of the Theater
Dulaang UP’s young platforms, DUP Social1 and DUP Studio2 have more in store for patrons and art enthusiasts in this offering — all free admission! Listed below are some programs to look out for:

DUP Social

1. PeliDula: Theater & Migration Series – an initiative to bring pro-shot recordings of previous DUP productions from the archives to the screen. Three plays aligning with the theme of migration will be featured prior to Ang Kaliitan ng Kasalukuyan’s showdates, to be announced soon.
2. Arts Market – DUP’s community of artist-makers and entrepreneurs is blossoming and their space widens to accommodate more concessionaires! Events such as Lirika’t Lahok, where invited performers share their talent to audiences before the show, continue through the Arts Market space. Interested merchants can sign up or inquire through Dulaang UP’s social media pages.

DUP Studio

1. Networking Night – a cross-college networking event for UP Diliman’s many art and design majors. If you major in music, dance, fine arts, art studies, clothing technology, or literature, you are more than welcome to participate and meet like-minded creatives!
2. Contemporary Plays from Around the World: Staged Reading Series – a platform where participants are exposed to contemporary plays and interpret the pieces from different lenses.
3. Backstage Tours — done every Sunday during the show weeks. Gives an opportunity for audience members to explore the inner workings beyond the stage. They get to explore the stage and meet backstage crew and their designated work areas.
4. Critical Platform Writing Workshop — a writing workshop and competition for aspiring student writers to be welcomed in a space that boosts their knowledge, expertise and craft for critical writing. The participants will be asked to participate in a one-day workshop wherein they will be taught and given activities to test and practice their critiquing skills.

Stay tuned to their social media pages for announcements and ticket promo updates on Facebook, Instagram, and Tiktok

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A Critical Review of the FEU Theater Guild's "Bangaw"

Bangaw by the FEU Theater Guild once again demonstrates the organization’s remarkable ability to transform a stage into a powerful space for reflection, tension, and social commentary. Through its deliberate staging, inclusive writing, thematic depth, and emotionally charged musicality, the production delivers a theatrical experience that is both visually compelling and intellectually provoking. It is not merely a retelling of a narrative drawn from literature, but a vivid confrontation with the complexities of human nature and power.

One of the most striking aspects of Bangaw is its staging. The use of a makeshift cage as the central scenic element immediately establishes the symbolic framework of the play. The cage functions not only as a physical structure but as a metaphorical arena—an enclosed battleground where the characters’ moral struggles, ambitions, and conflicts unfold. Its presence suggests confinement, surveillance, and inevitability, reinforcing the idea that the characters are trapped within the consequences of their own decisions.

Equally powerful is the decision to have the cast lined up while facing the audience, holding direct eye contact with them. This staging choice breaks the illusion of distance between performer and spectator. It subtly communicates that the story being told is not isolated within the fictional world of the stage. Instead, the performers seem to challenge the audience: this is not just their story—it is our story. By inviting the audience into this shared gaze, the production transforms spectators into silent participants, prompting them to examine their own roles within the social dynamics the play critiques.

The writing and adaptation also deserve commendation for their thoughtful inclusivity. The presence of female characters within the cast does not feel forced but rather integrated into the narrative in a way that enriches the dynamics among the characters. In addition, the inclusion of a gay character reflects a conscious effort toward representation, acknowledging the diversity present in contemporary society. Rather than existing merely as symbolic tokens, these characters contribute meaningfully to the development of the story and the emotional texture of the performance.

The early scenes of the play are particularly effective in establishing the relationships among the characters and setting the foundation for the central conflict. The writing carefully constructs the conditions that eventually lead to their fragmentation and division. As the narrative progresses, the audience witnesses how fragile alliances, conflicting ideals, and personal ambitions slowly unravel the group. The tension builds organically, making the eventual disintegration of unity feel both inevitable and tragically human.

At its thematic core, Bangaw remains faithful to the philosophical concerns of William Golding's novel. It explores the complicated question of lawlessness and the consequences that arise when order collapses or is forcefully imposed. The play suggests that the true danger does not lie solely in the absence of rules, but in the human hunger for power. What begins as an intention to establish order and stability can gradually become corrupted by greed and control. The characters’ descent into moral compromise illustrates how authority, when unchecked, can consume the very individuals who once sought to use it for good.

This thematic exploration resonates strongly with contemporary audiences. It reminds us that power is rarely neutral; it is capable of reshaping identities and distorting intentions. The production therefore becomes more than a narrative about a group of individuals—it becomes a cautionary reflection on leadership, governance, and the human tendency to prioritize dominance over collective welfare.

As a musical, the production further intensifies these themes through its use of song. The musical numbers are structured in a way that mirrors the emotional trajectory of the characters. The songs gradually grow more aggressive and intense, reflecting the rising anger and desperation within the group. Each musical sequence pushes the tension closer to its breaking point, building toward a climactic emotional peak.

What makes this musical approach particularly effective is the sudden collapse that follows this peak. Once the height of anger is reached, the emotional energy abruptly plunges downward. This dramatic shift emphasizes the destructive consequences of unchecked rage and conflict. By the time the music settles, the audience is left with the haunting realization that no one truly emerges victorious—everyone becomes a casualty of the chaos that has unfolded.

In conclusion, the FEU Theater Guild’s Bangaw succeeds in delivering a performance that is both artistically compelling and thematically resonant. Through its symbolic staging, inclusive and thoughtful writing, faithful engagement with the novel’s ideas, and emotionally powerful musical structure, the play invites audiences to reflect on the fragile balance between order and power. It challenges viewers to confront an uncomfortable truth: that the forces driving the characters toward division and destruction are not distant or fictional, but deeply rooted in the realities of human society itself.

More than just a performance, Bangaw stands as a meaningful theatrical experience—one that deserves to be witnessed. Audiences who appreciate thought-provoking theater, powerful ensemble performances, and socially relevant storytelling should take the opportunity to see this production while it is running. By watching it live, viewers can fully experience the intensity, symbolism, and emotional depth that the FEU Theater Guild has masterfully brought to the stage.

Bangaw runs on these dates with the following ticket prices:

March: 5, 6, 7, 12, 13, 14, 19, 20, 21, 26, 27, 28
April: 9, 10, 11, 16, 17, 18, 23, 24, 25

The house will open at 6 PM and the show will start at 6:30 PM.

Ticket Prices:
₱100 – Students from FEU (all branches)
₱200 – Students from outside FEU Manila
₱500 – Regular Guests
₱700 – VIP

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Anne Hathaway’s eerie pop thriller ‘Mother Mary’ arrives in Philippine cinemas this April

Anne Hathaway's pop psychological thriller Mother Mary, will hit Philippine cinemas on April 22, 2026, exclusively distributed by CreaZion Studios.The announcement comes alongside the release of its official Philippine trailer and poster.

Hathaway (Interstellar, The Devil Wears Prada) stuns as the titular global pop icon in this new, ambitious film produced by A24. The full synopsis goes: “Long-buried wounds rise to the surface when iconic pop star Mother Mary reunites with her estranged best friend and former costume designer Sam Anselm (Black Panther: Wakanda Forever’s Michaela Coel) on the eve of her comeback performance.” The film makes the viewers curious - how much of your soul are you willing to lose for fame and vanity?

Mother Mary is written and directed by David Lowery (The Green Knight, A Ghost Story). The filmmaker takes viewers to a musical journey in the backdrop of an unlikely reunion between former friends, while exploring the haunting effect of long-lost formidable connections. The movie features original music by Charli XCX, Jack Antonoff, and FKA Twigs, who also acts in “Mother Mary”.

The singles “Burial”, performed by Hathaway; and “My Mouth is Lonely For You” by Twigs, will be released in March. Meanwhile, the film’s digital soundtrack, featuring seven songs, will drop on Hathaway’s music streaming accounts in April. Mother Mary also showcases an impressive cast that includes Hunter Schafer (Euphoria, The Hunger Games: The Ballad of Songbirds & Snakes), Kaia Gerber (Babylon, Shell) and FKA Twigs.

 

Mother Mary is the second A24 title CreaZion Studios is bringing to Filipino audiences this year. It has recently announced BACKROOMS with a Philippine release date on June 3. The acquisition of these highly-anticipated films is part of the company’s #KwentoMoTo mission to make “Human Stories and Human Experiences” accessible to Filipino and Southeast Asian audiences.

“Whether you are a fan of elevated genres or you simply want to have a good time watching a movie, CreaZion Studios got you covered with an exciting lineup of film offerings that can be enjoyed on the best screen and great surround sound possible, in cinemas near you,” said RJ San Agustin, President and CEO of CreaZion Studios.

“By bringing in the most disruptive and talked-about films to the country and Southeast Asian (SEA) region, CreaZion Studios hopes to bridge human stories and experiences to this side of the world,” he added.

Last year, CreaZion Studios successfully brought to the domestic and SEA markets the critically-acclaimed filmmaker Park Chan Wook’s No Other Choice and A24 fantasy adventure film The Legend of Ochi; and in 2024, the award-winning body horror film The Substance.

For more updates, follow CreaZion Studios on Facebook, Instagram, TikTok, X, and YouTube and visit creazionstudios.com.

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The 26th Philippine International Hot Air Balloon Fiesta: 22 Special-Shaped Balloons, Daring Drone Races & Spectacular Night Glows

Nothing compares to the sky spectacle only the original fiesta can deliver — where sky champions rise, glowing nights dazzle, and a sky full of dreams soars higher than ever. 🎈✨

The 26th Philippine International Hot Air Balloon Fiesta transformed the skies over New Clark City  into a vibrant showcase of aviation excellence, thrilling competitions, and world-class entertainment.

22 Special-Shaped Balloons Take Flight
A spectacular lineup of 22 special-shaped hot air balloons from around the world floated above the festival grounds, drawing thousands of spectators to the iconic dawn mass ascension. From whimsical characters to towering novelty designs, the balloons turned the morning sky into a moving canvas of color.

In the hare and hound hot air balloon competition, Thomas Grubbstrom from Sweden emerged as champion, followed by Joao Justo from Brazil in second place and Coen Heuvel from The Netherlands, in third. Their precision flying and strategic maneuvering impressed judges and festivalgoers alike.

Cultural Opening and Aviation Inspiration
The Fiesta opened with a dynamic cultural performance by the Bamban Street Dancers celebrating Filipino heritage, setting the tone for a weekend that honored both tradition and innovation.

Bamban Street Dancers

The festival also featured aviation career lectures that inspired aspiring pilots and aviation professionals. Captain Frank Desiderio, Executive and Business Jet Pilot, delivered a talk on “The Future of Filipino Aviators.” He was joined by Alfred Martin Hermosilla (Air Traffic Management Officer III), Dennis O. Enriquez (Flight Dispatcher), Brent Louis Palisoc (Quality Manager), Nicole Anne Manalang (Cabin Crew), Capt. Sergio Venuti (A320/321Type Rating Examiner (TRE)), Capt. Edgardo G. Bartolo (Acting Chief of the Airmen Examination Board at CAAP), Victoria Emmanuel Angeles (Flight Instructor), Cecile H. Hurtado (Air Traffic Controller), Samantha Beatrice M. Medina (Cabin Crew), Capt. Frank Desiderio (Executive/Business Jet Pilot), Capt. Raschel Uy (Cabin Crew turned Pilot), Ben Marie Alli Jr. (Director of Maintenance), and Neil Joaz Lagundino (Air Traffic Management Officer I). Each speaker provided valuable insights into the diverse pathways within the aviation industry.

Capt. Frank Desiderio gives a talk on "The Future of Aviation" for aspiring pilots and aviation professionals. 

High-Speed Action on Land and in the Air
Beyond the balloons, the festival grounds buzzed with excitement. A car showcase and drifting exhibition thrilled motorsport fans, while drone racing competitions demonstrated remarkable speed and control.

In the Paragliding Accuracy Competition, Team Legit, composed of Jokohsuprianto Nasir Villanueva, Realino Indapan, and Junrey Cambal, claimed the championship title. Team Triyo secured second place, followed by Team Amaya in third and Team UAE in fourth.

In the Singles Category, Joey Galao of the Philippines won first place, with Junrey Cambal placing second and Jokohsuprianto Nasir Villanueva finishing third.

The FPV Drone Race Competition featured standout performances from Minseo Lee of South Korea, Siyang Peng of China, and Chun-Yan Stephen Kwan from Hong Kong.

Adding a futuristic highlight to the program, Kyxz Mendiola showcased the Kyxz Hoverbike in a live demonstration that captivated audiences and offered a glimpse into the future of personal flight.

Kyxz Mendiola demonstrating the hoverbike

Family Attractions and Valentine Highlights

Festivalgoers enjoyed a wide range of attractions throughout the venue, including thrilling fly-bys, parrots on display, a lively fly market filled with souvenirs, a Drone Soccer demo, and kite-flying activities for children and adults.

Flyby

Drone Soccer

Couples celebrated love under the open sky during the special Valentine Dinner, creating a romantic atmosphere unique to the Fiesta experience.

Night Glow, Concert, and Fireworks Finale
As evening descended, the much-anticipated Hot Air Balloon Night Glow and Concert illuminated the festival grounds in partnership with NUSTAR Online. Balloons lit up in synchronized brilliance while live performances by Pixie, KO Jones, Sound of Hera, Project March, Asa, and Barabas energized the crowd.

Night Glow

Pixies perform song and dance to entertain the crowd

The celebration concluded with a spectacular fireworks display that lit up the Clark skyline and marked a triumphant close to the 26th edition of the Fiesta.

Sharing the Joy of Flying
True to its advocacy of making aviation accessible and inspiring to all, the PIHABF organizing committee extended complimentary invitations to two orphanages, Munting Tahanan ng Nazareth and Rehoboth Children’s Home. A total of 72 beneficiaries, composed of children and their guardians, were welcomed as special guests during the event.

With its mission of sharing the Joy of Flying with everyone, the organizing committee sought to give these young guests the opportunity to witness and appreciate the airshow firsthand. For all of the children, it was their first time seeing hot air balloons and aerobatic displays up close, making the happy experience both memorable and deeply meaningful.

A Celebration of Dreams Taking Flight
For Event Director Capt. Joy Roa, the 26th edition was a powerful reminder of the festival’s enduring mission.

Capt. Joy Roa

“This Fiesta is not just about balloons filling the sky,” said Capt. Joy Roa. “It is about inspiring dreams, supporting the next generation of Filipino aviators, and bringing families together through the magic of flight. Seeing thousands of people look up in wonder reminds us why we continue to grow this celebration every year.”

With record participation, world-class competitions, and unforgettable performances, the Philippine International Hot Air Balloon Fiesta once again proved that it is more than an event. It is a movement that educates, elevates passion, and national pride.

Powered by Strong Partnerships
This event was made possible with the support of valued partners: Bases Conversion and Development Authority (BCDA) and New Clark City; FedEx as the Official Logistics Provider; Supporting Partners: The Philippine Sports Commission, and Prulife UK; Hann Resorts and Casino (Widus, Marriott, and Swissotel) as Official Hotel Partner; NUSTAR Online as Lifestyle Gaming Partner; Festival Friends McDonald’s Philippines, Converge, and DITO Telecommunity; Official Media Partners BusinessMirror, PTV4, and Asian Air Safari. Special thanks to Philippine Airlines.

As the 26th Philippine International Hot Air Balloon Fiesta comes to a close, it once again proves that it is more than a festival. It is a celebration of dreams, learning experience, innovation, and the enduring spirit of flight.

Stay updated with schedules, announcements, and festival news at www.philballoonfest.net. Follow the Fiesta on social media for sneak peeks and live updates: Facebook, Instagram, and Tiktok.

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