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.

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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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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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Dulaang UP pays tribute to Tony Mabesa in twin bill ‘Para Kay Tony’

After the success of Nanay Bangis and Mga Anak ng Unos, Dulaang Unibersidad ng Pilipinas (Dulaang UP) returns to the stage by paying tribute to its founder and National Artist for Theater Antonio ‘Tony’ Mabesa. The tribute, titled Para kay Tony: Tungo sa Ginintuang Alaala, is a twin bill showcasing two productions that capture the spirit of Dulaang UP’s nearly five-decade history.

The first half of the twin bill is a staging of Kalahating Oras sa Isang Kumbento by legendary Filipino playwright Wilfrido Ma. Guerrero as translated by Lilia F. Antonio. The story follows Yolanda, a student at a convent school, who seeks comfort and companionship after being expelled.

UP Diliman Theatre Arts student Lloyd Sarmiento Uy serves as director, alongside director-mentor Erika Estacio. The cast includes Kris Caaya, Rona Lynne, Jan Magcaling, Paulyn Abando, Janna Talampas, Gena Suelto, and Sheryll Ceasico.

The second play in Para kay Tony features National Artist Rolando Tinio’s May Katwiran ang Katwiran. The plot centers on Senyor, a wealthy haciendero who persuades his servant to join him on a journey across the mountains. Along the way, they encounter obstacles that threaten their survival. The staging is led by Theatre Arts student MJ Briones with director-mentor Charles Yee. Acting in the play are Francheska Andaya, Julianne Quimio, Akin Cullarin, Pat Ebro, Kerr Allen, Camille Fabian, and Daniel Duplon.

Para Kay Tony is part of Dulaang UP’s 48th theatre season “Paano umuwi nang may pagpapasya?” The season is part of a multi-year initiative building to Dulaang UP’s 50th anniversary. Since its inception in 1976, Dulaang UP has been staging classic and experimental plays while providing a platform of artistic expression for the UP Diliman community.

Catch Para Kay Tony at the IBG-KAL Theater, University of the Philippines Diliman, on the following dates: November 15, 22, and 29 (2:30 PM & 7:30 PM) November 20, 21, 27, and 28 (7:30 PM) November 16, 23, and 30 (10:30 AM & 2:30 PM)

Tickets are priced at Php 1000 each and can be purchased through TicketMelon at bit.ly/DUPParaKayTony.

Interested patrons may also buy tickets onsite at the Dulaang UP Office at Pavilion 3, Palma Hall, University of the Philippines Diliman. UP students, faculty, and staff can enjoy a discounted rate of Php 500. If you’re interested in sponsoring student beneficiaries to watch Para Kay Tony, you may check bit.ly/DUP48_PKT_SponsorADreamer for inquiries.

For further information, contact dulaangup.marketing.upd@up.edu.ph. Sponsorship inquiries such as audience sponsorship and bulk tickets may be addressed to Ms. Anna Gamboa through the same email or through dulaangup_sponsorship.upd@up.edu.ph.

Dulaang UP may also be reached through phone at (02) 898 18500 loc 2449.

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"Romeo and Juliet, The Musical" all set to open on October 22 and 23

 The timeless tragedy of Romeo and Juliet comes alive this October as Kids Acts Philippines and MINT College proudly present “Romeo and Juliet, The Musical”—a fresh take on William Shakespeare’s most famous love story. The show will run on October 22 and 23, 2025 at St. Cecilia’s Hall, St. Scholastica’s College, Manila.

Adapted and given new lyrical life by Luigi Nacario, with music by Eugene Belbis and stage direction by Meldrig Costuna and Luigi Nacario, this production is designed especially for young audiences. True to the original folio, the staging will feature classic period costumes and sets while weaving in a unique blend of Western and Eastern musical influences. Shakespeare’s text remains intact, but with a simplified presentation that allows students and young theatergoers to fully appreciate the poetic language.

The production tells the legendary tale of two star-crossed lovers from rival families—the Montagues and the Capulets—whose romance blossoms amid a bitter feud in Verona. From their first fateful meeting to the heartbreaking finale, “Romeo and Juliet” explores the intensity of young love and the devastating cost of hatred.

This musical features a talented ensemble led by Noel Comia Jr. as Romeo, with Chelsea Sangco and AC Gamo alternating as Juliet. They are joined by a stellar cast including Ces Dela Cruz-Guevara, Faith Cabebe, Carlo Fabillar, Jhonsen Bognot, Terence Guillermo, Ivan Parcero, Bien Juni, and many more, along with a strong chorus of understudies and child narrators.

Noel Comia Jr.

“Romeo and Juliet, The Musical” promises to be both a literary and theatrical treat—an engaging introduction to Shakespeare for students and a vibrant reimagining for theater lovers of all ages.

📅 Regular Run: October 22–23, 2025 (2:00 PM & 6:00 PM)
📍 Venue: St. Cecilia’s Hall, St. Scholastica’s College, Manila
🎟️ Ticket Price: Php 1,200

Tickets are available via Ticket2Me. For inquiries, text/call 0945 148 8292 or email kidsactsphilippines@yahoo.com.ph. Follow Kids Acts Philippines on Facebook, X (formerly Twitter) at @KidsActs, and Instagram at @kidsactsphilippines.

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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.

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Karne: A Darkly Delicious Feast from FEU Theater Guild’s 91st Season

A darkly delicious twist on Roald Dahl’s classic, staged with Filipino classics: laughter and Adobo

This year, the Far Eastern University Theater Guild (FTG) is serving something bold, flavorful, and impossible to forget. Now on its 91st season, FTG presents Karne—an interactive dark comedy written and directed by Dudz Teraña, Senior Artist-Teacher of the Philippine Educational Theater Association (PETA) and FTG’s artistic director.

Step into the aromatic, simmering home of a 1980s Filipino couple, where every look hides a secret, every silence is heavy, and the kitchen’s simmering pots hold more than just stew. Karne invites you to pull up a chair to a feast where humor, tension, and mystery blend in perfect, if unsettling, harmony.

A Filipino Twist on a Classic
Inspired by Roald Dahl’s Lamb to the Slaughter, Karne moves the action to Lubotan, Zamboanguita, Negros Oriental in 1980, infusing the story with the textures, rhythms, and flavors of rural Filipino life. It’s absurd yet sincere, light yet laced with dread—a genre-bending mix of comedy, mystery, and intimate social commentary.

Full cast

Seamlessly blending Bisaya, Tagalog, and English, the play creates a living, breathing household you can almost smell and hear. “This play holds up a mirror to the lived realities of an individual, grounding itself in raw humanness,” says director Dudz Teraña. “It offers a more layered and flavorful approach to staging—bold in form, grounded in truth, and unapologetically relevant. Karne is not just something to look forward to; it’s an experience that lingers.”

What’s Cooking?
At the heart of the story is Mary and Police Captain Patrick Patrosa, a seemingly ordinary couple whose quiet evening at home begins to unravel—turning a simple dinner into a tangled reflection on love, expectations, and the fragile connections holding their lives and their community together.

Mary is portrayed by Maria Mayano (IAS’26), with Julia Nicole Ramas (FIT’26) and Janae Dionisio (IAS’28) alternating the role. Patrick is brought to life by RB Pascua (IAS’25), Aaron Bayani (IAS’25), and Arvin Javier (IAS’28).

The couple is joined by a colorful ensemble of friends, neighbors, and colleagues:
Dante – Jonas Cunanan (IAS’25), Renz Dotillos (IAS’26), Jharelle Villalobos (IAS’27)
Ellen – Dianne Andallo (IAS’26), Maria Ysabelle Delos Reyes (IAS’27)
Maloi – Bjorn Pestaño (IAS’26), Margarita Barrameda (IAS’26), Sheila Peralta (IABF’26)
Police Lt. Elnar – Arvin Javier (IAS’28), Shawn Tarala (IAS’27)
Patrolman Enopia – Kristian Samson (IAS’26), Justin Abalos (IAS’28)
Patrolman Credo – Dave Bambang (IARFA’29), Kirstan Orbegoso (IAS’27)
Mrs. Poblacion – Cassandra Herilla (IAS’27), Irish Oliveros (IAS’28), Trisha Tan (IAS’28)
Estong/Estang – Lorenze Moral (IAS’26), Nash Desonyo (FIT’28), Heleina Li (IAS’26)
Samuel, the market vendor – Julian Anabo (IAS’26), Migi Mesina (IAS’27)

Show Dates & Venue:
📍 FEU Center for the Arts Studio

Performance Schedule
September: 11–13, 18–20, 25–27
October: 2–4, 9–11, 16–18, 23–25, 30
November: 6–8
House Opens – 6:00 PM | Show Starts – 6:30 PM

Ticket Prices
₱200 – Students from outside FEU Manila
₱500 – Regular Guests
₱700 – VIP

Connect with FEU Theater Guild
Facebook: Far Eastern University Theater Guild
Instagram & TikTok: @feutheaterguildofficial
Twitter/X: @ftg1934

Whether you come for the laughs, the suspense, or the rich slice of 1980s Filipino life, Karne promises a meal—and a memory—you’ll carry long after the curtain falls.

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FEU Theater Guild brings Niyebe: Isang Musikal

The Far Eastern University Theater Guild (FTG) stages another Gabriel Garcia-Marquez short story as an experimental play for the opening of its 91st season.

NIYEBE: ISANG MUSIKAL is a groundbreaking production, featuring music and musical direction by Vince Lim, assisted by Jesus Singh III (IAS ‘17) for additional guidance and vocal coaching, choreography by Carlon Matobato, and choreography, adaptation, lyrics, and direction by Dudz Teraña, is set to captivate audiences from February 12 to March 27, 2025.

Against the backdrop of Europe's harsh winter, Niyebe: Isang Musikal tells the tragic story of newlyweds Billy Sanchez and Nena Deconte, whose honeymoon turns into a nightmare. A small scrape on Nena's finger leads to death! Stranded in a foreign land, Billy grapples with solitude, grief, and despair, forced to confront profound questions about existence, purpose, and identity in the aftermath of his wife’s sudden death. All this while, he battles the relentless bureaucracy that ultimately denies him the chance to see his wife one last time.

The musical production features a dynamic cast with Billy Sanchez played by RB Pascua (IAS ‘25) and Dave Bambang (IARFA ‘29), Nena Deconte by Kesiah Eunice Aritao (IAS ‘25) and Brigitta Claire Marilla (IAS ‘25), and the Narrator by Aaron Bayani (FIT‘25).

Also featured is a dynamic ensemble cast, whose collective talent and synergy will enhance the depth and vibrancy of the musical's narrative and performances.

Director and writer Dudz Teraña masterfully adapts García Márquez's story into a compelling theatrical experience that fuses music, movement, and rich storytelling. "Niyebe isn’t just a love story; it’s a reflection of how the fragility of happiness and loss can spiral into a deep existential crisis," says Teraña. "Reimagined as an experimental play, it employs a unique narrative style while delving into societal issues such as class disparity, which inspired García Márquez’s original work. Much like his other works, it speaks on existentialism, the questioning of one’s purpose after a sudden loss, and the wanting of escapism triggered by this loss."

The show's brilliance lies not only in its powerful performances but also in the dedicated work of its creative and production team. From the seamless execution by Stage Manager Maria Ysabel Delos Reyes (IAS ‘27) to the logistical coordination of Production Manager Janah Gervacio (IHSN ‘26), and House Manager Hans Fernandez, every aspect of the show is meticulously managed. The production’s aesthetic vision is brought to life by Production Design Head Kirstan Orbegoso (IAS ‘28) and Costume Designer Margarita Barrameda (IAS ‘26), and the technical team led by Technical Head Kristian Samson (IAS ‘26), with lighting design by Arvin Javier (IAS ‘28), sound by Gab Lazaro (FIT ‘27), and video projections by Shawn Tarala (IAS ‘27). Offstage, the show is supported by Marketing Relations Head Cassandra Herilla (IAS ‘27), Creative Head Julia Nicole Ramas (FIT ‘27), Multimedia Heads Davewyn Macawile (IAS ‘25) and Millicent Roxas (IAS ‘25), Media Relations Head Heleina Li (IAS ‘27), Collaborative Relations Head Irish Oliveros (IAS ‘28), and Social Media Manager Renz Dotillos (IAS ‘26), ensuring that Niyebe resonates with audiences both on and off the stage.

With a unique blend of captivating performances, evocative music, and innovative design, Niyebe is more than just a musical— it’s a deeply moving exploration of love and loss.

NIYEBE: ISANG MUSIKAL runs at the FEU Center for the Arts Studio on the following dates:

• February: 12-13, 19-22, 26-28
• March: 1, 5-8, 12-15, 19-22, 26-27

Prices are 100 PHP for the FEU Community, 300 PHP for student Guests, 500 PHP for Regulars, and 700 PHP for VIPs.

For reservations and inquiries, please contact the FTG through their social media pages:

Facebook: Far Eastern University Theater Guild
Instagram & Tiktok: @feutheaterguildofficial
Twitter: @ftg1934
Website: https://feutheaterguild.com

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Dulaang UP: “Nanay Bangis” fiercely opens this November 2024!

Dulaang Unibersidad ng Pilipinas is staging Nanay Bangis as its first offering for its 47th theatre season this November 15 to December 1, 2024. Directed by J. William Herbert Sigmund Go and adapted by Rody Vera from Bertolt Brecht’s “Mother Courage and Her Children,” Nanay Bangis is the story of a mother who loses her children to the conflict between the MNLF and the Philippine army from 1971 to 1981.

 This DUP CLASSICS’ Brechtian staging brings together returning UP alumni, now industry professionals, and young emerging talents from the theater program in this collaboration. Ge Malacaman Villamil leads as Nanay Bangis together with Air Paz, Rona Rostata, and Fred Layno. J. William Herbert Sigmund Go, former Tanghalang Pilipino Artistic Director and Virgin Labfest Co-founder also returns to Dulaang UP as director and mentor for theatre students.

Founded in 1976 by National Artist Tony Mabesa, Dulaang UP serves as the production arm of the UP Department of Speech Communication and Theatre Arts. In its 47th theatre season—subtitled “Amihan at Habagat,” DUP looks into how Filipinos are at the center of political and ecological precarity. Just like the amihan and habagat, this season’s productions show the push and pull in the critical zones of the Philippines today.

Presenting both tradition and innovation, this season introduces two banners under Dulaang UP: DUP CLASSICS and DUP INNOVATE.

Catch Nanay Bangis at the IBG-KAL Theater, University of the Philippines Diliman, on the following dates:

• November 15, 22, 29 (7:30 PM)
• November 16, 23, 30 (2:30 PM & 7:30 PM)
• November 17, 24, December 01 (10:30 AM & 2:30 PM)

For tickets, check [bit.ly/NanayBangisTickets]. PWDs and senior citizens may also enjoy a discounted rate of PHP 800. Regular, non-discounted tickets are also available via TicketMelon [ticketmelon.com/dulaang-up/nanaybangis].

For inquiries on show buying, audience sponsorship, and bulk tickets, contact Christen Perez at dulaangup.marketing.upd@up.edu.ph. Additional information will be posted at the Dulaang UP Facebook page.

*additional contributions by Marc Stanley Mozo and Jonas Gabriel Garcia

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Rosang Taba runs again this April - May 2024!

Dulaang Unibersidad ng Pilipinas is restaging the highly-acclaimed Kung Paano Nanalo sa Karera si Rosang Taba this April 19 to May 05 2024 in UP Diliman. Considered one of the Best Filipino Theatre of 2023, this reimagining of Dean Francis Alfar’s beloved children’s book by Maynard Manansala and Rody Vera showcases the power of storytelling to reclaim and celebrate one's independence.

A race between Rosa and her oppressors in the fictional world of the Katao ensues with her family’s freedom at stake. Directed by José Estrella, Issa Manalo Lopez and Mark Daniel Dalacat to fierce music and wit, the story of Rosang Taba is a story of how limitations can be overcomed when one has the will to fight for their liberty. How does an ordinary Katao beat a menacing commandant in a race? Come and witness Rosa do it!

A play for all ages, Rosang Taba is envisioned to be the race that every Filipino can run.

Dulaang Unibersidad ng Pilipinas has long been at the forefront of producing premiere theatre productions since it was established in 1976 by National Artist for Theatre Tony Mabesa. This production continues Dulaang UP’s celebration of women in its 46th Season Sidhi’t Silakbo. The season envisions women liberating themselves through a series of performances of freedom, fury, wit, rage, love and ruin.

Catch Kung Paano Nanalo sa Karera si Rosang Taba at the IBG-KAL Theater, University of the Philippines Diliman on the following dates:

April 19, 26, May 03 (7:30 pm)
April 20, 27, May 04 (3:30 pm & 7:30 pm)
April 21, 28, May 05 (10:30 am & 03:30 pm)

Tickets are available via Ticket2Me [ticket2me.net/event/21729].

For inquiries on show buying, audience sponsorship, and bulk tickets, contact Kate Dayag-Nonay at dulaangup.marketing.upd@up.edu.ph. Additional information will be posted at the Dulaang UP Facebook page.

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FEU Theater Guild’s 90th Year Celebration

The Far Eastern University Theater Guild’s (FTG) 90th season opened by exploring the intricacies of love in Tamdula VI: Love-Oratory and now restages Liza Magtoto’s “Agnoia” inspired by Eli Rueda Guieb III’s short story “Horoscope”. First performed in FEU in 2013, “Agnoia” delves into the fateful webbing of relationships and destiny and will be restaged in a more intimate setting. Witness how the themes of love and circumstance take on the characters of the Zodiac signs as the FTG marks this significant milestone in its illustrious history.

Mr. Dudz Teraña, the Artistic Director of the FTG, who is also a senior member of the Philippine Educational Theater Association (PETA), has been guiding the FTG since 2009, enhancing college experimental productions and occasionally incorporating full-length major plays that establish remarkable standards in the university theater scene. In honor of the organization’s 90th theater season, Teraña intends the current restaging of Agnoia to be an intimate encapsulation of the organization’s legacy.

“The way I created it [Agnoia], it was a really big production with lots of movement. Pero ngayon, I want to focus more on the text…on the acting…I wanted to highlight the celebration of the organization and not the play itself. The people who worked behind FEU Theater Guild all throughout the years.”

Step into the perplexing world of “Agnoia", where relationships’ secrets unfold like a cosmic tapestry. Horoscopes, behaviours, responses, affairs, and fates are woven together, revealing an intricate waltz of pronoia and agnoia. In this captivating play, gear up for a journey of the self as it mirrors larger-than-life dilemmas of family, identity, love, and fate itself.

The cast includes: RB Pascua (IAS ‘25), Arvin Javier (IAS ‘26), and Aaron Bayani (FIT ‘25) as Taurus, Martin Falqueza (IAS ‘24) and Kirstan Orbegoso (IAS ‘26) as Gemini, Drea Achas (IAS ‘24) and Dianne Andallo (ITHM ’26) as Cancer, Arvin Javier (IAS ’26) and Aaron Bayani as Leo, Maria Mayano (IAS’26) as Virgo, Meldy Malig (IAS’24) and Kesiah Aritao (IAS ’25) as Libra, Davewyn Macawile (IAS’25) and Jonas Cunanan (IAS ’25) as Scorpio, Adam Labador (IARFA ’26) and John Cedric Guevarra (IABF ‘27) as Sagittarius, Brigitta Marilla (IAS ‘25) and Evonne Gutierrez (IAS ‘27) as Capricorn, Caleb Flores (IAS ‘26) and Jharelle Villalobos (IHSN ‘26) as Aquarius, Julia Ramas (FIT ’26) and Jazzie Alejo (ITHM ’24) as Pisces, along with an additional transitionist character played by Lorenze Moral (IAS ‘26) and Renz Vanneze Dotillos (IAS ‘26).

None of this would be possible without the heads of Agnoia’s production team joined by their staff in their respective committees: Marj Uson (IAS ‘27) for Stage Management, Kirstian Samson (IAS ‘26) for Technicals, Maria Mayano for Production Design, Millicent Roxas (IAS ‘25) for Public Relations, and Aaron Bayani for Marketing. Lastly, the production is made possible by Far Eastern University and the FEU Center for the Arts.

Catch Agnoia at 6:00 PM on February 15, 16, 17, 22, 23, 24, 29, March 1, 2, 7, 8, 9, 16, 21, 22, & 23, 2024 at the FEU Center for the Arts Studio, Ground Floor, Engineering Building.

Tickets are priced at 200 PHP for the FEU Community and 400 PHP for guests.

Follow the FEU Theater Guild on their social media accounts:
Facebook: Far Eastern University Theater Guild
Instagram & Tiktok: @feutheaterguildofficial
Twitter: @ftg1934

Website: feutheaterguild.com

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2TinCans Philippines Brings Back Steel Magnolias in Cebu

2TinCans Philippines, Inc.’s production of the heartwarming classic, "Steel Magnolias" is back, and this time, it's promising to be even more captivating with a perfect blend of seasoned talent and fresh faces.

The restaging of “Steel Magnolias” is set on September 23 to 24 and October 7 to 8, 2023 at the Siddhartha Theater, Guang Ming Institute of Performing Arts, V. Rama Avenue, Cebu City.

Directed by Vincent Paul Diez Gaton, the cast is poised to deliver an unforgettable experience. Reprising their iconic characters are Charlene Virlouvet as Truvy Jones, Liana San Diego as Annelle Dupuy, Clariza Mae Sevilla as Shelby Eatenton-Latcherie, Yvette Yntig as M'Lynn Eatenton, and Marlinda Angbetic Tan as Clairee Belcher.

2TinCans Producing Artistic Director and producer of Steel Magnolias, Sarah Mae Enclona-Henderson,
is thrilled to introduce two dynamic additions to the cast. JoAnn Zaldumbilde will alternate as Clairee Belcher, and Che Solon as Ouiser Boudreaux.

“This exciting blend of talents promises to breathe new life into the Chinquapin community, where friendship, humor, and resilience reign supreme. With JoAnn and Che joining the cast, I am excited to see how they will infuse their characters with their own brand of brilliance,” Enclona-Henderson said.

"Steel Magnolias" is a tribute to the bonds of friendship, the strength found in adversity, and the indomitable human spirit. Its story resonates deeply to audiences of all ages, and with this exceptional cast, 2TinCans assures a powerful and moving theatrical experience.

Director Gaton promises the audience new and deeper insights into the characters and their relationships. “The new cast members bring a different flavor to the beloved characters, and I have chosen a new and different approach to some scenes or their subunits,” he added.

2TinCans is a Cebu-based theatre communications company, which offers top-of-the-line transformational and socially relevant experiences that seek to communicate advocacies, brands, and campaigns. It also endeavors to provide a creative sanctuary and platform for artists, audience, and industry development.

For ticket information and seat reservations, please visit https://2tincans-philippines.yapsody.
com/. For updates and information, call (0915) 043 7403 or steelmagnolias@2tincans.ph and look for Kaye Alturas.

You may also visit https://www.facebook.com/2tincans.ph and https://www.instagram.com/2tincansph/

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Kung Paano Nanalo sa Karera si Rosang Taba - review

With the lengthy title, who would not get curious? Kung Paano Nanalo sa Karera si Rosang Taba is actually a children's short story by Dean Francis Alfar adapted to a stage play that gives great impact. Aside from the suggestion that it makes fun of curvy individuals, it discusses beautifully layers of liberty, family relations and teaches lessons that open minds in an entertaining and pedagogic way.

Starting in a setting in a bar accompanied by catchy singing and music, the play was able to gather the attention of the audience by participating to the intros. Then the cast appear one by one and told their roles in the story so that everyone can follow.

Then it starts the main story, transporting the stage into colonial setting. The characters were divided into Hispanics and natives, wherein social injustice is being exposed. Our heroine Rosa, knows to fight back and betting on all odds, she challenged a wealthy and powerful Pietrado in a race. Then a layer of discrimination and body shaming adds to the issues that were already present. The post-show call back surprisingly revealed more than just the colonialism and fat shaming were tapped in the story. The short story has been put into greater heights and digs deeper with the lessons it entail.

Rody Vera (playwright), Kiki Baento (Rosang Taba) and Maynard Manansala (playwright) 

Two years in the pandemic has evolved the original plans of production to what it is today. The creative team has put together great ideas other than injecting comic factors that will surely be appreciated by audience from all ages. The stage, the script, and cast are seamless overall that it makes it a feast for the eyes and soul. My words would not be enough to say that it is perfect to watch and to repeat.

Kung Paano Nanalo sa Karera si Rosang Taba runs until April 2, 2023 at the UP Main Theater in UP Diliman. For tickets, you may buy from https://ticket2me.net/o/531

The book How Rosang Taba Won the Race by Dean Francis Alfar, is also available at the foyer, distributed by Lampara Books.

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DIGITAL THEATER REVIEW - M.45 Makbetamaximus

Tanghalang Ateneo's season finale M.45 or Makbetamaximus is something that is very new to me. Reinterpreting Shakespeare's The Tragedy of Macbeth in a modern setting that is very familiar to Filipino audience produced in pure indie and innovative.

At first I was unsure about what I'm seeing, but if you have read Macbeth or saw an adaptation of it, you will gradually get the grasp of the story. Beginning with an inviting buffet of Filipino street foods, to the witches, the characters and all that will open your senses. It's a violent play and contains explicit language so only mature audiences are allowed to see it. Great editing as well, disturbing themes with creative visuals catches your attention throughout the 45-minute digital play.

I would like to congratulate Tanghalang Ateneo and the whole production team for coming up with this as a relevant theater for today and this is something I've never seen. I encourage everyone to buy a ticket via Ticket2Me.net and support this amazing campus theater production.

* Images via Tanghalang Ateneo

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REVIEW: Tanghalang Ateneo's password: 03d1pu5_R3x

Marian Rivera-Dantes' first theater production with Tanghalang Ateneo is a modern Filipino adaptation of one of Sophocle's greatest plays, Oedipus Rex. With the challenges we're facing in the new normal due to the COVID 19 pandemic, the production does not disappoint in portraying the current political set up which we are facing today.

The setting gives obvious similarities from Sophocle's times to our current status. The ensemble, played by Ateneo students who are in the Zoom setting, tells us that they are living in a quarantine set up which tells us that there's a great danger outside. Like them, we are praying for something to stop the danger so that we can be able to live normally again. 

Then here's Gabe Mercado, playing Lysanias, who pacifies the wails of the people for us to hope for the best. Edipo, or the local version of Oedipus, played by Yan Yuzon, portrays a strong man and cannot be fazed by his opponents and well followed by his supporters. Marian Rivera, as the VP, and Katski Flores as the modern-day oracle gave their in-dept dramatic impressions of their roles strongly based on Sophocle's characters.

The adaptation in Filipino contains a lot of very deep Filipino words, which Marian Rivera  admits that she had some difficulty into. But with the direction of Ronan Capinding and translation from Jopie Sanchez, it gave good context on the story and we should be thankful that the preservation of the Filipino language is rich on this production.

The Zoom setting gives editor a creative liberty to play on the frames of each character depending on the situation but it still makes us look forward as a live theater audience like we've used to. Tanghalang Ateneo's adaptation to technology has allowed us to continue to enjoy theater even at home.

You can watch password: 03d1pu5_R3x online, now streaming. You may get your digital tickets via Ticket2me at ticket2me.net/e/33027 starting at P100. 

 

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Marian Rivera's first theater role in a Greek literary classic

Fans of GMA royalty Marian Rivera-Dantes should watch out for her first role in a theater piece that deals on a political climate in Tanghalang Ateneo's second production this season entitled - password: 03d1pu5_R3x. This is based on a Greek literary classic written by Sophocles more than 2500 years ago which is still relevant in today's times.

password: 03d1pu5_R3x is a Filipino adaptation in the modern times from Oedipus Rex (King Oedipus / Oedipus Tyrranus) and Marian plays a political figure, the Vice President that is, named Kreon in this play. As a beginner in theater productions, she narrates how she was persuaded by her husband, Dingdong Dantes, to do the role. She was able to accept realizing the relevance of the plot in today's climate and how it would help students and viewers in the education process as her contribution despite the pandemic. 

She was lauded by her co-actor Yan Yuzon stating he had learned a lot from Marian with her experience in show business and acting in front of the camera. Director Ron Capinding also commended Marian in her dedication to deliver the role, from understanding the piece and even the deep Filipino terms to give the necessary character for Kreon.

Right now, we're congratulating Marian Rivera and looking forward for more roles and to even experience live theater as an actress.

password: 03d1pu5_R3x streams online on February 22, 25 and 27. You may buy tickets at Ticket2Me here https://ticket2me.net/e/33027 starting at P100.

 

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Tanghalang Ateneo's DOLOROSA - how a religious image solves mysteries encompassed multiple generations

As Tanghalang Ateneo opens its 41st season with theme Ecriture Feminine that revolves around women, its first production focused on the wonders of a prominent Catholic figure, the Mater Dolorosa in Peter Zaragoza-Mayshle's "Dolorosa." This is directed by Jenny Jamora.

The 3-act play narrative showed generations with a complex history starting from the Spanish colonial period until the current time when the family is already dysfunctional and broken. You won't recognize the length of this 3-hour production as the playwright gave a very interesting development of the characters and also the mystery of the main figure, the Dolorosa.

The first act, starting with the creation of the image puts the imagination to be inspired on how the image would look like. Similar with the stories of history of what our ancestors have endured under the friars and we are greatly influenced of indulgences and spiritual factors.

While on the 2nd act, when the Filipinos still has a young perceptive of the modern world, we are still impacted with the supernatural. The 2nd act is very interesting though, a certain scene wherein the young Pilar (Zoe de Ocampo) has traveled to an unknown dimension where she meets the various titles of the Virgin. Parts of the Litany depicted in a mind-opening scene that was indeed memorable. Whether it's a fictional world or not, this ignites you to think of your belief. A thing that I would have not expected to come from a Catholic-run institution.

The 3rd act presents the drama and the humor of the whole play. It was a roller-coaster machine brought by the collective of the three generations of the family including the grown Pilar (Bibeth Orteza). Here we face some realities and confronts our own judgments and even our own evils. The characters turn into a redeeming stage which leaves you your own judgment and conclusion.

Cast of Tanghalang Ateneo's Dolorosa

Tanghalang Ateneo's Dolorosa runs until August 31, with shows at 2:30PM and 7:30PM at the Doreen Black Box Theater, 3F, Arete, Ateneo De Manila University.

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