Over Drinks and Unfinished Stories: Boxstage Manila Opens the Season with Tagay Para Sa Ex

Set during a night of drinking among friends, Boxstage Manila opens its new theater season with Tagay Para Sa Ex, a stage production about love, breakups, and the honest conversations that often surface only after a few drinks.

Written and directed by Dudz Teraña, president of Boxstage Manila and Senior Artist Teacher of the Philippine Educational Theater Association, the play explores how people navigate relationships after they have ended and how notions of love evolve with age, experience, and the world around them.

The story unfolds inside a low-rise condominium during a drinking session among five friends: Mark, a BPO team leader; Liz, a freelance designer; Benj, a senior marketing officer; Mich, a virtual assistant; and Poch, an events coordinator. As the night progresses, the characters begin to question their own emotional maturity, confront their differing moral views, and reflect on the choices they have made in love and in life.

In an era when relationships are often shaped by technology, social expectations, and online validation, Tagay Para Sa Ex presents situations that many people can relate to.

The characters discuss commitment, boundaries, ambition, and loneliness in ways that feel familiar, especially to audiences navigating modern dating, work culture, and digital connections.

Loosely inspired by What We Talk About When We Talk About Love by Raymond Carver, the play focuses less on romance and more on reflection. It invites audiences to sit with the characters as they speak honestly, sometimes awkwardly, about love that has changed or ended.

The cast includes Jonas Cunanan (Sala Sa Pito) and Buknoy Gonzales (Rampa, Love Laban 2026 Host) as Poch; Brigitta Marilla (Bagets The Musical) and Karyl Oliva (Sala Sa Pito) as Mich; RB Pascua (FTG’s Karne, Niyebe) and Jel Tarun (20 Questions 2024 Rerun, My Bespren Emman) as Benj; Kloren Flores (Sala Sa Pito) and Yesh Burce (Replacing Chef Chico, Incognito) as Liz; and Kobie Hachero (Sala Sa Pito) and AJ Sison (The Kangks Show, Marahuyo Project) as Mark.

 

 

 

 

 

Intimate and relatable, Tagay Para Sa Ex offers a close look at how people try to understand love in a fast, connected world, one conversation and one drink at a time.

Performance Schedule:

• Saturday, August 8, 3 p.m. & 7 p.m.
• Thursday, August 13, 3 p.m. & 7 p.m.
• Saturday, August 15, 3 p.m. & 7 p.m.
• Saturday, August 22, 3 p.m. & 7 p.m.
• Saturday, September 5, 3 p.m. & 7 p.m.

Performances will be held at the FEU Center for the Arts (FCA) Black Box Studio at Far Eastern University (FEU) Manila.

Boxstage Manila invites theater audiences and the public to experience Tagay Para Sa Ex, part of the current season of FTG’s alumni theater company in Morayta. For tickets: https://ticket2me.net/event/22957. Visit Boxstage Manila’s official social media page for more information.

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2TinCans Philippines and The Kabilin Center present Ang Kawatan: A Public Reckoning with the Stories We Steal

Some stories are written. Others are stolen and celebrated by the very people who should have known better.

 

2TinCans Philippines and The Kabilin Center present Ang Kawatan (The Thief), the second production of Kulukabildo II: Stories in Direct Light, running June 27 and 28 at The Kabilin Center, Eduardo Aboitiz Street, Tinago, Cebu City.

Directed by 2TinCans Theatre Company member, Vanessa Fe, and written by journalist and playwright, Maverick Avila, Ang Kawatan is a tragicomedy set during a live televised book launch — Open Book with Frankie, a fading cultural program.

Celebrated novelist Mateo Robles (played by Dave Feril) takes his seat across from veteran host Frankie (played by Lord Lawrence Latonio), ready to tell the story behind his acclaimed bestselling book. What he does not expect to walk into the studio and refuse to be invisible is Ana (played by Judee Kriselle Rallos), a young woman whose trauma he silenced, repackaged, and sold as fiction.

Lord Lawrence Latonio as Frankie

What unfolds is a public confrontation that cracks open the creative community it is set in, exposing the fault lines of complicity, victim-blaming, and the ease with which those who control the narrative can turn a stolen truth into a prize-winning lie.

Fe notes that this story is not new. It has always been there, just repackaged the same way Mateo repackaged Ana's truth into a prize-winning book.

“Tragedy doesn't come in loudly. It lives in the quiet moments: a community that keeps applauding, people who knew and said nothing. I didn't want to put a survivor's trauma on display. I wanted people to watch this and recognize themselves not as strangers to this story, but as someone who has watched another person be exploited and stayed quiet. It's the perfect setting to show that the live show was the one place Mateo cannot hide. However, the same system that exposed him is the one that never protected Ana,” Fe said.

The production marks Fe's directorial debut, a milestone made more meaningful by the story she has chosen to tell. She brings to this production both a director's precision and a woman's intimate understanding of what it means when a survivor's truth falls into the wrong hands.

Ang Kawatan is also the result of many years of creative partnership. Fe and playwright Avila first developed the story in college — a shared conviction that has taken three years to find its stage.

2TinCans Producing Artistic Director, Sarah Mae Enclona-Henderson, hopes that audiences leave Ang Kawatan carrying with them not only memories of a compelling performance, but also a renewed sense of curiosity, awareness, and responsibility.

“If the play encourages even one person to see an issue differently, ask a difficult question, or take meaningful action, then it has fulfilled its purpose,” Enclona-Henderson said.

Ang Kawatan arrives as the second installment of Kulukabildo II: Stories in Direct Light, a monthly theatre series running April through November 2026. Rooted in the Bisaya concept of kulukabildo — an informal exchange, the kind of honest conversation that happens when people feel safe enough to speak freely. The series features the distinct visions of eight emerging Cebuano directors under the 2TinCans Directors Program. The series opened in March with The Second Eulogy, directed by Mario Alcoriza.

Completing the cast featuring 2TinCans Theatre Company members are Shiella Pestaño-Gemperoa as Gab, Shane Rennel Ayong as Kirby, and Grant Bacaltos as Patrick. The production is supported by stage manager Regina Binueza.

As a hub for Cebuano culture and community, The Kabilin Center continues to serve as the home for stories that demand to be told — narratives that do not ask for comfort but ask instead for honesty, attention, and the willingness to sit with what is true.

Ang Kawatan runs on June 27 at 7:00 PM and on June 28 at 2:00 PM and 7:00 PM at The Kabilin Center. Tickets are available online at 2tincans-philippines.yapsody.com.

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Faith, Love, and Mysticism Come Alive in Ang Pagbuo ng Baliana

The Department of Trade and Industry (DTI), in partnership with MINT College and Kids Acts Philippines Inc., proudly presents Ang Pagbuo ng Baliana, the Grand Winner of the Playwriting Category of the Season 1 Young Creative Challenge. Written by Esmeralda Cado Albis, the musical play will be staged on June 10, 2026 (Wednesday), 7:00 PM at the Carlos P. Romulo Auditorium, 4/F RCBC Plaza, Ayala Avenue, Makati City. Admission is FREE to the public.

Rooted in the rich traditions of Camarines Sur in the Bicol Region, Ang Pagbuo ng Baliana explores a century-old religious rite that continues to thrive in Sitio Baras, Malitbog, Minalabac. Through music, poetry, and drama, the production brings to life a deeply spiritual practice that celebrates faith, devotion, and the enduring connection between the living and those who have passed on.

The musical weaves together the worlds of humanity, the ethereal realm, and the Heavens, portraying a mystical journey where compassion, memory, and love transcend death. At its heart is a powerful message of eternal union and the belief that love remains unbroken even beyond earthly life.

Audiences will be captivated by the lyrical beauty of Bicolano texts, enriched by beloved Filipino folk melodies and original compositions based on the playwright’s written lyrics. Leading the cast is rising P-pop star Joshua Ryan Nubla as Arnold, alongside Danielle Delica as Esmeralda, with a talented ensemble of seasoned and emerging performers, Ces Dela Cruz-Guevara, Terence Guillermo, Rowel Robles, Zee Rizon, Rhoger Escorial, Josh Almeda, Ariz Pangilinan, Nina Ty, Ji Corpuz, Maxinne Lopez, Paulo Javier, Jesu Miguel Tan, Marcus Santos, Audrey Flores, Yassi Tan, Cheska Sangco, Bien Juni, and Chelsea Sangco.

 

Bringing the production to life are award-winning creative talents, with original music by Eugene Belbis and stage direction by Luigi Nacario and Meldrig Costuna.

For updates on the Young Creative Challenge and other post-competition activities, follow DTI Malikhaing Pinoy and Young Creatives Challenge. Continue supporting Filipino creativity and innovation through the growing community of local artists and storytellers.

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16th Gawad Buhay! Awards Nominations

The 16th Gawad Buhay! Awards nominations were announced on May 26, with Tanghalang Pilipino’s (TP) “Kisapmata” and The Sandbox Collective’s “Side Show” leading the tally with 14 nods apiece.

“Kisapmata,” a new adaptation of the eponymous 1981 film directed by Mike de Leon, was nominated for every category it was eligible for: all five performance categories, six design categories, direction and production of a play, and original script (penned by Guelan Varela-Luarca with the TP Actors Company).

“Side Show,” the 1997 Broadway musical about a pair of conjoined twins in vaudeville-era America, scored nominations for its four alternating actresses who played the twins, and was the only production recognized in all seven design categories.

Full House Theater Company’s “Shrek the Musical,” the 2008 Broadway adaptation of the acclaimed animated film from 2001, landed 12 nominations, while Barefoot Theatre Collaborative’s “We Aren’t Kids Anymore,” a song cycle by Drew Gasparini, followed with nine.

All 18 eligible Philstage productions that opened between January 1 to December 31, 2025 garnered a nomination. These nominations were drawn from a pool of 155 citations determined through four separate meetings by a 13-person independent jury of theater practitioners, academics, reviewers, and journalists. For the first time since 2015, every competitive category had a recipient for a citation. Among the 78 nominated individuals, 25 (or 32%) are first-time nominees.

The following productions were co-produced with non-Philstage member companies: “Come From Away” (Stages Production Specialists, Inc. with GMG Productions), “Kaliwaan” (Stages Production Specialists, Inc. with MusicArtes, Inc.), “Nobody Is Home” (Philippine Educational Theater Association with Mecklenburgisches Staatstheater), and “Via Dolorosa” (The Necessary Theatre with WHYNot Manila).

The 16th Gawad Buhay! Awards ceremonies will be held on July 28, 2026 at Aliw Theater, Pasay City. 

See below for the complete list of nominations:

Outstanding Original Script

1. Chesie Galvez-Cariño (‘The Foxtrot’)
2. Liza Magtoto, J-mee Katanyag, Nina Gühlstorff, and the cast of ‘Nobody Is Home’ (‘Nobody Is Home’)

Outstanding Translation or Adaptation

1. Guelan Varela-Luarca and the Tanghalang Pilipino Actors Company (‘Kisapmata’)

Outstanding Book of a Musical

1. Nicanor Tiongson and Eljay Castro Deldoc (‘Gregoria Lakambini: A Pinay Pop Musical’)

Outstanding Original Score

1. Nica del Rosario, Matthew Chang, Nicanor Tiongson, and Eljay Castro Deldoc (‘Gregoria Lakambini: A Pinay Pop Musical’)
2. Gabriel Ramos and Dexter Lansang (‘Via Dolorosa’)

Outstanding Musical Direction

1. Farley Asuncion and Myke Salomon (‘We Aren’t Kids Anymore’)
2. Nica del Rosario and Matthew Chang (‘Gregoria Lakambini: A Pinay Pop Musical’)
3. Rony Fortich (‘Come From Away’)
4. Ejay Yatco (‘Shrek the Musical’)
5. Ejay Yatco (‘Side Show’)

Outstanding Choreography

1. JM Cabling (‘Kisapmata’)
2. JM Cabling (‘Side Show’)
3. Jomelle Era (‘We Aren’t Kids Anymore’)
4. Paul Alexander Morales (‘The Foxtrot’)
5. Stephen Viñas (‘Delia D.: A Musical Featuring the Songs of Jonathan Manalo’)
6. Stephen Viñas (‘Shrek the Musical’)

Outstanding Costume Design

1. Bonsai Cielo (‘Kisapmata’)
2. Mitoy Sta. Ana (‘Delia D.: A Musical Featuring the Songs of Jonathan Manalo’)
3. Carlos Siongco (‘Side Show’)
4. Hershee Tantiado and Phillip Domingo (‘Alice in Wonderland’)
5. Marco Viaña (‘Gregoria Lakambini: A Pinay Pop Musical’)

Outstanding Lighting Design

1. John Batalla (‘Delia D.: A Musical Featuring the Songs of Jonathan Manalo’)
2. D Cortezano (‘Kisapmata’)
3. D Cortezano (‘We Aren’t Kids Anymore’)
4. Meliton Roxas Jr. (‘Shrek the Musical’)
5. Gabo Tolentino (‘Side Show’)

Outstanding Sound Design

1. Arvy Dimaculangan (‘Kisapmata’)
2. Aji Manalo (‘Side Show’)
3. Fabian Obispo (‘Art’)
4. Aron Roca (‘We Aren’t Kids Anymore’)
5. Luke Swaffield (‘Come From Away’)

Outstanding Set Design

1. Lawyn Cruz (‘Shrek the Musical’)
2. Mark Dalacat (‘Side Show’)
3. Joey Mendoza (‘Kisapmata’)
4. Joey Mendoza (‘We Aren’t Kids Anymore’)
5. Mikayla Teodoro (‘Come From Away’)

Outstanding Projection and Video Design

1. GA Fallarme (‘Liwanag sa Dilim’)
2. GA Fallarme and Joyce Garcia (‘Delia D.: A Musical Featuring the Songs of Jonathan Manalo’)
3. GA Fallarme, Justin Santiago, and JM Jimenez (‘Shrek the Musical’)
4. Joey Mendoza, D Cortezano, Justin Santiago, and JM Jimenez (‘Kisapmata’)

Female Lead Performance in a Play

1. Jackie Lou Blanco (‘The Foxtrot’)
2. Meann Espinosa (‘Nobody Is Home’)
3. Lhorvie Nuevo-Tadioan (‘Kisapmata’)

Male Lead Performance in a Play

1. Ron Capinding (‘Kaliwaan’)
2. Bart Guingona (‘Via Dolorosa’)
3. JC Santos (‘The Foxtrot’)
4. Brian Sy (‘Art’)
5. Jonathan Tadioan (‘Kisapmata’)

Female Featured Performance in a Play

1. Ute Baggeröhr (‘Nobody Is Home’)
2. Toni Go-Yadao (‘Kisapmata’)
3. Ash Nicanor (‘Let’s Do Lunch’)
4. Susi Wirth (‘Nobody Is Home’)

Male Featured Performance in a Play

1. Marco Viaña (‘Kisapmata’)

Female Lead Performance in a Musical

1. Krystal Kane (‘Side Show’)
2. Molly Langley (‘Side Show’)
3. Marynor Madamesila (‘Side Show’)
4. Tanya Manalang (‘Side Show’)
5. Nikki Valdez (‘Next to Normal’)

Male Lead Performance in a Musical

1. Arnel Carrion (‘A Christmas Carol’)
2. Phi Palmos (‘Delia D.: A Musical Featuring the Songs of Jonathan Manalo’)
3. Jamie Wilson (‘Shrek the Musical’)

Female Featured Performance in a Musical

1. Cathy Azanza-Dy (‘Come From Away’)
2. Maronne Cruz (‘We Aren’t Kids Anymore’)
3. Sheila Francisco (‘Come From Away’)
4. Sheena Lee Palad (‘The Bodyguard The Musical’)
5. Heart Puyong (‘Gregoria Lakambini: A Pinay Pop Musical’)

Male Featured Performance in a Musical

1. Topper Fabregas (‘Shrek the Musical’)
2. John Lapus (‘Delia D.: A Musical Featuring the Songs of Jonathan Manalo’)
3. Vino Mabalot (‘Next to Normal’)
4. Marvin Ong (‘Side Show’)
5. Benedix Ramos (‘Next to Normal’)
6. Alfredo Reyes (‘Shrek the Musical’)

Outstanding Ensemble Performance for a Play

1. ’Kisapmata’ (Tanghalang Pilipino)
2. ‘Nobody Is Home’ (Philippine Educational Theater Association)

Outstanding Ensemble Performance for a Musical

1. ’Come From Away’ (Stages Production Specialists, Inc.)
2. ‘Gregoria Lakambini: A Pinay Pop Musical’ (Tanghalang Pilipino)
3. ‘Shrek The Musical’ (Full House Theater Company)
4. ‘Side Show’ (The Sandbox Collective)
5. ‘We Aren’t Kids Anymore’ (Barefoot Theatre Collaborative)

Outstanding Stage Direction for a Play

1. Bart Guingona (‘Via Dolorosa’)
2. Nina Gühlstorff and J-mee Katanyag (‘Nobody Is Home’)
3. Guelan Varela-Luarca (‘Kisapmata’)
4. Paul Alexander Morales (‘The Foxtrot’)

Outstanding Stage Direction for a Musical

1. Delphine Buencamino (‘Gregoria Lakambini: A Pinay Pop Musical’)
2. Toff de Venecia (‘Side Show’)
3. Dexter Santos (‘Shrek the Musical’)
4. Michael Williams (‘Come From Away’)
5. Rem Zamora (‘We Aren’t Kids Anymore’)

Outstanding Play – Original or Translation/Adaptation

1. ’The Foxtrot’ (Theatre Titas)
2. ‘Kisapmata’ (Tanghalang Pilipino)
3. ‘Nobody Is Home’ (Philippine Educational Theater Association)

Outstanding Production of Existing Material for a Play

1. ’Via Dolorosa’ (The Necessary Theatre)

Outstanding Production of Existing Material for a Musical

1. ’Come From Away’ (Stages Production Specialists, Inc.)
2. ‘Shrek the Musical’ (Full House Theater Company)
3. ‘Side Show’ (The Sandbox Collective) -
4. ‘We Aren’t Kids Anymore’ (Barefoot Theatre Collaborative)

Outstanding Musical – Original or Translation/Adaptation

1. ’Gregoria Lakambini: A Pinay Pop Musical’) (Tanghalang Pilipino)

Outstanding Production for Children

1. ’A Christmas Carol’ (9 Works Theatrical)
2. ‘Shrek the Musical’ (Full House Theater Company)

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PETA Brings a Cultural Phenomenon to the Stage with Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter!

At a time when Filipino theater is thriving across the country, the Philippine Educational Theater Association (PETA) proudly unveils one of the most anticipated theatrical events of 2026: “Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter!” a fearless, hilarious, and razor-sharp evolution of a franchise that has defined satire across film, digital, and now live theater.

Headlined by Eugene Domingo, the franchise takes a bold leap from screen to stage in this highly anticipated fourth installment.

From A Cult Classic to Cultural Touchstone
What began in 2011 as a groundbreaking independent film has evolved into a multi-platform cultural phenomenon. The original Ang Babae Sa Septic Tank captured the indie film boom, satirizing the industry’s fixation on “poverty porn” and its pursuit of international acclaim. Its sequel skewered mainstream romantic comedies, while its third installment examined historical revisionism in the digital age.

Now, the franchise steps into live performance, turning its lens toward Philippine theater.

True to its DNA, the series remains a satire with purpose. “Septic Tank has always been about satirizing institutions,” shares playwright Chris Martinez. “This time, it is about the state of Philippine theater, where it is, and where it’s going.”

For director Maribel Legarda, this staging is not replication but transformation. “Film and theater speak different languages. What excites me is how something familiar can evolve and find new meaning in liveness.” She adds, “In theater, ‘live’ is not just a descriptor. It is a condition. It breathes, it trembles, it risks failure, and in doing so, it allows for discovery.”

A Mirror to a “Golden Age”
The arrival of Ang Babae Sa Septic Tank 4 comes at a pivotal moment. Widely described as a “golden age” for Philippine theater, recent years have seen a surge in productions and audiences, bringing with it new challenges for the industry.

“It’s exciting, but it’s also a good time to analyze,” says Chris Martinez. “Is it really a golden age? There is good, there is bad, and maybe this play can offer a clearer perspective on the power of theater.”

Legarda underscores the urgency of live performance in today’s content-saturated landscape. “When we laugh, we let our guard down and sometimes recognize uncomfortable truths. That is where comedy becomes a mirror.”

In this sense, Septic Tank 4 is both a celebration and a commentary, a funny, self-aware take on an art form that is vibrant, ever-shifting, and not without its own “sh*t.”

A Powerhouse Collaboration
Sharing the stage with Eugene Domingo is an exceptional lineup of theater-makers, including Melvin Lee, Andoy Ranay, Meann Espinosa, JC Santos, Stella Cañete-Mendoza, Joshua Lim So, and Marlon Rivera, alongside a vibrant PETA ensemble: Ron Alfonso, Kiki Baento, Roi Calilong, Jay Cortez, Nyla Festejo, James Lanante, Carlon Matobato, Eli Namoc, Reggie Ondevilla, Air Paz, and Ada Tayao.

 

Eugene Domingo and ensemble

Joshua Lim So, JC Santos, Melvin Lee

Guided by the vision of Maribel Legarda and written by Chris Martinez, the production is brought to life by a dynamic creative team including: Assistant Director Johnnie Moran; Set and Costume Designer Gino Gonzales; Deputy Costume Designer Martha Cruz; Assistant Set Designer Leslie Centeno; Lighting Designer Barbie Tan-Tiongco; Sound and Music by Angel Dayao; Lyricist Michelle Ngu Nario; Choreographer Raflesia Bravo; and Video Design and Mapping by Bene Manaois.

Theater About Theater—Bold, Daring, Unmissable

Structured as a “play within a play,” Septic Tank 4 explores the process of theater-making, with actors portraying heightened versions of themselves and blurring the line between reality and performance. It is irreverent and unapologetically meta, filled with humor, spectacle, and playful commentary.

In a time of endless content and streaming options, Ang Babae Sa Septic Tank 4 serves as a reminder of what live theater uniquely offers: the thrill of immediacy, shared laughter, and the magic of experiencing a story unfold in real time. It reminds us that live theater is personal, powerful, and can only be experienced in person.

As Legarda puts it, “This production is an invitation: to laugh, to reflect, and to engage.” With its fearless humor and powerhouse ensemble, the show invites audiences to think, respond, and rediscover the power of live theater.

Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter! will run for 50 shows from June 19 to August 16, 2026, at the PETA Theater Center. Matinee shows are at 2:00 pm, evening shows at 7:30 pm.

Ticket prices are P3,500 (VIP), P2,800 (Orchestra and Balcony Center), P2,500 (Orchestra Side), and P1,800 (Balcony Side).

For more updates, follow @petatheater on social media.

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Philippine Opera Company Stages Master Class This May, with Menchu Lauchengco-Yulo as Maria Callas

The Philippine Opera Company (POC) brings back the acclaimed Tony Award-winning play Master Class, opening this May at the Carlos P. Romulo Auditorium, RCBC Plaza, Makati, for a limited three-weekend run beginning May 15.

Headlining the production is acclaimed theater icon Menchu Lauchengco-Yulo, who takes on the formidable role of legendary opera diva Maria Callas. Revered as one of the greatest sopranos of the 20th century, Callas was celebrated not only for her voice, but for her intensity, artistry, and uncompromising standards.

Written by Terrence McNally, Master Class imagines Callas in the twilight of her career, conducting a demanding vocal workshop inspired by the real-life master classes she gave at Juilliard School in the early 1970s. As she coaches three young singers, Callas also reveals memories of triumph, heartbreak, sacrifice, and the cost of greatness.

Joining Lauchengco-Yulo in the cast are Louie Oca as Manny, the accompanist and collaborator on piano, alongside Alexandra Bernas as Sophie, Arman Ferrer as Anthony, and Angeli Benipayo as Sharon — the three aspiring singers who step into Callas’ intimidating orbit. 

 

 

Louie Oca, Alexandra Bernas, Arman Ferrer and Angeli Benipayo

The production is directed by Jaime del Mundo, whose vision underscores the play’s enduring relevance: that art, mentorship, discipline, and legacy remain essential in today’s world.

This revival also carries a poignant connection to Philippine theater history. POC previously staged Master Class in 2008, with the late Cherie Gil delivering a celebrated performance as Maria Callas. Her portrayal remains remembered as one of the standout interpretations of the role in the local stage scene.

Now, a new generation of audiences can rediscover the brilliance of McNally’s masterpiece through a fresh staging led by one of the country’s most respected performers.

Master Class is presented by the Philippine Opera Company for a limited engagement this May at the Carlos P. Romulo Auditorium, RCBC Plaza, Makati. Tickets and show schedules are available through official POC channels.

Tickets available at Philippine Opera Company (09176452946) and @Ticket2Me https://ticket2me.net/MASTERCLASS.

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A Cultural Homecoming: A Review of Tales of the Manuvu

Running from March 28 and 29, 2026 at the Proscenium Theater in Rockwell, Makati, Tales of the Manuvu by Alice Reyes is more than a ballet. It’s a heartfelt return to Filipino roots, told through dance and music.

The production retells the myths and legends of the Manuvu, an ethnolinguistic group from Mindanao. Its traditional prologue beautifully establishes a distinct cultural profile that constitutes Filipino identity.

The staging is simple but colorful—just like the Manuvu culture it represents. Even if the story already feels familiar, it’s still a joy to experience these stories again in this kind of performance. It brings a sense of nostalgia while making the stories feel alive.

One of the most memorable moments is hearing “Noong Unang Panahon.” Many of us know this song from our elementary days, so it’s exciting to realize that it comes from this production. It adds a personal and emotional touch to the experience.

The performers also deserve praise. Both the dancers and singers fully commit to their roles. The dancers bring the characters to life with strong and expressive movements, while the singers add depth to the story. Together, they make the storytelling clearer and more powerful.

 
 
 

 

This is not just a traditional ballet. It also includes modern movements, which makes it easier for today’s audience to connect with the performance. The mix of styles keeps it engaging while still respecting its cultural roots.

It’s also worth noting that this staging supports a bigger purpose. The March 28 show opens with a fundraising gala, where ticket sales help support the work of Alice Reyes Dance Philippines—from sustaining its dancers and artists to preserving important Filipino works.

While there are paid gala and ticketed shows, the production continues its mission of making the arts accessible by offering free admission (with registration) for select audiences.

In the end, Tales of the Manuvu is a beautiful reminder of who we are as Filipinos. It celebrates our stories and traditions in a way that feels both familiar and fresh.

With free registration available and a meaningful cause behind it, this is more than just a show—it’s an experience worth showing up for.

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Theater Review: Dulaang UP's "Ang Kaliitan ng Kasalukuyan"

Dulaang UP’s Ang Kaliitan ng Kasalukuyan takes on the familiar yet still urgent story of the overseas Filipino worker, using an intimate staging and a mix of theatrical forms to bring the experience closer to its audience. While the production succeeds in creating emotional access, it also shows some unevenness in how its ideas are carried through.

At the center is Sandino Martin as Bulan, who delivers a steady and sincere performance. He keeps the character grounded, especially in quieter moments where the weight of isolation is more felt than spoken. His portrayal becomes the anchor of the play, particularly when the material shifts between tones.

The staging works in the production’s favor. The intimate setup allows the audience to feel involved rather than just observing from a distance. Projections are used throughout and are generally well integrated, helping set the mood and context without taking attention away from the actors. These choices support the storytelling and give the play a strong visual identity.

The show also attempts to combine several disciplines, including musical elements, drama, puppetry, and advocacy. At its best, this mix adds variety and keeps the performance engaging. However, not all transitions feel smooth. Some segments stand out more than others, making the overall flow feel uneven at times. The versatility of the set helps bridge these shifts, but the structure can still feel fragmented.

The first part of the play is one of its stronger sections. It presents a relatable picture of an OFW returning home, from the frustration of traffic to the sudden closeness of family members. These moments are handled with warmth and familiarity, capturing the mix of comfort and tension that comes with going back to one’s roots. The sense of nostalgia is clear and effective, giving the audience an easy point of connection.

A key highlight is the exchange between Bulan and his older sister. Their dialogue is direct and emotionally charged, offering some of the most honest moments in the play. The sister’s lines carry insight and lived experience, and the tension between them feels real. This scene stands out because it is clear, focused, and grounded.

Ang Kaliitan ng Kasalukuyan raises important points about distance, family, and survival, but does not always sustain the same level of clarity across its runtime. It is at its strongest when it leans into simple, truthful moments rather than layered concepts.

The production runs until March 29 at the IBG-KAL Theater in UP Diliman.

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