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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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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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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PETA Unveils the Lead Cast of Ang Babae Sa Septic Tank 4

The wait is over! Meet the powerhouse cast headlining one of this year’s most anticipated productions.

The Philippine Educational Theater Association (PETA) officially announces the headlining cast of Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter! running from June 19 to August 16, 2026, at the PETA Theater Center.

From two iconic films to a hit series, Ang Babae Sa Septic Tank has become beloved for its hyperreal, meta commentary on arts, culture, and society. The first film skewered the indie movie scene, the second tackled mainstream cinema, and the third confronted historical revisionism. This fourth installment turns its sharp gaze toward theater, but it doesn’t just peek behind the curtain; it tears it down entirely, exposing the messy, hilarious, and painfully relatable process of making theater in the Philippines today.

At the center of the mayhem is Eugene Domingo, returning as a gloriously amplified version of herself—navigating ego, ambition, and the beautiful absurdity of mounting a live show. Long celebrated for her fearless comedic brilliance, Domingo once again anchors the franchise with razor-sharp wit and impeccable timing.

Joining her is a powerhouse lineup of theater-makers, all portraying exaggerated reflections of their real-life roles in the industry. Meann Espinosa, Stella Cañete-Mendoza, Andoy Ranay, and JC Santos step in as unapologetic artistas caught in the whirlwind of creative clashes and theatrical excess.

 

 
Meann Espinosa, Stella Cañete-Mendoza, Andoy Ranay, and JC Santos

Behind the scenes—but very much in front of the live audience—is Melvin Lee as the ever-resourceful (and ever-stressed) producer attempting to keep the production afloat. Marlon Rivera, who directed the franchise’s first three installments, steps into the chaos as the director within the play, while Joshua Lim So takes on the role of the resident playwright caught between revisions, rewrites, and relentless creative debates—desperately trying to keep his script, and his sanity, intact.

 

Melvin Lee, Marlon Rivera and Joshua Lim So

The show is written by Chris Martinez, the creative force behind the first three Septic Tank installments. It will be directed by Maribel Legarda, who helmed PETA’s hit productions Rak of Aegis and One More Chance The Musical, with assistance from up-and-coming director Johnnie Moran.

Set and costume design is by Gino Gonzales, with music and sound design by Teresa Barrozo.

Metrobank credit cardholders will enjoy exclusive first access to tickets from February 27 at 10:00 AM to March 3 at 11:59 PM via TicketWorld. A Waitlist Sale follows from March 4 at 10:00 AM to March 5 at 11:59 PM for patrons who signed up last December 2025, with the General Public Sale beginning on March 6 at 10:00 AM.

Tickets will be available via TicketWorld or bit.ly/SepticTank4Tickets.

Ticket prices are P3,500 (VIP), P2,800 (Orchestra and Balcony Center), P2,500 (Orchestra Side), and P1,800 (Balcony Side). Audiences are encouraged to create their TicketWorld accounts in advance, as tickets are expected to sell out fast.

For more updates, follow @petatheater on social media.

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Twinbill Show "Kislap at Fuego" and "Children of the Algo" returns at the PETA Theater Center

After their debut at PETA Control + Shift: Changing Narratives in 2024 and 2025, the bold experimental works “Kislap at Fuego” and “Children of the Algo” are officially making their return to the stage from January 27 to February 7, 2026, at the PETA Theater Center. Moving from the experimental fringes to the spotlight, these two productions will headline the Philippine Educational Theater Association’s (PETA) Main Theater Season as a highly anticipated twinbill performance.

Originally born in 2024 as raw pieces for the Control + Shift LIVE shows, both works evolved into fan favorites. Their success led to a featured showcase at the Control + Shift: Changing Narratives Festival 2025, where they cemented their reputation for challenging the status quo.

Now in its third installment and welcoming broader audiences from educational institutions and the public alike, this compelling double feature bridges historic mysticism with contemporary digital realities.

Dominique La Victoria’s “Kislap at Fuego,” directed by Maribel Legarda and J-mee Katanyag, with Filipino translation by Gentle Mapagu, revolves around an unexpected fairytale between a kapre and a country girl, set amidst the Philippine Revolution against Spain. This play explores how we talk about love, rebirth, and revolution.

Mixkaela Villalon’s “Children of the Algo,” directed by Johnnie Moran, delves into the lives of Gen Z content creators, hiding their deeper realities while navigating the digital age with wit and vulnerability, challenging viewers to see beyond the algorithm.

In contrast, Children of the Algo casts audiences into the mediated world of Gen Z content creators, where identity is curated, justice is hashtagged, and meaning is constantly negotiated within and against the logic of the algorithm. Here, the contemporary quest for relevance, connection, and truth plays out in bite-sized feeds and viral narratives.

Presented as a twinbill, these works invite reflection on how Filipino values persist, adapt, or are contested across generations. By placing folklore beside feeds and myth beside memes, this pairing embodies PETA Control + Shift’s narrative change approach—asking how tradition and technology collide, converse, and co-exist, and how Filipinos continue to imagine revolution in a rapidly shifting world.

For more information on Kislap at Fuego and Children of the Algo, including performance dates, ticketing, and educational engagements, visit PETA’s official channels and social media.

Complete Show Dates
Tue, 27 Jan. 2026 - 9:00 AM
Wed, 28 Jan. 2026 - 11:00 AM
Thu, 29 Jan. 2026 - 11:00 AM
Thu, 29 Jan. 2026 - 4:00 PM
Fri, 30 Jan. 2026 - 9:00 AM
Fri, 30 Jan. 2026 - 4:00 PM
Sat, 31 Jan. 2026 - 9:00 AM
Sat, 31 Jan. 2026 - 2:00 PM
Tue, 3 Feb. 2026 - 9:00 AM
Wed, 4 Feb. 2026 - 9:00 AM
Thu, 5 Feb. 2026 - 9:00 AM
Thu, 5 Feb. 2026 - 2:00 PM
Fri, 6 Feb. 2026 - 9:00 AM
Fri, 6 Feb. 2026 - 3:00 PM

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People v. Dela Cruz Takes Online Behavior to Court at The Corner Studio

After the successful maiden run of Pilato, The Corner Studio returns with a timely and thought-provoking new production titled People v. Dela Cruz, a one-act satirical play that puts modern online behavior on trial. Opening on January 16, 2026, the production will be staged at The Corner Studio’s intimate creative space, continuing the company’s commitment to original, socially relevant Filipino storytelling.

Framed as the Philippines’ first-ever jury case onstage, People v. Dela Cruz examines how everyday Filipinos engage with morality, judgment, and accountability in the digital age. Through humor and incisive social commentary, the play explores the impact of online participation—from call-outs and cancellations to silence and performative virtue—asking where responsibility truly lies when opinions are amplified by screens and algorithms.

The story unfolds inside a mock courtroom where the accused, Dela Cruz, represents the “everyday Filipino” suddenly thrust into public scrutiny. Surrounding the case is a jury made up of distinct personalities that mirror familiar online archetypes: the rule-follower who trusts systems without question, the boundary-pusher who thrives on disruption, the moral enforcer quick to condemn, the advocate torn between empathy and principle, the believer anchored in faith, and the viral poster whose single action ignites the entire controversy. Together, they form a chaotic yet uncomfortably familiar reflection of today’s digital public square.

In a message from the creative team, the director shares that after Pilato, the company felt compelled to continue examining contemporary Filipino behavior through satire. People v. Dela Cruz was conceived as a response to how easily judgment is passed online, and how rarely people pause to reflect on their role in shaping narratives that affect real lives. By staging the play in an intimate venue, the production invites audiences to feel like active participants rather than passive observers.

Running as a one-act play, People v. Dela Cruz promises a fast-paced, character-driven experience that balances comedy with critique. It challenges viewers not only to laugh, but to question how they engage in digital conversations—and whether they, too, belong in the jury box.

People v. Dela Cruz begins its run on January 16, 2026 at The Corner Studio. Tickets are available at tcs.helixpay.ph.

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"A Chorus Line" Manila Full Cast Announced

After a rigorous six-month casting process spanning New York, Manila, Cebu, Bacolod, and Davao, Theatre Group Asia (TGA) proudly announces the full cast of its highly anticipated production of A Chorus Line, to be directed and choreographed by Emmy Award-winner and Broadway powerhouse Karla Puno Garcia.

This ensemble of exceptional Filipino performers is led by Tony and two-time Grammy Award nominee Conrad Ricamora as Zach, and Fil-Am Broadway triple threat Lissa de Guzman, celebrated for her portrayal of Elphaba in the Wicked Broadway National Tour as Cassie.

Conrad Ricamora and Lissa de Guzman

In a life-imitates-art twist, the auditions mirrored the very heart of the show: a raw, emotionally charged battle for a place in the lineup, perfectly captured in the musical’s iconic opening plea, “I Hope I Get It.” And get it they did.

A landmark of American musical theatre, A Chorus Line celebrates its 50th Anniversary by continuing to shine a spotlight on the ensemble—the unsung heroes of every show. Following 17 hopefuls vying for eight roles, it remains a timeless ode to ambition, sacrifice, and individuality.

Tickets are now available via TicketWorld, Visit A Chorus Line tickets | Samsung Performing Arts Theater | Ticketworld to purchase. The show runs March 12–29, 2026, with performances on Thursdays and Fridays at 7:30 p.m., and on Saturdays and Sundays at 2:00 p.m. and 7:30 p.m.

A Chorus Line is presented by Ayala Land, BPI and Philippine Airlines, the official carrier with additional support from Make it Makati, Circuit Makati and Ayala Malls.

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Review: Ang Medea – A Raw and Powerful Return to Ancient Tragedy

Me with the whole cast

Teatro Meron’s Ang Medea brings back one of the oldest and most emotional tragedies in theater. The story, written by Euripides around 600 BC, follows Medea, a woman who gave up her home and family for the man she loves. When that man betrays her, she is left with nothing. Her pain and anger push her toward a heartbreaking decision that shocks everyone.

Director Ron Capinding keeps his passion for classical plays alive in this version. He shows that even an ancient story can reflect what people still experience today such as betrayal, injustice, and the fight to keep one’s dignity. This production is also extra special because it is the very first full theater show to be staged inside The Mind Museum. This unique venue adds to the experience, making Ang Medea feel fresh, bold, and unforgettable.

 
Director Ron Capinding

The staging is very simple, which works perfectly. Without big sets or complicated props, the focus stays on the actors and the emotions of the story. This simplicity gives the material more depth and makes every moment feel more intense.

Miren Alvarez-Fabregas delivers an exceptionally powerful Medea, carrying the emotional core of the play with honesty and depth. She shows every layer of the character: a woman who once loved fiercely, a mother fighting for dignity, and a betrayed partner whose world has completely fallen apart. Her shifts from quiet sorrow to explosive anger feel natural and controlled, making each moment land with full emotional force. Even in silence, she communicates Medea’s pain through her eyes, voice, and presence.

What makes her performance unforgettable is the vulnerability beneath her rage. Miren shows not just a furious woman, but someone who feels abandoned, cornered, and stripped of choices. She balances strength and brokenness in a way that makes the audience feel deep sympathy for her, even as the story grows darker. Her commanding presence elevates every scene and anchors the entire production, proving why Medea remains one of the most haunting and complicated figures in classical drama.

Miren Alvarez-Fabregas as Medea

Yan Yuzon’s take on Yason is striking, making him a character you instantly love to hate. He plays the role with a smooth confidence that slowly reveals selfishness and emotional blindness, bringing out the full sting of Medea’s betrayal. His controlled delivery and presence make Yason feel real and painfully believable.

Joseph Dela Cruz as Egeo offers a warm and sincere contrast. His performance brings calm, compassion, and stability to the story, showing the kindness Medea no longer receives from anyone else. Subtle but steady, he grounds the play and adds emotional balance to its most intense moments.

The sound work is flawless. It supports the scenes without distracting from the story and adds to the emotional pull of the play.

Overall, Ang Medea is a simple yet powerful production that proves how timeless this story is. It is both heartbreaking and thought provoking.

Catch the remaining shows of Ang Medea at The Mind Museum Special Exhibition Hall in Bonifacio Global City. Tickets are available through https://tinyurl.com/angmedea.

November 23 (Sunday) - 3:00PM and 7:00PM
November 27 (Thursday), November 28 (Friday) - 8:00PM

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When Art Meets Science: Teatro Meron’s Ang Medea Ignites the Mind Museum

This November, the worlds of art and science converge under one roof as Teatro Meron brings fire and fury to The Mind Museum. Known primarily as a hub for scientific discovery, the museum will, for the first time, transform into a stage for live theater.

In collaboration with Eastern Communications and Tunog at Liwanag sa Teatro Inc. (TLT), Teatro Meron presents Ang Medea, National Artist Rolando Tinio’s Filipino adaptation of Euripides’ classic tragedy Medea. The production marks a bold fusion of intellect, artistry, and human emotion, bridging myth and modern reflection.

Following a well-received run with Tanghalang Ateneo, director and Teatro Meron founder Ron Capinding returns to the piece, leading a strong ensemble headed by Miren Alvarez-Fabregas, who earned critical acclaim for her portrayal of the vengeful Medea.

Explaining his decision to revisit the material, Capinding reflects, “There’s so much to learn from a classic like Medea. Some plays reflect the present, others uncover the past, and a few imagine what’s to come. A true classic can do all of that—and even more.”

In this retelling, Ang Medea confronts the fragility of human dignity and the devastating choices it can inspire. The story centers on Medea, a woman who gives up her homeland for Yason, only to be betrayed and cast out in a foreign land that never truly accepted her. Her struggle contrasts sharply with Yason’s belief that dignity can be traded for power, privilege, and ambition.

Opposite Alvarez-Fabregas is Brian Sy, a seasoned actor recognized for his work in Ang Duyan ng Magiting (2023), GomBurZa (2023), and Midnight in a Perfect World (2020). Alternating in the role of Yason is Yan Yuzon, who previously played the same part to praise for his intensity and emotional range—from blistering fury to aching remorse.

Cast led by Miren Alvarez-Fabregas

Ang Medea will run at the Mind Museum Special Exhibition Hall, Bonifacio Global City (BGC) on these dates:
• November 13, 14, 20, 21, 27, 28 | 8:00 PM
• November 15, 22 | 3:00 PM and 8:00 PM
• November 16, 23 | 3:00 PM and 7:00 PM

A rising force in Philippine theater, Teatro Meron aims to rekindle the relevance of classical works— sparking thought, empathy, and conversation among modern Filipino audiences.

Capinding elaborates on his company’s vision:
“I want to stage not only great classics, but also modern and contemporary plays that share their timeless spirit—pieces that entertain, enlighten, and uplift. In Filipino, nakaaaliw, nakatatalino, at nakapagpapabuti.”

The production also features Teroy Guzman (Kreon), Joseph Dela Cruz (Egeo), Katski Flores (Yaya), Joel Macaventa (Maestro), and Gold Soon and Pickles Leonidas (Koro).

Behind the scenes, Tata Tuviera designs the set, Ian Bautista handles lighting, and Zak Capinding crafts the soundscape. Gabrielle Barredo leads production management, with Mar Suesmith as stage manager, Albriz Bagsic as technical director, and Santi Caruncho providing graphic design.

Tickets are available at https://tinyurl.com/angmedea.


For updates, visit www.teatromeron.com or follow @teatromeron on Facebook and Instagram.

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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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