I came for a theater show. Moryon gave me a history lesson.

How did Filipinos celebrate Holy Week during the Japanese-American War? What happens when faith, fear, and love for country meet in the middle of war?

These questions come alive in “Moryon,” the latest production of the Far Eastern University Theater Guild (FEU Theater Guild). An adaptation of Guy de Maupassant’s Mother Sauvage, the play uses a story of war and revenge to awaken a sense of patriotism among today's generation.

As soon as you enter the theater, FTG already knows how to set the mood.

There is already someone on stage. Caridad, played by Ysabel delos Reyes, is quietly doing something that immediately makes you curious. What is she doing? Why is she there? And how will this connect to the story?

 

This is one of the things I enjoy about FTG productions. Similar to Karne, Moryon is not only something you watch. It is a multi-sensory experience. You see what is happening, hear the sounds around you, and even smell what is being cooked in the kitchen.

Director Dudz Teraña intentionally placed the kitchen on stage, and it adds another layer to the experience. And yes, the food smells really good. It makes the setting feel more alive and familiar, while also making you feel like you have entered the world of these characters rather than simply watching them perform.

Another detail that stood out is how well the cast handled the Marinduqueño accent. It feels natural and consistent throughout the performance. The use of the Japanese language also adds to the atmosphere, making the wartime setting feel more grounded.

But the emotional weight of Moryon truly comes through in its characters.

One of the hardest scenes to watch is Joaquin's torture scene played by Aldin Covarrubias. I shed a tear because of how realistic and emotional it felt. The pain was not presented simply as violence for shock value. You could feel the fear and helplessness of the character. What makes it even more painful is learning how Joaquin was also tortured by his own father when he was a child. His suffering is not limited to what happens during the war. It is part of a much deeper wound.

Then there is Marta, played by Margarita Barrameda, who quickly became one of my favorite neighbors. She is that one person in the community who is always nervous, always talking, and always trying to warn everyone about what could happen. But just like in real life, people around her tend to ignore her warnings. Her character brings some humor and energy to an otherwise heavy story, while also showing how people can sometimes recognize danger before everyone else does.

At the center of the story is Caridad, and Ysabel delos Reyes gives the character a strong emotional journey. Her revenge monologue is brave, powerful, and one of the moments that stayed with me after the show.

I also could not help but think about her name. Caridad means compassion or charity, but the character's journey takes her through a level of pain that eventually turns into anger. At the beginning, she seems almost indifferent to the things happening around her. But when something terrible happens to her son, Joaquin, we see that change. Her pain becomes anger, and that anger eventually drives her to revenge.

What I appreciated most is that the monologue does not feel forced or overly dramatic. It feels earned because we have seen the character's emotions build throughout the story. You understand why she reaches that point, even as you are confronted with the consequences of her actions.

Esteban, played by Dave Bambang, is another character who may frustrate you at first. His cooperation with the Japanese forces makes him easy to dislike, especially when you see how his actions affect the people around him. But as the story develops, you begin to understand that his intentions are more complicated. He believes he is preparing something for the good of his fellow Filipinos, even if his method involves working with the enemy.

Dave Bambang, Ysabel delos Reyes, Edrud Madalan (young Joaquin), and director Dudz Teraña

His character brings another difficult question into the story: Can something that looks wrong on the surface still come from a desire to protect others?

Moryon does not give simple answers. Instead, it puts its characters in situations where faith, family, survival, and patriotism are constantly tested.

And perhaps that is what makes this production relevant today.

The story may be set during the Japanese-American War, but its questions about love for country, sacrifice, revenge, and the price of protecting the people we care about still feel familiar. By Filipinizing Mother Sauvage and placing it within the culture and traditions of Holy Week, the production creates a story that feels deeply rooted in our own history and identity.

Moryon is not simply a story about war. It is a story about what war can bring out of people.

It asks us to look at the different faces of courage: the courage to fight, the courage to protect, the courage to endure, and sometimes, the courage to face the consequences of our own choices.

With its strong performances, carefully built atmosphere, multi-sensory staging, and emotional storytelling, FEU Theater Guild's Moryon gives audiences more than a historical story. It gives us a reason to look back at the past and think about what patriotism means to us today.

Moryon opens October 1 at the FEU Center of the Arts.

Read More

MORYON: Behind the Mask of Faith Lies a Mother’s Reckoning with Grief

Based on Guy de Maupassant’s Mother Sauvage, and set within the Japanese Occupation of Marinduque, MORYON explores a community where faith, memory, and the search for justice are tested in the shadow of war.

The Far Eastern University Theater Guild (FTG) opens its 93rd season with MORYON, a striking Filipino reimagining of Guy de Maupassant’s Mother Sauvage, written and directed by Dudz Teraña.

Set during Holy Thursday in Mogpog, a small town in Marinduque under Japanese occupation, the story revolves around the island’s traditions, struggles and people. At the heart of the play is the Moriones tradition. As devotees fill the streets in acts of penance and devotion, the realities of occupation quietly reshape the lives of those who call the island home.

Marinduqueños

Japanese soldiers

At the center of the story is Caridad, a mother waiting for her son Joaquin, a young guerrilla driven by a need to prove his worth in a world that has long underestimated him. When war reaches her doorstep, Caridad is forced to confront a choice that tests the limits of faith, justice and a mother’s love.

Caridad

What Lies Beneath the Masks?
Beyond its historical setting, MORYON examines the tensions that emerge when personal suffering collides with collective beliefs. In a town bound by tradition and faith, questions of justice become increasingly difficult to answer, especially when grief demands its own form of reckoning.

By placing Maupassant’s moral dilemma within the cultural and historical realities of Marinduque, MORYON offers a distinctly Filipino perspective on a timeless story. It asks enduring questions:

1. Where is faith in moments of violence?
2. What becomes of justice when grief takes hold?
3. How far can a person go before survival begins to challenge their deepest convictions?

Behind MORYON stands a collaborative team of student artists whose work extends beyond the stage. From production management and technical execution to design, publicity, marketing, and audience engagement, the production is shaped by the collective efforts of Assistant Director Kirstan Erin Wayne Orbegoso, Executive Director Maria Ysabel R. delos Reyes, Finance Director Trisha Tan, Production Manager Marjorie E. Uson, Head Stage Manager Danielle Schwartz, Production Designer Althea Carla H. Sibulo, Technical Director Martin Gabriel L. Mesina, Multimedia Director Johann Edgar S. Oliveros, Marketing Director Edrud Adriyel Madalan, Publicity Director Irish Jane L. Oliveros, and House Manager Zoe Trinity C. Sisam, whose dedication helps bring the story of MORYON from page to stage.

Bringing MORYON’s lead characters to life, Maria Alexandra Mayano and Maria Ysabel Delos Reyes alternately portray Caridad, while Dave Bambang and Aldin Covarrubias take on the role of Esteban.

 
Alexandra Mayano, Ysabel Delos Reyes (Caridad)

 
Aldin Covarrubias, Dave Bambang (Esteban)

MORYON will run at the FEU Center for the Arts Studio on the following dates:

• October 1, 2, 3, 8, 9, 10, 15, 16, 17, 22, 23, 24, 29, & 30
• November 5, 6, 7, 12, 13, 14, 19, 20, 21, 26, 27 & 28

The house will open at 6:00 PM. The performance begins at 6:30 PM.

Guests are encouraged to arrive 30–60 minutes before the start of MORYON to enjoy a free guided walk around FEU’s Art Deco Campus, recognized by UNESCO and the National Commission for Culture and the Arts (NCCA) for its cultural and architectural significance.

Ticket Prices

• ₱150 : FEU Students / Faculty / Staff and FEU/FTG Alumni with Alumni ID
• ₱250 : Non-FEU Students (with valid ID)
• ₱500 : FTG Alumni without Alumni ID, PWD / Senior Citizen Discount
• ₱700 : General Public

For updates and announcements, connect with the Far Eastern University Theater Guild on Facebook, follow @feutheaterguildofficial on Instagram and TikTok, and @ftg1934 on Twitter/X.

Read More

When a Wooden Puppet Dreams: Pinocchio comes to life at Ayala Malls Feliz

A familiar “Buongiorno!” will soon fill the Activity Center of Ayala Malls Feliz as Ephesus Teatron Group Inc. brings Carlo Collodi’s beloved Pinocchio to life on October 9 to 11, 2026.

 

This musical adaptation follows the journey of Pinocchio, a wooden puppet who dreams of becoming a real boy. Through music, movement, colorful costumes, and a lot of adventure, the story explores honesty, courage, responsibility, and the choices that help shape who we become.

Directed by seasoned musical theater artist Sweet Samaniego Buchanan, with musical arrangements by Pipo Cifra, the production features Brie Mosquito as Pinocchio, Red Nuestro as Geppetto, Buchanan as the Blue Fairy, Sheila Gamo as Angelina, Bhen Espina as Antonio, Nazer Salcedo as the Coachman, and Dusty Suarez in multiple roles.

 

The production also highlights a young ensemble of emerging performers, reflecting Ephesus Teatron’s commitment to giving new artists opportunities to train, perform, and connect with live audiences.

Bringing Theater Closer to East Metro Manila
One of the most interesting things about this production is its choice of venue. Instead of a traditional theater, Pinocchio will be staged at the Activity Center of Ayala Malls Feliz in Pasig.

While an unconventional theater venue, the mall offers a unique opportunity to bring live performance closer to communities east of Metro Manila, including audiences from Marikina, Rizal, and nearby areas. Some of the actors and members of the production team are also from the vicinity of Rizal and Marikina, making the production a source of pride as they represent their communities on the Philippine theater scene.

More importantly, staging the musical in a familiar community space can help make theater feel more accessible, especially to young audiences and families who may not regularly visit traditional theater venues.

A Story for the Social Media Generation
Although Pinocchio is a classic story, its lessons remain surprisingly relevant today. In the age of social media, Pinocchio’s struggles with lying, peer pressure, poor decisions, and the desire to fit in can easily connect with young audiences.

The story also offers a timely reminder about authenticity and responsible choices in a world of misinformation, online pressure, and carefully curated versions of ourselves. At its heart, Pinocchio asks a simple question: What does it really mean to become a good and responsible person?

For Ephesus Teatron, the production is not only about entertainment. It is also about education, community, and encouraging the next generation to discover the value of live theater.
Pinocchio will be staged on October 9, 10, and 11, 2026, at the Activity Center, 2nd Floor, Ayala Malls Feliz, Marcos Hiway corner J.P. Rizal, Barangay Dela Paz, Pasig City.

For ticket reservations and inquiries, contact Ephesus Teatron Group Inc. at 0945-991-1840.

This October, follow Pinocchio’s journey from a wooden puppet to a real boy—and discover how a classic story can still speak to audiences today, especially to the young people who are finding their own place in the world.

Read More

Tagay Para sa Ex: When One Simple Get-Together Brings Everything Out

What starts as a simple, supposed-to-be good and friendly gathering can quickly turn into something you never expected. That is what makes “Tagay Para sa Ex” an enjoyable and relatable watch. What seems like an ordinary night with friends slowly opens up conversations about love, relationships, friendship, and the things people usually keep to themselves.

“Tagay Para sa Ex” is BoxStage Manila’s first production, written and directed by Dudz Teraña. What I liked about the play is how it takes a very familiar setting and makes you feel that you are actually part of the group. The moment you see the stage, you already get that feeling. You are not simply watching these friends talk. You feel like you are sitting with them, listening to their stories, laughing at their jokes, and waiting for the next thing that will come out. The only thing missing is the actual “tagay.”

The "tagay"-ready set

The gathering feels even more real because of the way the conversations happen. There is noise, there are different conversations happening at the same time, and people sometimes talk over each other. But surprisingly, you are still able to understand what is going on. It feels like being in a real gathering where everyone has something to say and every conversation has its own story. And just like in any friend group, there is always that one person who makes an effort to bring everyone back together. For me, that person is Buknoy Gonzales as Poch, who is probably the character I can relate to the most. Poch feels like the friend who wants everyone to be okay and keeps trying to hold the group together even when things start getting complicated.

A big part of the fun is seeing the different views on relationships, especially between #TeamGirls and #TeamBoys. Yesh Burce as Liz and Brigitta Marilla as Mich easily earn your sympathy. Their side speaks to the part of us that still believes in the kind of love we hope for. They give us the “fantasy” and the “sana ganito” moments, making you think about the kind of relationship you wish you could have.

On the other side, Jel Tarun as Benj and Kobie Hachero as Mark give us a more practical view of commitment. Their characters remind us that relationships are not only about love and staying together. They are also about growing together, supporting each other, and learning how to become better people while being with someone. Their side gives the audience a much-needed reality check.

What makes this exchange of ideas more interesting is that the characters do not stay on opposite sides for the entire play. There is a nice turnaround in the way #TeamBoys and #TeamGirls see relationships. The boys become more vulnerable and reveal how they can also hold on tightly to relationships, while the girls begin to question whether they should still continue asking for the things they want from their partners. This shift gives the play a good balance because it shows that both sides can dream, doubt, hurt, and become vulnerable.

And that balance is what makes “Tagay Para sa Ex” work. It does not try to make relationships look simple. Instead, it shows how complicated they can become when friends start talking honestly. One moment you are laughing, and the next, you are thinking about your own experiences with love and relationships.

The play is a wonderful mix of comedy and drama, set in a situation that feels very common and very modern. It is easy to connect with because you probably know people like these characters, or maybe you see a little bit of yourself in them. It feels like one of those nights when friends get together for a drink, only for the conversation to slowly become deeper than anyone expected.

That is the charm of “Tagay Para sa Ex.” It makes you laugh, gives you something to think about, and reminds you that behind every relationship story are people simply trying to figure things out.

And sometimes, all it takes is one gathering, a few friends, and a little tagay to bring everything out.

“Tagay Para sa Ex” runs until September 5.

Read More

Dulaang UP’s 49th Theatre Season Reimagines Rizal’s Noli and El Fili for a New Generation

Dulaang Unibersidad Pilipinas’ 49th Theatre Season echoes Dr. José Rizal’s call for interventionist action with the theme, "Paano Umalala nang may Pag-alaga?" This milestone season tackles the urgent question of how a society remembers its past and protects its collective memory with radical care, especially in an era facing rapid historical amnesia. Commemorating Rizal's 130th death anniversary, we bring you back-to-back stagings of Rizal’s revolutionary novels, Noli Me Tángere and El Filibusterismo. Dulaang UP brings together two of the country's most prominent theatre directors to breathe new life into foundational Filipino texts, a continuation of our founding Artistic Director National Artist for Theatre Tony Mabesa’s legacy of rendering timeless pieces in present-day contexts and struggles.

By presenting Rizal’s two landmark novels in dialogue, Dulaang UP’s 49th Theatre Season elevates traditional history archiving by turning the stage into a living archive. Instead of confining history to textbooks, the theatre animates heritage, enabling actors and audiences to physically engage with, question, and pass on the nation's cultural memory. This vibrant space bridges classroom theory and today’s world, serving as a rigorous training environment where experienced professionals and student scholars collaborate. Ultimately, this artistic practice grounds both performers and audiences in truth, fostering a living, multi-layered understanding of our shared societal challenges.

Rizal’s novels are still highly relevant today because the issues they revealed—such as systemic corruption, abuse of power, and civic apathy—still afflict the modern Philippines. The characters like Doña Victorina and the corrupt friars showcase political opportunism, greed, and manipulation, reflecting current political dynasties and institutional graft. Rizal's novels remind us that, although the oppressors' faces have shifted from colonial rulers to local elites and aspiring kleptocrats, the fight of the masses against injustice remains unchanged. Reading these works today are revelatory of societal problems that have only evolved from the 19th century, not vanished.

Additionally, the contrasting methods of reform through Crisostomo Ibarra and Simoun provide an enduring lesson in social activism and nation-building. Ibarra’s focus on education and institutional change emphasizes the importance of truth, critical thinking, and intellectual freedom—crucial tools in combating today's widespread misinformation and historical inaccuracies. Meanwhile, Simoun’s turn to radical revolution serves as a warning about the harmful effects of extinguishing peaceful paths to justice. In the end, both novels encourage contemporary Filipinos to reject complacency, seek enlightenment, and actively participate in fostering a society grounded on equity.

The season opens with José Estrella’s direction of a reimagination of Noli Me Tangere (based on the Filipino translation by National Artist for Literature Virgilio S. Almario), titled Fiestas y Muertos. Estrella's staging presents Noli Me Tangere through two contrasting visual and emotional themes: the chaotic, forced happiness of public fiestas and the quiet, eerie reality of societal decline and death (muertos).

 
Noli Me Tangere The Opera (2011)

This production mirrors the societal issues of Spanish-colonial San Diego, where lavish religious events are used by the ruling elite to hide extreme poverty, corruption, and psychological suffering. Framing Rizal’s novel within this dramaturgical approach transforms it from a conventional period piece into a dynamic, ritualistic cycle of life, death, and societal spectacle. This viewpoint offers a deep reflection on a people, as Elias quietly states at the end, who might perish in darkness without witnessing the dawn.

Following this, Dexter M. Santos takes the helm for Nitrogliserina; a new play by Guelan Varela-Luarca, based on and inspired by El Filibusterismo. This alternate narrative pursues the revolutionary possibilities left unresolved in Rizal’s final novel. What if the story we inherited was not the one we needed?

Isang Panaginip na Fili (2010)

Interrogating the limits of reform, the violence of established orders, and the fantasies of liberation that continue to haunt the Filipino imagination, Nitrogliserina confronts the precarious aftermath of a revolution. As power structures collapse and new futures emerge, the play offers a meditation on the price of remaking a nation.

Fiestas y Muertos will run from October to November 2026, with Nitrogliserina scheduled for February to March 2027; ticketing information will be announced soon. The season will feature both regular evening performances and weekend matinees at the IBG-KAL Theatre, UP Diliman. For sponsorship opportunities, block reservations, showbuying, and early ticket inquiries, contact the Dulaang UP Marketing Team at dulaangup.marketing.upd@up.edu.ph or follow Dulaang UP’s official social media pages for updates.

Meta: facebook.com/DulaangUnibersidadNgPilipinas/
Instagram: instagram.com/dulaang_up/
TikTok: tiktok.com/@dulaang_up

Read More

Stay a Little Longer, a tender meditation on memory, love, and the choice to remain

2TinCans Philippines, Inc. presents Stay a Little Longer, a full-length drama written by Sarah Mae Enclona-Henderson and directed by Shifrah Bouchikhi-Enclona on August 29 and 30 at The Kabilin Center.

Stay a Little Longer follows a woman whose memory moves fluidly across the many stages of her life. One moment, she is a child grieving the loss of her brother. In another, she is a young woman fighting to be chosen, a wife and mother, a physician, or an elderly woman trying to understand the unfamiliar room around her.

But for HER, each moment is real.

As time collapses and identities overlap, the people who love her are forced to confront a difficult question: Do we insist on the reality we know, or do we enter the reality of the person we love?

The play features Sarah Mae Enclona-Henderson as HER, Charlene Virlouvet as DAUGHTER, Shiella Pestaño-Gemperoa as DOCTOR, Rio Delizo as NURSE, and Jonathan Tad Tadioan as HUSBAND; Stage management by Benjun Yu and production design by Louie Carlo Basalo.

 

Sarah Mae Enclona-Henderson, Charlene Virlouvet

 
Shiella Pestaño-Gemperoa, Rio Delizo

Jonathan Tadioan

Rather than portraying memory loss as disappearance, Stay a Little Longer explores it as a shifting way of moving through time. The woman at the center of the play does not vanish, but remains whole, even as her access to memory changes.

At the heart of the play is a question that reaches far beyond dementia: If memory fades, what is left of us?

For playwright Sarah Mae Enclona-Henderson, Stay a Little Longer began with the realization that memory loss affects not only the person experiencing it, but everyone who loves them.

“In a world that values clarity, accuracy, and coherence, dementia disrupts not only the individual, but everyone who loves them,” Enclona-Henderson writes. “It asks us to reconsider what truth means, and whether being right is more important than being present.”

The play asks audiences to consider the persistence of identity, dignity, and selfhood, even when chronology begins to dissolve.

For director Shifrah Bouchikhi-Enclona, directing Stay a Little Longer is an opportunity to approach the story with both emotional honesty and restraint.

Director Shifrah Bouchikhi-Enclona

“Stay a Little Longer is about the things we cannot control and the things we choose to hold on to,” says Bouchikhi-Enclona.

“Memory can be fragmented, confusing, and unpredictable, but there can still be moments of peace within it. Rather than trying to make everything clear, I want the audience to experience the shifting landscape of the play with HER– to feel the confusion, the tenderness, the frustration, and the quiet moments of recognition,” she said.

For Bouchikhi-Enclona, the production is not about imposing order on a world that is constantly shifting.

“I want the production to be simple but honest, quiet but sincere, chaotic but serene. I want us to learn to trust that sometimes the most powerful moments are the ones that do not need to be explained.”

The production unfolds within a single hospice room, transformed through lighting, performance, sound, and minimal shifts in space and becomes not only a physical setting, but a psychological landscape where past and present exist simultaneously.

Stay a Little Longer is part of KULUKABILDO II: Stories in Direct Light, a program that brings original stories into the light through the distinct voices of emerging Cebuano directors.

Tickets are available at 2tincans-philippines.yapsody.com.

Read More

Mapanakit! Mga Dulang Bittersweet: Three love stories that leave quiet scars

Some love stories make you smile. Others leave you in tears. Mapanakit! Mga Dulang Bittersweet does both, reminding us that love is rarely as simple as choosing who to be with. Sometimes, it's about timing. Sometimes, it's about distance. And sometimes, it's about making difficult choices for the people you love, even when it hurts.

Produced by YPC Stage, Mapanakit! Mga Dulang Bittersweet is a moving collection of three one-act plays written by Eljay Castro Deldoc and directed by BJ Borja. Drawing inspiration from contemporary settings and regional Philippine literature, the production celebrates stories rooted in different experiences while giving them new life on the Manila stage.

Even before the curtain rises, the production already knows how to set the mood. The moment you step inside the IBG-KAL Theater, you're welcomed by a playlist of emotional hits from the '80s and early '90s. It instantly creates a nostalgic atmosphere that almost made me want to grab a microphone and sing along while reading the lyrics projected on the walls. It's a simple but effective touch that eases the audience into an evening of stories about love, longing, and heartbreak.

The cast of Mapanakit! with director BJ Borja

One of the things I appreciated most was seeing artists from Biñan coming over to tell these stories. In a theater scene often dominated by highly commercialized Metro Manila productions, Mapanakit! reminds us that some of the country's most compelling stories continue to come from the regions. More than simply entertaining audiences, the production opens a window to voices and narratives that deserve to be seen and heard by a wider audience.

Ang Liknayan ng Ating Mga Katawan

The first play follows Sir Banakon and his student Hershey Mae, portrayed by Ross Pesigan and Jury Sanchez, respectively.

Ross Pesigan and Jury Sanchez

I'll admit that I was a little conflicted during the opening scenes. I found myself frustrated by Hershey Mae's apparent indifference toward the mysterious disappearance of her classmates. Instead of immediately connecting with the story, I was distracted by the stream of scientific theories and concepts that almost felt like watching an episode of The Big Bang Theory.

Thankfully, everything changes once Sir Banakon begins sharing his own perspective. His quiet compassion slowly reveals the emotional heart of the story, reminding me that this is, after all, a love story—just not in the way I initially expected. Once I embraced that idea, the play became much more rewarding.

Its biggest takeaway? Sometimes love doesn't demand immediate answers. Sometimes, it simply waits for the right time.

Ilihan at Kalingaw

The second play stars Gab Pangilinan as Ilihan and Euden Moje as Kalingaw.

Cast of Ilihan and Kalingaw led by Gab Pangilinan and Euden Moje

This story reminded me of Filipino classics like Florante at Laura, where love is tested by circumstances much bigger than the lovers themselves. Coming from different worlds becomes Ilihan and Kalingaw's greatest obstacle, making their journey both beautiful and heartbreaking.

Among the three plays, this one offers the richest cultural experience. The production thoughtfully incorporates regional traditions into its staging, creating a visually engaging performance that celebrates Bicolano heritage without losing sight of its intimate love story.

Gab Pangilinan shines in the role, delivering her lines naturally in Bicolano before translating them into Filipino, allowing audiences unfamiliar with the language to remain emotionally connected without sacrificing authenticity.

I especially loved the ending. Rather than forcing a conventional happily-ever-after, the play immortalizes Ilihan and Kalingaw's love through poetry, suggesting that while people may be separated by fate, love can continue to live on through words and memory.

Ganito ang Pinangarap Kong Kasal

The final play features Phi Palmos as France, Loudette Barias as Kris, and Kokoy de Santos as Noel.

Kokoy de Santos, Phi Palmos and Loudette Barias

Without question, this is the most mapanakit story of the trilogy.

France and Kris share a friendship that immediately feels genuine. It's the kind of relationship many people can relate to, especially those who've experienced how years of closeness can slowly unravel because of a single life-changing circumstance. In this case, that circumstance comes in as Noel.

The first half is light, funny, and heartwarming. It lulls you into believing you're watching a feel-good story before the emotional shift arrives. You may already have an idea of where the story is heading, but knowing doesn't soften its impact. Jolina Magdangal songs were also delightfully intentionally integrated in the background that amplifies the emotions in each scene.

Maybe it's just me, but weddings always carry a different emotional weight. Here, the wedding becomes more than a celebration. It becomes a space where forgiveness, acceptance, and impossible choices collide.

When France finally says, "Ganito ang pinangarap kong kasal," the line lands exactly as it should. The performances make you hope that love will somehow find a way, only for the story to challenge your own values about commitment, family, and choosing the life that ultimately makes the most sense—even if it comes with heartbreak.

A special mention also goes to Kokoy de Santos. Despite this being only his second theatrical production, he carries himself with remarkable professionalism and confidence on stage. He blends seamlessly with seasoned theater actors, never trying to outshine them but instead serving the story and his fellow performers. It's exciting to see him continue exploring theater, and I genuinely hope this won't be his last. He has the potential to take on even more diverse and challenging roles in future productions.

It's complicated. It's painful. And it's the story that stayed with me the longest.

Mapanakit! Mga Dulang Bittersweet succeeds because it trusts the power of sincere storytelling. Rather than relying on spectacle, it allows its characters and the emotions they carry to take center stage. Each play explores a different kind of love: one that patiently waits, one that lives on through poetry, and one that asks us to let go for the sake of others.

Beyond the stories themselves, I admire what YPC Stage has accomplished by bringing regional literature and artists to Manila audiences. It's a meaningful reminder that Philippine theater extends far beyond the capital and that our regional languages, cultures, and stories deserve the same spotlight as mainstream productions.

By the time the curtain falls, Mapanakit! Mga Dulang Bittersweet leaves you with one lingering realization: not every love story is meant to have a happy ending, but the ones that hurt the most are often the ones we remember the longest.

Mapanakit! runs until August 9 with 2:00PM and 7:00PM shows. Get your tickets at ticket2me.net/mapanakit!

Read More

I Have Notes: 'Septic Tank 4' made me laugh so hard... then quietly called me out

Eugene Domingo leads the cast of "Ang Babae sa Septic Tank 4"

I have notes.

I watched Ang Babae sa Septic Tank 4: Oh Sh*t! It's Live! last July 12 at the PETA Theater Center with my niece, and we were both genuinely excited. Seeing the franchise come alive on stage—led by the one and only Eugene Domingo—already felt like an event we didn't want to miss.

From the very first few minutes, the show proves that it's incredibly timely. It wastes no time throwing jokes about current events and personalities, including Alex Eala and Hidilyn Diaz, with Eugene Domingo delivering the punchlines in a way only she can. She has this unmatched ability to make even the boldest jokes land effortlessly, reminding everyone why she's one of the country's greatest performers.

One thing I immediately appreciated was how naturally the production introduced its cast. If you're not a regular theatergoer, the opening makes it easy to get to know everyone. Their backgrounds, achievements, and recent credentials are smoothly woven into the show, making every performer feel familiar before the story even fully unfolds.

And then came the Ugeng-gengs.

Eugene Domingo and the Ugeng-gengs

Forget the usual teenage gangs you imagine hanging around Manila malls. These ones are proudly from Alabang, and that alone already tells you what kind of comedy you're about to get. Eugene Domingo, as the self-appointed "mother" of the group, places herself on a hilarious pedestal of superiority. She's loud, unapologetic, over-the-top, and completely entertaining. Every scene with them was pure fun.

Fans of the original Septic Tank movies will also love how the production continues its tradition of poking fun at acting styles. The first film introduced unforgettable jokes about "TV Patrol acting," "elevator acting," and "as is, where is" acting. This fourth installment levels it up by taking playful shots at different schools of acting and theater institutions.

Dulaang UP and PETA—both closely associated with Eugene Domingo—become part of the jokes. Repertory Philippines, known for producing internationally recognized talents like Lea Salonga, also gets its moment. But the biggest laugh for me came from the introduction of the completely absurd and brilliantly original "Four Corners Acting." I honestly couldn't stop laughing. It was one of those jokes that's so ridiculous, yet somehow makes perfect sense within the show's world.

What surprised me most, however, was how the comedy slowly transformed into something much bigger.

The play offers a sharp satire of the Philippine theater industry. It asks a question that many probably haven't stopped to think about: Are we really experiencing the Golden Age of Philippine Theater, or just the Golden Age of Metro Manila Theater?

As someone who lives in Metro Manila, I honestly found myself agreeing. Most of the productions that receive attention, praise, and media coverage happen within Metro Manila, while many theater communities outside the capital remain largely unnoticed.

The show also doesn't spare its audience.

It cleverly points out how theater has sometimes become a badge of being "cultured," where watching plays turns into bragging rights instead of a genuine appreciation of the art. I loved that the production wasn't afraid to challenge everyone—artists, producers, audiences, and even itself. Nobody was safe, and that's exactly why the satire worked.

More importantly, it reminds us of what theater is really supposed to be.

Beyond entertainment, theater has always existed to educate, challenge perspectives, question power, and fight for something bigger than itself. The show asks whether that original purpose is slowly getting lost beneath commercial success and spectacle. It raises uncomfortable questions while making you laugh, which is exactly what great satire should do.

By the second act, the production becomes even more ambitious.

The classic play Kahapon, Ngayon at Bukas by Aurelio Tolentino is transformed into a grand musical that hilariously drifts farther and farther away from its original material. Watching the creative process completely spiral out of control becomes one of the funniest parts of the show. Every cast member commits fully to the chaos, making each unexpected turn even more enjoyable.

Eugene Domingo as Inang Bayan in the Septic Tank 4's adaptation of Aurelio Tolentino's "Kahapon, Ngayon, at Bukas"

There are also technical and staging surprises that you simply won't fully appreciate from photos or videos. The production uses areas and stage elements that many theater shows don't normally maximize, keeping the audience constantly curious about what might happen next.

By the time the curtain fell, I honestly wished I could watch it again.

Unfortunately, every performance is already sold out. If the production ever gets an extension, I wouldn't hesitate to buy another ticket. Although after everything Eugene Domingo goes through in this installment, who knows if she'd still want to climb back into the septic tank one more time?

One thing is certain: Ang Babae sa Septic Tank 4: Oh Sh*t! It's Live! isn't just a comedy. It's a love letter to Philippine theater, a fearless critique of the industry, and a reminder of why live performances continue to matter. It makes you laugh, makes you think, and occasionally makes you question whether you've also become part of the joke.

If you're lucky enough to have tickets, don't miss it. If not, hope for an extension.

The show's final performances run until August 16—and if there's any justice, this won't be the last time Eugene Domingo lets us peek inside the septic tank.

If you plan to publish this as a blog or Facebook review, I can also make it punchier, more conversational, and packed with shareable one-liners while avoiding major spoilers.

Read More

MAPANAKIT - Mga Dulang Bittersweet All Set to Open on July 25

Marking a significant milestone in the regional arts landscape, Biñan proudly announces its first-ever homegrown theatre production to be staged outside city borders. Following a highly successful community run in December 2025, Mapanakit! Mga Dulang Bittersweet has officially transitioned into a touring-ready production, representing the highly anticipated maiden presentation of YPC Stage.

Directed by BJ Borja, the show celebrates community-rooted storytelling and professional staging discipline, making it both artistically compelling and accessible to diverse audiences nationwide.

Written by acclaimed playwright Eljay Castro Deldoc, these 'three one-act plays' present deeply human stories told through intimate performances, poetic dialogue, and emotionally grounded storytelling that resonates strongly with modern audiences.

The staging serves as an artistic bridge, featuring a powerful collaboration that unites a dynamic new generation of performers with some of the most respected and seasoned names in Philippine theater. This synergy of fresh energy and professional experience delivers an exceptional standard of performance.

At its core, Mapanakit reflects shared Filipino experiences — heartbreak, longing, healing, and hope — allowing audiences to see themselves on stage. Its relatable themes make it highly engaging for students, young professionals, cultural advocates, and general theatre-goers alike.

MAPANAKIT features:

ANG LIKNAYAN NG ATING MGA KATAWAN
Hershey Mae (Jury Sanchez) sneaks into the school’s chemistry lab under the pretense of conducting an experiment, but she is really there to confront her teacher, Sir Banakon (Ross Pesigan). He has rejected her controversial research paper, arguing that its methods and conclusions are unscientific and dangerous. The paper has already stirred chaos in the school, as several students took its claims seriously—leading to a suicide attempt, a viral fight, and a missing student.

Sir Banakon believes the study must be dismissed before more harm is done. But Hershey Mae insists that her research is grounded in real observation and experience. What she is trying to prove, above all, is that some truths—especially about love—cannot simply be invalidated.

ILIHAN AT KALINGAW
Ilihan at Kalingaw, in a mythical realm, Ilihan (Gab Pangilinan), the poet-historian of the Buringkantada tribe, is tasked with recording the stories their elders deem worthy of memory.

When the council discovers she has secretly written love poems for Kalingaw (Euden Moje) —a man she is forbidden to love—she is summoned to face punishment. Kalingaw urges her to flee before it is too late, but Ilihan refuses. She believes love, too, deserves a place in their history. By standing by her words, Ilihan challenges the tribe’s rules about what can be remembered—and risks paying the price for a love story they refuse to acknowledge.

GANITO ANG PINANGARAP KONG KASAL
France (Phi Palmos) and Noel (Kokoy de Santos) have been a couple since college, keeping their relationship quiet while maintaining the appearance of normalcy around others. Their closest friend, Kris (Loudette Barias), has long been their confidante and constant third wheel, witnessing the sweetness and intimacy of their private love story. For years, the three navigate life together while carefully protecting the secret. The balance begins to break when one of them decides to follow society’s expectations of masculinity and a conventional life. His choice forces the friends to confront what they have built—and what they may lose. The decision puts their loyalty, love, and friendship to the test.

YPC Stage is the professional performance and touring arm of the Biñan Youth Performance Council Inc.(YPC) - a platform designed to bring its community-rooted theater practice to larger stages and wider audiences. Mapanakit is YPC Stage’s maiden production.

Built on two decades of cultural work, youth formation, and socially engaged storytelling, YPC Stage produces and presents works that uphold professional standards while remaining deeply anchored in lived realities. Its productions are artistically rigorous, emotionally truthful, and socially resonant.

Serving as a bridge between grassroots practice and institutional venues, YPC Stage allows YPC to engage commercially, collaborate across sectors, and expand its reach without compromising its core values. Through this platform, the company demonstrates that theater shaped by community experience is not peripheral - it is powerful, relevant, and ready for Metro Manila and beyond.

YPC Stage proves that excellence and community are not opposing forces. They are, in fact, inseparable.

Mapanakit! Mga Dulang Bittersweet will be staged at the KAL-IBG Theater, UP Diliman, Quezon City, with performances on July 25, 26, August 1, 2, 8, and 9 at 2:00 PM and 7:00 PM. A special Gala Show will be held on August 7 at 7:00 PM.

Tickets: Get your tickets now at ticket2me.net/mapanakit!

For interested showbuyers and sponsors, you may contact 0917-8700496.

For more details about the show, visit ypcstage.com/mapanakit and follow the FB Page: YPC Stage and IG Account: ypcstage

Read More

The Star-studded Cast of The Sandbox Collective's "People, Places and Things"

Get to know the cast in Duncan Macmillan's acclaimed play about addiction, recovery, and the search for one’s truth and identity.

The Sandbox Collective returns with another production, this time a staged reading, bringing Duncan Macmillan's celebrated play PEOPLE, PLACES, AND THINGS to Philippine audiences for a strictly limited engagement this August.

Directed by Sab Jose, the production follows Emma — a successful actress whose carefully constructed life unravels as she enters a rehabilitation center and confronts addiction, memory, and the difficult process of recovery. Alternating in the lead role are acclaimed actresses Bela Padilla and Gabby Padilla.

Bela Padilla makes her theatrical debut in this year’s staged reading of People, Places, and Things. She is a Filipino actress, host, singer, writer, and director. She is best known for her roles in television dramas on GMA and ABS-CBN, as well as critically acclaimed films such as 100 Tula Para Kay Stella and Meet Me in St. Gallen.

Gabby Padilla is an acclaimed and awarded theater, film, and television actress. She is recognized for her leading role in the coming-of-age film Billie and Emma, and in the Cinemalaya film Kono Basho. Her recent theater credits include I Love You, You’re Perfect, Now Change and Tiny Beautiful Things.

Joining them is an exceptional ensemble drawn from the country's finest theater and screen performers.

Award-winning actor Jake Cuenca returns to the stage and takes on the role of Mark.

Jake Cuenca is a Filipino actor known for appearing in ABS-CBN television series Los Bastardos and Tayong Dalawa. He won Best Actor awards for his performance in Mulat at both the International Film Festival in Manhattan, New York, and the 2016 World Cinema Festival in Brazil. He was last seen on stage in The Sandbox Collective’s Lungs.

First Lady of the Philippine Theater Menchu Lauchengco-Yulo takes on the roles of the Doctor, Therapist, and Mom. Alongside her is King of Philippine Theater Audie Gemora who will appear as Paul and Dad.

Menchu Lauchengco-Yulo is a multi-awarded actress with extensive stage credits. Her iconic roles include Eva Peron in Evita, Mrs. Lovett in Sweeney Todd, Fantine in Les Misérables, Maria in West Side Story and The Sound of Music, and Miss Hannigan in Annie, among many others. Her onscreen work includes the television series One Good Day and films such as Ang Larawan and EDJOP. Most recently, she played Maria Callas in Masterclass and Adult Woman in Spring Awakening.

Audie Gemora’s name is synonymous with the performing arts. Hailed the King of Philippine Musical Theater, he has appeared in over 70 plays, spanning Broadway and West End productions to original Filipino works. His acclaimed performances have earned him major accolades, including Gawad Philstage awards for Sweeney Todd and The Producers, and a Philstage Gawad Buhay for La Cage Aux Folles. He is the current President of PHILSTAGE. He recently starred in The 25th Annual Putnam County Spelling Bee, Little Shop of Horrors, and Spring Awakening.

Completing the cast are acclaimed director, actor, and writer Robbie Guevara as Foster; Gawad Buhay Award-winning performer Reb Atadero as T; award-winning actor and fight choreographer Brian Sy as Shaun and Mark (Understudy); actor and arts executive Mariella Laurel as Laura; performer and writer Pamela Imperial as Charlotte; actor, director, and teacher Miel Abong as Jodi; and writer and the production’s dramaturg Salve Villarosa van Schoonhoven as the Narrator.

 

Robbie Guevara and Reb Atadero

Brian Sy and Pam Imperial

 

Miel Abong and Mariella Laurel

Widely regarded as one of the most important contemporary plays of the last decade, People, Places, and Things is Duncan Macmillan's searing, compassionate, and darkly humorous exploration of addiction, rehabilitation, and the fragile, often painful journey toward healing.

Through Emma's story, the play asks profound questions about identity, truth, and what it really means to recover when the lines between performance and reality begin to blur.

Known for championing bold, contemporary works that challenge and move audiences, The Sandbox Collective continues its commitment to presenting urgent, thought-provoking storytelling through this special staged reading event.

The Sandbox Collective's staged reading of People, Places, and Things will have a strictly limited run at The Blackbox at the Proscenium Theater, Rockwell, Makati, with four performances only on August 15–16, 2026.

PEOPLE, PLACES, AND THINGS was first presented at The Dorfman Theatre, National Theatre London, in a co-production with Headlong on 1st September 2015.

For more information, follow The Sandbox Collective on Facebook, Twitter and Tiktok – @TheSandboxCo. You may also visit our website at www.thesandboxco.com.

Read More