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!

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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.

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A Cultural Homecoming: A Review of Tales of the Manuvu

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

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

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

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

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

 
 
 

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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