2TinCans Philippines presents I AM NORMAL on November 7 - 8

Every family has one. The one who fills the silence, laughs the loudest, and finds a reason to celebrate an ordinary Tuesday. The one who insists that everything is fine, and almost makes everyone believe it.
But what happens when keeping up appearances becomes a way of avoiding the truth?

This November, I Am Normal, a new play written and directed by emerging Cebuano theatre artist Ciara Baricuatro, takes audiences into the lives of the Dimaano family, where grief manifests in different ways and the things left unsaid may be the hardest to confront.

The play follows a family struggling to grieve, each in their own way. Ian performs, Fern rages, Helen organizes, and Lolo watches. Beneath their individual responses lies a shared loss, and somewhere in the spaces between them, something remains waiting to be said.

Dimaano Family

At the center of the story is Ian, a boy who turns to sitcoms as a coping mechanism. Through humor, performance, and the familiar comfort of fictional worlds, he attempts to navigate emotions he does not quite know how to face. His struggle reflects a larger question: what happens when the pressure to remain positive, independent, and seemingly okay becomes another burden to carry?

Alexus Libarnes as Ian

For Baricuatro, I Am Normal is more than a theatrical story. It is also a deeply personal undertaking.

Written nine months before its staging, the play began with a simple premise: a boy using sitcoms to cope with what he cannot confront directly. Over the following months, the script underwent multiple revisions, gradually developing into a more fully realized story about grief, mental health, and the complicated ways people protect themselves from painful emotions.

Baricuatro describes Ian as a character written for people who struggle to acknowledge their own feelings, often hiding behind something else to avoid confronting what is happening inside. The character also reflects the pressure many experience to appear positive and self-sufficient even while struggling in silence.

That personal connection has made this production particularly meaningful for the young playwright-director. I Am Normal marks her first play as both writer and director, bringing together two creative responsibilities in a project shaped by months of writing, preparation, and learning. Developed independently with guidance from her directing mentor, 2TinCans Managing Director, Charlene Virlouvet, the work represents a significant step in her theatre journey.

The result is a family drama that invites audiences to look beyond the familiar phrase “I'm fine” and consider the emotions, vulnerabilities, and unspoken truths that may lie beneath it.

Featuring Alexus Libarnes, Ernest Aleonar, Isabella Villarojo, and Vince Lopez, with stage management by Kjaran Dalay, I Am Normal will be staged on November 7 at 7:00 PM, and November 8 at 2:00 PM and 7:00 PM at The Kabilin Center.

Ernest Aleonar as Fern

Isabella Villarojo as Tita Helen

Vince Lopez as Lolo Keith

The production is part of Kulukabildo II: Stories in Direct Light, a monthly theatre series presented by 2TinCans Philippines Inc. and The Kabilin Center. Rooted in the Bisaya concept of kulukabildo, or informal exchange, the series serves as a dedicated platform for the organization's directors' training program, showcasing the distinct artistic visions of eight emerging Cebuano directors.

Through this initiative, Kulukabildo creates space for new voices to develop their work, engage with audiences, and contribute to the continuing growth of Cebu's theatre community.

Tickets: https://2tincans-philippines.yapsody.com/

Content Advisory: Contains mature themes, including mental health and grief. Suitable for audiences aged 13 and above. Younger audiences must be accompanied by a parent or guardian.

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Theatre Group Asia announces eight actresses joining Lea Salonga in ‘Ang Tahanan ni Bernarda Alba’

Theatre Group Asia (TGA) has announced the eight actresses who will join Tony Award winner Lea Salonga in Ang Tahanan ni Bernarda Alba, its upcoming adaptation of Federico García Lorca’s classic drama. Adapted by Chay Yew and translated by Guenlan Varela-Luarca, the production is set to open in February 2027 at the Power Mac Center Spotlight Blackbox Theater in Circuit Makati.

Joining Salonga in the production are some of the Philippines’ respected theater and film performers, bringing together a cast with diverse artistic backgrounds and experience.

Veteran actress Sheila Francisco takes on the role of María Josefa, Bernarda’s elderly mother, whose words reveal truths that the other women in the household struggle to express. Francisco is a Gawad Buhay Award winner for her performance in Bar Boys: A New Musical and is also known for Ang Huling El Bimbo and the film Leonor Will Never Die. She made history as the first Filipina to perform at London's National Theatre in South Pacific, later joining its UK tour as Bloody Mary.

Maita Ponce plays Angustias, Bernarda’s eldest daughter. Her theater credits include Orosman at Zafira, Jesus Christ Superstar, and Avenue Q in California. She received the 2025 Manila Society of Theater Reviewers Award for Best Performance of a Lead Actor in a Musical for Si Faust! After Goethe. She also spent six years performing in Cirque du Soleil’s X: The Land of Fantasy in Hangzhou.

As Magdalena, the second daughter, Toni Go-Yadao brings her experience as a senior member of Tanghalang Pilipino’s Actors Company. She is also the co-festival director of Virgin Labfest XXI. Her performances in Balete and Kisapmata have earned recognition, while her work in theater directing and devising was supported by a 2024 Asian Cultural Council Fellowship.

Maronne Cruz takes on the role of Amelia, whose quiet and reserved personality offers a contrast to the more assertive characters Cruz has portrayed onstage. Her theater credits include Hair, Waitress, The Band’s Visit, Ang Huling El Bimbo, and Ako si Josephine. She has also lent her voice to the Filipino versions of KPop Demon Hunters, Work Later, Drink Now, and Blind.

Meanwhile, Mikaela Regis plays Martirio, approaching the character with empathy rather than judgment. Regis has appeared in productions such as A Chorus Line, Shrek The Musical, Delia D, Mula sa Buwan, and Bar Boys. A graduate of Creative Writing and English Literature from Ateneo de Manila University, she also received a Gawad Buhay nomination for Best Original Script for Unica Hijas.

Taking on the role of Adela, Bernarda’s youngest daughter, is Gabby Padilla. Known for her performances in independent films such as Gitling, Billie and Emma, and Kono Basho, Padilla won Best Actress at the 2024 Cinemalaya Philippine Independent Film Festival for the latter. Her theater credits include I Love You, You’re Perfect, Now Change and Tiny Beautiful Things. Adela’s desire for freedom places her at the center of the conflict against her mother's authority.

Rounding out the cast are Frances Makil-Ignacio as Poncia, Bernarda’s longtime housekeeper, and Jam Binay as Blanca, another servant in the household.

One of the Philippines’ most recognized theater actresses, Makil-Ignacio has built an extensive career across stage and screen. She is known for her portrayal of Mama Josie in GMA’s Mundo Mo’y Akin and has worked on various productions for ABS-CBN and TV5. She also brings previous experience with Bernarda Alba, having portrayed Poncia in an earlier staging of the play.

Jam Binay, meanwhile, has appeared in Spring Awakening, Next to Normal, and Bar Boys: A New Musical. A graduate of Ateneo de Manila University with degrees in Theatre Arts and Communication, she considers the play’s examination of patriarchy particularly relevant today.

Through this ensemble, Ang Tahanan ni Bernarda Alba brings together performers from different generations and disciplines to revisit a powerful story about women, power, repression, and the desire for freedom. With Salonga leading the cast, the upcoming production offers audiences a new opportunity to experience Lorca’s enduring drama through a Filipino theatrical lens.

Don't miss the chance to witness this powerful theatrical production led by Lea Salonga and an outstanding ensemble of Filipino actresses. Ang Tahanan ni Bernarda Alba opens in February 2027 at the Power Mac Center Spotlight Blackbox Theater in Circuit Makati. For ticket prices and booking details, visit TicketWorld and follow Theatre Group Asia on Facebook and Instagram (@theatregroupasia) for the latest production updates.

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LAST DANCE: HUBO'T HUBAD adds four more shows this November at Halxyon Club

The dance is not over just yet!

Following its previous performances, JAPS Collectives and World Theater Productions Guam / Manila announce four additional shows of LAST DANCE: HUBO'T HUBAD on November 8, 12, 21, and 28, 2026, at 7:30 PM at Halxyon Club in Poblacion, Makati City.

Written and directed by Jojo Urquico, the queer ensemble play takes audiences inside the dressing room of a struggling male revue bar on what could be its final night. As the performers prepare for one last show, they confront their personal struggles, abandoned dreams, hidden identities, and the sacrifices they have made to survive.

Blending humor, music, intimate confessions, and sensual performances, LAST DANCE looks beyond the glitter and physical allure of the performers to reveal the vulnerabilities of five men searching for acceptance, love, and a place to belong.

The extended run features Gerald Magallanes and Lance Cabradilla alternating as Ace, the fearless performer, alongside Paolo Domingo as Jay, John Segui as Dodong, Kriszan Manipon as Mark, and Robbie Padilla as Rafa.

Ysmael Suarez also joins the production as Josh, with Jem-Jem Ria Lopez as Mama Lou and Fewsha Umber and Lexie Eera as the Halxyon Queens.

The production is led by Urquico, whose international theater credits include Miss Saigon, Rent, Romeo & Juliet, and Die Zauberflöte. LAST DANCE marks his first original play as a writer, with the artist taking on the roles of playwright and director.

The creative team also includes Alex Garcia as Production Manager, Prince Beating as Co-writer and Stage Manager, Christian Magallanes as Assistant Stage Manager, and Martin Del Rosario for Sound and Lighting Design and Graphic Design.

Beyond its theatrical presentation, LAST DANCE also supports LGBTQIA+ advocacy. LoveYourself serves as the production's advocacy partner and will receive a portion of the ticket sales from the November 8 performance to support its community initiatives.

The production is made possible with the support of iSKin Aesthetic Lifestyle, U Hotels, Studio QZ, STAG, Duality, Manjam, and Halxyon Club.

LAST DANCE: HUBO'T HUBAD will have its extended performances on Sunday, November 8; Thursday, November 12; Saturday, November 21, and 28, 2026, at 7:30 PM at Halxyon Club, Poblacion, Makati City.

Tickets are priced at ₱700, ₱800, and ₱1,000, available through Ticket2Me.

Content Advisory: Strictly for adult audiences aged 18 and above. The production contains mature themes, sensual performances, and partial and full nudity presented within a theatrical context.

Five men. One stage. Stories that go beyond what meets the eye.

For those who have yet to experience LAST DANCE: HUBO'T HUBAD, the November performances offer another opportunity to witness this intimate theatrical production. Because sometimes, the stories behind the performance are worth staying for long after the music stops.

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Echoes of San Diego: Dulaang UP’s Fiestas y Muertos makes Rizal’s Masterpiece feel Alive

Dulaang UP opens its 49th theatre season with Fiestas y Muertos, a bold production staged in remembrance of the upcoming 130th death anniversary of Dr. Jose Rizal. Directed by José Estrella, this adaptation revives Rizal’s iconic novel, Noli Me Tangere, and turns it into an immersive reflection on Philippine society, power, and freedom.

Watching the show felt like taking a trip down memory lane. It brought back every scene, character, and chapter studied during high school. Seeing the characters walk and speak right in front of the audience made the classic literary scenes feel clear, urgent, and deeply human again.

There is a place in Pililla, Rizal area called the San Diego de Alcala Parish, that sparked my imagination during the show. It made me reflect on how Rizal himself traveled across Laguna de Bay heading toward Antipolo and Manila during his time, bridging the physical geography of his youth directly to the world of the play.

One of the most memorable parts of the production happens before the story even begins because you enter the venue directly through the stage. Walking across the performance space to reach your seat sets a unique tone for the entire evening. It immediately breaks the wall between the actors and the audience, making you feel as though you are stepping straight into the world of San Diego.

Without a doubt, this stands out as the best and most compelling production of Noli Me Tangere I have experienced, largely driven by its brilliant ensemble cast. Jerom Canlas gives Crisostomo Ibarra a grounded, deeply human energy. Rather than portraying him as a passive hero, Canlas highlights Ibarra's internal struggle between his love for his homeland and the crushing weight of systemic oppression. Justine Peña reclaims Maria Clara from the tired stereotype of a fragile heroine, bringing a delicate strength and quiet resistance to the role while anchoring the tragic heart of the story alongside Canlas.

The antagonists are portrayed with chilling nuance. Jojo Cayabyab captures Padre Damaso’s overbearing arrogance and blustering authority, making him an imposing presence every time he steps into view. In contrast, Joseph Pe’s Padre Salvi is quietly unsettling, playing the friar with a restrained, creeping malice that emphasizes the corrupt power of the clergy. Meanwhile, the tragedy of Sisa’s family serves as the emotional anchor of the play. Iris Montesclaros delivers a heartbreaking performance as Sisa, charting her descent into grief with painful authenticity, while Quiel Campo as Basilio and Daphne Galang as Crispin bring a raw, vulnerable purity that makes their suffering feel deeply personal.

The visual design complements these performances through wonderfully inventive choices, using a creative set, dynamic lighting, and clever movement to transform simple props into vivid scenes of grand feasts and dark, quiet moments. Based on the Filipino translation by National Artist for Literature Virgilio S. Almario, the script breathes fresh energy into Rizal’s words. Instead of feeling like a dry textbook lesson, the language feels sharp, clear, and relevant to modern viewers. I truly believe students will take Noli Me Tangere much more seriously after seeing this version, as it shows how deeply Rizal's message still connects to our lives today.

The production runs from October 23 to November 15, 2026, at the IBG-KAL Theatre, UP Diliman, Quezon City. Friday shows are at 7:00 PM, while Saturday and Sunday shows run at 2:00 PM and 7:00 PM. Regular ticket prices are PHP 1,200, with discounted rates of PHP 960 for PWD, Senior Citizens, UP Alumni, and non-UP Students, and PHP 690 for the UP Community on Friday performances.

Don't miss the chance to experience Philippine literature come alive on stage! Whether you are a student rediscovering Rizal's work or a theater lover looking for an unforgettable show, Fiestas y Muertos is a must-watch. Book your tickets now by visiting Dulaang UP's official social media pages or emailing the Dulaang UP Marketing Team at dulaangup.marketing.upd@up.edu.ph. Grab your seats before the run ends on November 15!

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Theater Review: LAST DANCE: Hubo't Hubad Strips Down More than Just Clothes

LAST DANCE: Hubo't Hubad at Halxyon Club in Poblacion, Makati City brings raw energy to the stage, featuring a main cast with Kriszan Manipon as Marky, Robbie Padilla as Rafa, Paolo Domingo as Jay, John Segui as Dodong, and Lance Cabradilla as Ace, along with Jem-Jem Ria Lopez as Mama Lu, Ysmael Suarez as Joshua, Fewsha Umber, and Lexie Eerra.

Holding the performance inside Halxyon Club turns out to be a great choice for the venue. Watching a drag show presented as a true art form for the first time is surprisingly captivating, and the opening acts do a wonderful job of pulling the audience into the experience. But the mood shifts quickly when the main cast enters. The dancers start walking right up to the crowd to grind and interact closely with people. For a first-time viewer, it can be quite a shock, and anyone sitting a few rows back will probably feel relieved to watch the action from a safe distance.

The actual story kicks off after a "raid," which brings out the personal struggles and drama of the five main characters. While the cast gives it their all, the plotlines feel very familiar, using tropes that many viewers have already seen in similar local LGBTQ+ indie films. Money problems and personal identity serve as the common thread connecting everyone. Marky works as a police officer but takes on dancing to bring home a better income for his family. Ace has grown to enjoy the work because he has built up a steady crowd of regular customers. Dodong is in a similar boat, though he secretly hopes to find a job that matches the degree he finished. Rafa dances purely out of survival, since the club is the only place willing to hire him at his age. Meanwhile, Jay uses his natural talent for dance to escape a dark past, having run away from home at a young age after dealing with childhood trauma.

The play also touches on other familiar issues like abuse, health struggles, and jealousy between coworkers, such as a heated argument where Dodong and Ace nearly fight over a shared client. The show makes a good point that despite their fit bodies and the tough image they put on for clients, these dancers are still fragile and vulnerable people. However, the story itself feels like it lacks depth. Across the hour-long runtime of talking and backstories, the plot turns out to be pretty predictable and standard.

For people who aren't used to seeing full nudity and intense adult themes up close on stage, the show leaves you with a mix of different emotions. Even if the storyline could have been a bit deeper, the brave performances and the unique venue make for an interesting night out. The show runs until October 29 at Halxyon Club in Poblacion, Makati City.

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Behind the fiesta lies a dying nation: Dulaang UP reimagines Rizal’s Noli Me Tángere

From a traditional period piece to a lively, ritualistic cycle of life, death, and societal spectacle, Dulaang Unibersidad ng Pilipinas (Dulaang UP) divides José Rizal’s narrative of Noli Me Tángere’s (Noli) into two stark visual and emotional realms: the chaotic, enforced joy of public festivities (fiestas) and the silent, haunting truth of systemic decline and death (muertos). This dichotomy reflects the societal ailment of Spanish-colonial San Diego, where opulent religious celebrations are exploited by the ruling class to conceal extreme poverty, corruption, and psychological harm.

Fiestas y Muertos is a performatively grand display of abundance and piety, dissolving the strict hierarchy of church liturgy into a vibrant, energetic celebration of community and survival. Characters are transformed from mere historical figures into enduring mythical symbols of survival and sacrifice caught within a collapsing colonial system.

Filling the streets of San Diego is a cast of old and new friends of Dulaang UP, led by Jerom Canlas who puts a face on the familiar name of Crisostomo Ibarra, with Justine Peña playing the adored Maria Clara. The wise Pilosopo Tasyo, renamed Inay Dorang, is Peewee O’hara. The fugitive Elias is played by Ross Pesigan with the dutiful Salome given breath by Elora Españo. Joseph Pe is the sinister Padre Salvi with Jojo Cayabyab as the corrupt and prejudiced Padre Damaso. Iris Montesclaros as a long-suffering Sisa with her children, Quiel Campo and Daphne Galang, as Basilio and Crispin, respectively.

 

 

Fiestas y Muertos is directed by José Estrella and adapted by Andrew Estacio based on and inspired by the Filipino translation of José Rizal’s Noli me Tangere by National Artist Virgilio S. Almario. Together with Estrella and Estacio in the artistic team are Sir Anril Tiatco and Jem Javier (Dramaturgy and Additional Lines), Charles Yee (Set and Props), Carlos Siongco (Costume), Angel Dayao (Sound and Original Music), Barbie Tan-Tiongco (Lights), Joyce Garcia (Video), Al Garcia (Movement), Mykee Ababon (Technical Direction), and Aji Manalo (Sound Engineering).

In staging this production, the company probes the question: which corrupt structures, institutions, and illusions must be abolished to enable real social liberation?

Fiestas y Muertos will run from October 23 to November 15, 2026 at the IBG-KAL Theatre, UP Diliman. See the standard ticket prices below:

Ticket Type
Regular PHP 1,200
UP Community PHP 690 (Undergraduate/Graduate Students and Employees)
*Valid only for Friday shows
PWD/Senior Citizen/UP Alumni/Non-UP Student PHP 960

Show Schedule:
Fridays
October 23, November 13
7:00 PM

Saturdays and Sundays
October 24 and 25, November 8, 14, and 15

2:00 PM and 7:00 PM

For 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

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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.

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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.

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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.

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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.

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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.

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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.

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