Category: Theatre

Gab Pangilinan is Gabriela Silang in A New Original Musical

This November, Barefoot Theatre Collaborative invites audiences to meet the first Filipina revolutionary in GABRIELA: The Musical, an epic new musical set in 18th century Ilocos.

Told through myth, magic, and mystery, the musical reintroduces Gabriela as a co-author of the revolution–present from the beginning and later tasked with holding it together as it fractures. As she reconnects with her Itneg roots, Gabriela moves between worlds becoming both battleground and bridge. At its core, the musical is a love story between people who believed that a different life was possible.

Leading the production in the titular role is acclaimed musical theatre actress GAB PANGILINAN. Known for her resonant performances and commanding stage presence, Pangilinan most recently appeared as Mary Magdalene in Jesus Christ Superstar and is widely celebrated for her performance as Roxane in Mula Sa Buwan. Her theatre credits also include Ang Huling El Bimbo, The Last Five Years, and more.

On stepping into the role, Pangilinan shares:

“It’s no secret that Gabriela Silang is a revolutionary heroine of the Philippines— the first female leader who fought against Spanish colonization. To portray this Filipina was never in my theatre actor bingo card and trust me when I say that I do not take this lightly. Isang malaking karangalan (at responsibilidad) ang gumanap bilang Gabriela Silang. Alongside the incredible company of Gabriela: The Musical, I’m looking forward to the journey we’re about to take on together. Immensely grateful for this opportunity to originate a new role and I promise to take care of her.”

For playwright Pat Valera, known for works such as Mula Sa Buwan, Bar Boys: The Musical, and Dekada ’70, GABRIELA marks his fourth original Filipino musical.

“I’ve spent more than five years researching Gabriela Silang, and the more I came to know her, the more questions arose. Why does Gabriela’s story begin only after her husband’s death? If she was such a revered general, could she have been an active part of the revolution from the beginning? Able to unite a divided people, could Gabriela have imagined the beginnings of a nation?

We explore these questions (and more) in the musical. In doing so, I believe we have shaped a nuanced and complex journey for Gabriela—a story of a woman in love, a grieving warrior, and the kind of leader we continue to yearn for today.”

Bringing this vision to the stage is director Mikko Angeles, who previously helmed Bar Boys: The Musical. He shares:

“With Pat Valera’s script and Myke Salomon’s music, bringing Gabriela Silang’s narrative to the stage means looking beyond the familiar historical figure and discovering the myth, magic, and mystery that surround her.

On the page, the scale encompasses time, reality and the cosmos. Ang dami agad elements and demands na kailangang paghandaan. Plus, iba din yung responsibilidad na kaakibat sa pangangalaga ng kultura.

Apart from tracing history, we are shaping Gabriela: The Musical as a reimagination of her love and revolution through the lens of rage and sacrifice — a woman transformed by loss, drawn toward destiny, and compelled to confront her identity.

Alam na ba namin kung paano gawin? Hindi pa — that’s what makes it an exciting challenge.”

Gabriela: The Musical begins performances on November 13, 2026 at the Hyundai Hall, Areté, Quezon City. Tickets for the opening weekend are now available at bit.ly/gabrielatickets. Ticket buyers from July 13, 2026 to August 17, 2026 will receive a complimentary souvenir program as a thank-you keepsake from the production for getting tickets early.

Additional casting and production announcements will be released soon. For more information, follow @barefootcollab on Facebook, Instagram, X, and TikTok.

July 13, 2026
THEATER REVIEW: Eugene Domingo’s Second Skin: A Review of ‘Ang Babae sa Septic Tank 4: Oh Sh*t! It’s Live sa Cheter!’

After two movies and a streaming series, there is absolutely no question that Eugene Domingo has mastered playing a parody of herself, which she, Marlon Rivera, and Chris Martinez popularized in the Babae sa Septic Tank franchise. In its fourth installment, the meta-commentary and satirical series leaps onto the world of theater. Ang Babae sa Septic Tank 4: Oh Sh*t! It’s Live sa Cheter! takes the larger-than-life Domingo and sets her ambitious vision toward the world of live theater. Within the world of Septic Tank, Domingo’s character has become the ultimate symbol of artistic indulgence, where all the best (or worst) intentions of the industry are amplified to their most ridiculous extremes to expose the excesses of human nature in pursuit of the production and making art.

Ang Babae sa Septic Tank 4: Oh Sht! It’s Live sa Cheter! | Photo Courtesy of PETA

In this play, Domingo calls together a veritable who’s who of Philippine theater – including Melvin Lee, Stella Cañete-Mendoza, Andoy Ranay, Joshua Lim So, Meann Espinosa, JC Santos, and Marlon Rivera, all playing heightened versions of themselves – to mount an ambitious revival of Aurelio Tolentino’s Kahapon, Ngayon, at Bukas, which was first staged in 1903.

Ang Babae sa Septic Tank 4: Oh Sht! It’s Live sa Cheter! | Photo Courtesy of PETA

The inherent stakes of this seditious, anti-colonial classic are taken to its extreme when Domingo wants to perform the piece on a boat in the middle of the disputed West Philippine Sea. Naturally, things take a turn for the madcap and campy when Domingo veers off course, and begins to make changes in the production, turning away from Tolentino’s original vision, and sailing the cast straight into a literal and figurative storm.

Ang Babae sa Septic Tank 4: Oh Sht! It’s Live sa Cheter! | Photo Courtesy of PETA

Told in two acts, Babae sa Septic Tank 4… opens with a pitch. The cast arrives at Domingo’s home for a friendly dinner. The whole first act is exposition, allowing the characters to discuss the current state of theater, illuminating on some of the misconceptions (that it’s doing great, for example), while lamenting the amount of musicals in comparison to straight plays. It’s a highly didactic opening act that throws insights side-by-side with sharp punchlines as playwright Chris Martinez seizes every opportunity to land some hilarious, comic punches to the industry.

Ang Babae sa Septic Tank 4: Oh Sht! It’s Live sa Cheter! | Photo Courtesy of PETA

These comedic punches can be very funny if you are quite familiar with the world of theater. However, for a lot of people who are not “in the know,” they’ll find it funny because of the delivery alone. The majority of the cast has rightfully captured the rhythm and tonal qualities of the play for maximum comic effect; it’s funny because it sounds funny and delivered funny even if you don’t get it – though some jokes still land even if you are new to Philippine theater like when Eugene Domingo and her gang of Ugeng-gengs (an ensemble of theater-trained “youngstannas”) parody the different style of the different theater groups from PETA to UP Theater to Repertory Philippines. This nearly hour-long first act is just a setup for Act Two, where both plot and themes of which they would parody fully.

Ang Babae sa Septic Tank 4: Oh Sht! It’s Live sa Cheter! | Photo Courtesy of PETA

In Act Two, the cast are rehearsing the play within the play, and we watch it transform from what was set up in Act One as a defiant act of protest, one carrying the true heart of theater, and turn into a modernized, contemporary revival that is far more musical than straight play, which was something the whole act one was lamenting on. Through this, Babae sa Septic Tank 4… parodies theater’s current “golden age” by dramatizing the worst impulses of theater practitioners: prioritizing spectacle over truth; accessibility over authenticity. It doesn’t always stick the landing: the fictionalized version of theater feels too big, too campy to make any real harsh criticism. While it is undeniably funny, for sure, but the comedy and the hilarity ultimately overshadow the social commentary.

Ang Babae sa Septic Tank 4: Oh Sht! It’s Live sa Cheter! | Photo Courtesy of PETA

If anything, though, everyone on stage is clearly having a good time. Eugene Domingo remains a commanding presence, and the entire production revolves around her. JC Santos fires on all cylinders, fully deploying his complete arsenal of talents – singing, dancing, comedy – and does a stellar performance that matches Domingo’s energy in every scene. Meanwhile, the ensemble playing the Ugeng-gengs is a total blast, filling the stage to create the kind of ordered chaos that keeps the pacing fast and energetic. The costumes and the stage design help us realise the state of camp that we’re experiencing here. It is a humongous undertaking, but director Maribel Legarda keeps it all moving and flowing.

Ang Babae sa Septic Tank 4: Oh Sht! It’s Live sa Cheter! | Photo Courtesy of PETA

Ultimately, the play is a success by the very nature of how fun and funny it is. While I wish it could have been as insightful and precise with its commentary and theatrical satire as the original Ang Babae sa Septic Tank film was for cinema, it remains, regardless, a truly great time at the theater.

My Rating: 3.5 Stars

Catch Eugene Domingo’s latest meta-comedy live on stage! Ang Babae Sa Septic Tank 4: Oh Sh*t! It’s Live Sa Cheter! runs until August 16, 2026, only at the PETA Theater Center. Tickets are available at bit.ly/SepticTank4Tickets.

July 3, 2026
PETA Opens “Ang Babae Sa Septic Tank 4,” Bringing the Franchise’s Signature Satire to Live Theater

After months of anticipation, the Philippine Educational Theater Association (PETA) officially opens the first live theatrical installment of the iconic satirical franchise, “Ang Babae sa Septic Tank 4: Oh Sht! It’s Live sa Cheter!”, running from June 19 to August 16, 2026 at the PETA Theater Center.

The production embraces everything audiences have come to love about the “Ang Babae sa Septic Tank” universe: humor, larger-than-life personalities, outrageous situations, and a meta look at the messy business of making art. The result is a theatrical experience that is hilarious, self-aware, and chaotic.

At the center of the story is a play within a play—a wildly ambitious adaptation of Aurelio Tolentino’s “Kahapon, Nga kill yon at Bukas,” one of the most significant works in Philippine theater, first staged in 1903. Somehow, against all odds and perhaps better judgment, it finds itself inside the world of “Ang Babae sa Septic Tank,” where questions of power, resistance, and revolution are refracted through celebrity, spectacle, and theatrical chaos.

Caught in the middle of it all is Eugene Domingo, who recruits the “Ugeng-gengs” (a troupe of aspiring performers personally recruited by Eugene), rallies an eclectic team of collaborators, and pushes the project far beyond the limits of practicality. Visionary, charismatic, exasperating, and impossible to ignore, she becomes the driving force behind a production that threatens to spin gloriously out of control just as she tries harder and harder to keep it under her full control.

Yet the production deliberately resists easy or didactic conclusions. As playwright Chris Martinez explains: “The play doesn’t try to resolve that. It just puts it onstage.” The production invites audiences to laugh at them, wrestle with them, and continue the conversation long after the curtain falls.

That philosophy has always been central to the “Septic Tank” franchise. Previous installments challenged audiences to confront uncomfortable truths about independent filmmaking, commercial cinema, and historical revisionism. This latest chapter continues that tradition by exposing the tensions within contemporary theater and the society it reflects.

As Marlon Rivera, director of the first three “Septic Tank” installments and now a cast member in the fourth, puts it: “Once the tyrant is expelled and the star is covered in shit, does the audience walk out clean, or are they left holding the ticket stubs of their own complicity?”

Audience demand has already translated into strong ticket sales, starting with two sold-out weeks and several other performances fully booked throughout the run.

Tickets are still available via TicketWorld at bit.ly/SepticTank4Tickets and through Showbuyers at bit.ly/SepticTank4Showbuyers.

For more information and updates, follow @petatheater on social media.

June 26, 2026
2TinCans Philippines and The Kabilin Center Present, Ang Kawatan: A Public Reckoning with the Stories We Steal

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

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

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

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

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

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

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

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

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

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

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

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

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

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

June 23, 2026
Rody Vera Cast as Older Noah in The Notebook, The Musical

Theatre Group Asia (TGA) proudly announces that renowned playwright, screenwriter, actor, and singer Rody Vera will take on the role of Older Noah in its highly anticipated international premiere of The Notebook, The Musical.

A towering figure in contemporary Philippine theater, Vera has spent over four decades helping shape the country’s cultural landscape through his various artistic endeavors as a performer, writers and cultural voice. His career has traversed the worlds of theater, film, television, literature, and advocacy, making him one of the rare artists whose influence extends both onstage and behind the scenes.

As an actor, Vera has delivered memorable performances across generations of Philippine theater. He first gained prominence onstage in productions such as PETA’s Kahapon, Ngayon at Bukas and the landmark musical 1896, where he portrayed Andres Bonifacio. Over the years, he has built a body of work encompassing both Filipino classics and international repertoire, appearing as Padre Damaso in Noli Me Tangere, The Musical, Edgar Jopson in EJ, Ang Pinagdaanang Buhay nina Evelio Javier at Edgar Jopson, Iago in Otelo, Reuven in Mga Mansanas sa Disyerto, Gov. Danforth in The Crucible, and Bobby Gonzales in Mario O’Hara’s Stageshow, a performance that earned him the Gawad Buhay! Award for Best Featured Actor. Audiences have continued to embrace Vera’s performances, from his role as Fernan in the hit musical Rak of Aegis to Tawfiq in the Philippine production of The Band’s Visit, and his performance in Tiny Beautiful Things. Most recently, he is most known for his role as The Narrator in TGA’s phenomenally successful staging of Into The Woods alongside Lea Salonga, Eugene Domingo, and Arielle Jacob.

Internationally, Vera has collaborated extensively with Singapore’s renowned The Necessary Stage, appearing in productions such as Mardi Gras, Top or Bottom, Good People, The Year of No Return, and most recently Old Gaze at Victoria Theatre in Singapore. His international work has also brought him to Hong Kong, Romania, Hungary, Tokyo, and New York, where he participated in productions and collaborative projects exploring the intersections of culture, identity, and performance across borders.

TGA Creative and Overall Artistic Director Clint Ramos remarks, “Rody Vera is one of the most important theater artists of our time. He is a master storyteller whose artistry is rooted in compassion, intelligence, and an extraordinary understanding of the human experience. As Older Noah, he brings a lifetime of wisdom, emotional truth, and theatrical excellence to a role that demands all three. We are honored to welcome him to The Notebook.”

For Vera, the role resonates deeply with the musical’s central themes of memory, devotion, and enduring love. “The Notebook reminds us that love is not only found in grand gestures but in the choices we make every day to remember, to stay, and to care with patience and loyalty ,” he reflects. “What moves me most is how the story finds beauty even in fragility. I am grateful for the opportunity to tell this story alongside Celeste Legaspi and this remarkable company of artists. And I’m very proud to be part of this musical’s international premiere.”

His casting as Older Noah alongside the previously announced Celeste Legaspi as Older Allie brings together two of Philippine theater’s most respected and beloved artists. Together, they anchor a multigenerational cast that also includes Morissette as Middle Allie, Laurence Mossman as Middle Noah, Sheena Belarmino as Young Allie, and Benedix Ramos as Young Noah.

Based on the bestselling novel by Nicholas Sparks and the beloved film adaptation, The Notebook, The Musical is a sweeping story of love that endures across decades, memory, and circumstance. Featuring music and lyrics by Ingrid Michaelson and a Tony Award-nominated book by Bekah Brunstetter, the musical has captivated audiences worldwide with its intimate portrayal of a love that evolves through youth, adulthood, and old age.

With Rody Vera bringing his impassioned artistry, humanity, and lifetime of theatrical achievement to the role, TGA’s production promises a moving and unforgettable portrait of one of literature’s most enduring love stories.

For more information, visit TGA’s website www.theatregroupasia.com, Instagram @theatregroupasia, or Facebook page https://www.facebook.com/theatregroupasia.

Watch Rody Vera’s Performance of “Iron in the Fridge” from The Notebook: The Musical

June 22, 2026
The Stripped down and Special Reading Performances of VLFXXI: Hubo’t Hubad

Apart from the must-see main features, the Virgin Labfest (VLF) continues to expand its offerings with stripped-down reading performances of selected scripts from the VLFXXI: HUBO’T HUBAD submissions, reading performances of works from the diaspora, and a showcase from the VLF Writing Fellowship Workshop.

The staged readings are composed of three sets, each featuring two scripts selected from the VLFXXI submissions. For Set 1, Jose Victor Torres’ Mga Tatsulok and M. Manalastas’ The Devoured will take the VLF stage on June 12, 2026. Set 2 takes the stage on June 19, 2026, featuring Dingdong Novenario’s Manang and Rafael Jimenez’s Suor. Set 3, meanwhile, will spotlight Juan Ekis’ Kasal(anan) and Jay Fernandez’s Ang Huli on June 26, 2026.

Mga Tatsulok follows the lives of three characters: Beng, a single mother struggling to cope with the death of her only son; Allan, her live-in partner who tries to keep their relationship together despite the tragedy; and Marky, Beng’s deceased son, whose memory continues to haunt her.

The Devoured centers on Raymond, a celebrated author and esteemed professor, whose world is turned upside down when his wife, Gloria, reveals that she is leaving him.

Manang explores themes of domestic labor, gratitude, and the unspoken tensions within families.

Suor tells the story of Francis, an atheist conductor mourning the death of his grandfather, who meets Anna, a nun with a deep interest in music. As they grow closer, they begin to navigate and make sense of their intersecting worlds.

Ang Kasal(anan) follows Xandra and Simon as they prepare for their wedding. The story explores the complexities of relationships, marriage, unraveling, and love, suggesting that love is more than just an emotion, it is a decision that is not easy to make.

Ang Huli centers on a confrontation between Andy and Bene in the aftermath of the COVID-19 pandemic, exploring how the crisis reshaped their lives, intensified the struggle for daily survival, and left their “situationship” suspended in uncertainty.

The special staged readings will feature works of Ihot Sinlay Cihek’s How Romantic: A Guide To Modern Pangcah Lifefrom the Taiwan International Play Reading Festival on June 10, 2026 and Prison Dancer from the Canada’s National Arts Centre on June 21 and 24, respectively.

All staged readings will be at 5pm, at the Bulwagang Roberto Chabet, 3/F Tanghalang Ignacio Gimenez (CCP Blackbox Theater). Admission is free to the public, on a first-come, first-served basis.

Also part of the lineup is the culminating presentation of the VLF Writing Fellowship, a two-week mentorship program focused on the study and practice of writing for the stage under the guidance of award-winning playwright Glenn Sevilla Mas with direction by Rafael Jimenez, slated on June 28, 5pm, at the TIG Bulwagang Roberto Chabet.

The VLFXXI: HUBO’T HUBAD main features are scheduled at 2 p.m. matinee and 8 p.m. gala from June 3 to 28, 2026, from Wednesday to Sunday. Tickets are priced at Php1,000(regular) and Php1,200 (premium), available for purchase at the CCP Box Office and Ticket World.

For more updates on the festival schedule and ticket-selling, visit the official pages of VLF, CCP, Tanghalang Pilipino Foundation Inc., and Writers’ Bloc across Facebook, X, Instagram, and TikTok.

June 15, 2026
The ‘Virgin’ Playwrights of VLF XXI Bravely Unwrap Humanity’s Innate desire for Acceptance

Translating the intricate language of the human soul into words requires an insurmountable amount of dedication and courage. The process is not for the faint-hearted, as it often makes writers shed blood, sweat, and tears for simply wishing to execute a vision that has been haunting them for days, months, or years.

The Virgin Labfest (VLF), the country’s pioneering theater festival of untried, untested, and unstaged one-act plays, has turned these daydreams and ambitious ideas into reality since its establishment in 2005. Carrying the theme “Hubo’t Hubad” in its 21st edition, it transforms into a sanctuary for narratives that unwrap humanity’s innate hunger to be desired, seen, and celebrated.

Among the first-timers or “virgin” playwrights this year are Elijah Felice Rosales of HUMAN RIGHTS STORY OF THE YEAR, Alab Usman of HARAM, Ron Evangelista of SHE’S ELECTRIC, and Gab Mactal of LUALHATI.

The harrowing but rewarding writing process for VLFXXI: Hubo’t Hubad

“My first love talaga is writing for theater,” Mactal confessed, her journey beginning in 7th grade.

While writing Lualhati, the Theater Arts student faced the roadblock of not knowing the conclusion. She visited the St. Aloysius Gonzaga Chapel situated in Ateneo de Manila University despite not being religious: “It was a low point, then may random girl na nakakita sa akin. Niyakap ako. I just surrendered to the fact that I didn’t have everything figured out.”

Media and philosophy teacher Evangelista confessed to falling into the same rough patch while drafting She’s Electric. “Pagdating sa scripts, naramdaman ko kasi na there’s a certain freedom. Doon ako talaga na-hook. I have so much to tell,” he shared, noting how the absence of catharsis in academic papers led him to theater and fiction.

“Umabot ako ng 12 drafts,” Usman, a full-time freelance artist, said in between chuckles. Haram was derived from his college thesis. Before affixing stage directions, Usman started with character sketches of his protagonists inspired by the real struggles he stumbled upon online: “Doon ako nagsimula talaga, since wala pa akong background dati sa pagsusulat.”

Rosales, on the other hand, has been a journalist for almost a decade. With Human Rights Story of the Year, he steps into the world of Philippine theater as a playwright. “Kahit sabihin mo na the piece is meant to be watched by hundreds of people at the same time, na collaboration makes it work, the writing process is a lonely act,” he lamented, stressing the need to find fellow artists who believe in the same vision.

Presenting humanity’s flaws and gray areas as its strength

Rosales’ Human Rights Story of the Year captures the eternal dilemma that media practitioners face. “May mga sitwasyon kasing naghihilahan ‘yong tama at mali. Kapag ginagamit sa balita ang kuwento ng marginalized, sila ba ‘yong nakikinabang o ang media?” he expressed, hoping the audience would entertain the questions that fueled his script.

As he comes to terms with the natural yearning for love and acceptance in She’s Electric, Evangelista weaves an absurd circumstance after falling into a depressive episode: “Napaisip ako na parang mahihirapan akong makahanap ng taong matatanggap ako for who I am, dahil sa perceived eccentricities ko. Everybody just wants to be understood.”

“My play [Lualhati] naman is an invitation for older queer people to reconcile with how they were raised. I’m sure sobrang iba sa how I was raised,” Mactal expounded. While dedicating her work to those who feel the need to justify their existence and box their identities into societal conventions, she highlights the religious guilt that stems from the imposed belief that nonconformity is an anomaly.

Meanwhile, Usman emphasizes kindness as the core of all religions in intertwining the fates of three queer Muslims in Haram. “I believe na shared experience ‘yong pag-come out, pero marami akong friends sa province na nagtatago pa rinuntil now,” he narrated, acknowledging the heartbreaking disparity he witnessed in the city compared to his hometown, Zamboanga City.

The VLF stage as a manifestation of every artist’s dream

Back in VLF 2024, Usman served as the dramaturg to Neil Arkhe Azcuna’s Si Hesus Na’a Sa US. He now shares the festival stage with Azcuna as a playwright, a profound full-circle moment for the mind behind Haram. “I believe angVLF ay isa sa mga medium para ipakita sa mga tao ‘yong kultura at religion ko [Islam]. Nabibigyan kami nito ng espasyo,” Usman explained.

Rosales, an avid VLF audience member since 2013, mounted his first work in the culmination of the Writing Fellowship Program in 2023. Captivated by the theater festival’s ins and outs, he felt immense joy to be among the mainstage playwrights of VLF XXI: “Alagang-alaga kami sa puna. Ang writer, mahal ang mga tauhan niya pero para sa ‘kin, mahalaga ang kritisismo, ‘yong disiplina.”

As a complete outsider to the world of theater, Evangelista discovered the prestige of VLF to be the passion poured by every hand and mind that goes into mounting it. “It’s cheesy, pero no’ng na-experience ko siya, I realized I love this. The first time na nag-full run kami [ng She’s Electric], naluha ako nang kaunti,” Evangelista recalled needing a moment after seeing his work come to life.

“Is this a dream?” was Mactal’s initial thought upon receiving news that Lualhati had been accepted to VLF. She wrote it during the COVID-19 pandemic, blissfully unaware that it would someday be staged. She continued, “The VLF reveals parts of yourself and undresses the work. Hubad ka talaga sa harap ng keyboard para sa play mo.”

Unwrapping the soul in VLFXXI: Hubo’t Hubad

In its 21st year, the Virgin Labfest confronts humanity’s grit and shortcomings that often invite devastating but poignant consequences. While granting playwrights the opportunity and freedom to share their narratives, it dares its spectators to bask in the beauty, brilliance, and filth that make up the human soul.

“Virgin” playwrights Evangelista, Rosales, Usman, and Mactal had graciously accepted this challenge. They navigated the emotional whiplash of excitement upon being accepted to VLF, facing nerve-wracking critiques and relishing in the best versions of their work during premiere week. But besides their talent and commitment, these playwrights’ bravery deserves to be lauded for how they undressed and dissected their personal tales onstage for all the world to see.

Catch Usman’s HARAM, Rosales’ HUMAN RIGHTS STORY OF THE YEAR, Mactal’s LUALHATI, and Evangelista’s SHE’S ELECTRIC at VLFXXI: Hubo’t Hubad shows at 2 p.m. and 8 p.m. from June 3 to 28, 2026, at the Tanghalang Ignacio Gimenez (CCP Blackbox Theater).

For the latest updates on the festival schedule, ticket-selling, and accredited showbuyers, visit the pages of VLF, CCP, Tanghalang Pilipino Foundation Inc., and Writers’ Bloc across Facebook, X, Instagram, and TikTok.

June 15, 2026
THEATER REVIEW: The Uneven Set D ‘Pusong Mamon’ of the Virgin Labfest Starts Muddled but Ends with a Bang

Set D of the Virgin Labfest, titled “Pusong Mamon,” presents an uneven trilogy of plays. The opener, Gerald Manuel’s ‘Buhaghag,’ utilizes exceptionally really good theatrical devices to help energize an otherwise didactic script. This leads into to Jerom Canlas’s emotionally-strong ‘Footprint’ and ends on a high with John Lapus’ comedic ‘Taksyapo!.’ While the set starts out muddled, it quickly finds it footing in the second play before delivering a rip-roaring, laugh trip of an experience in its finale.

Buhaghag
By Gerald Manuel
Directed by Tess Jamias

Production photos for “Buhaghag,” “Footprint,” and “Taksyapo!” by Orly Daquipil

Didactic in its execution, ‘Buhaghag’ spends most of its time explaining what is happening rather than dynamically showing us the lead character’s problem. Phoebe (played by Krysytle Valentino) is so busy that she is chronically sleep-deprived and no time to see friends and family. Her room is filled with black vines that resemble hair, and bursting through the walls comes a creature made entirely of hair (played by Adrienne Vergara), who offers Phoebe a deal to give her the rest she needs. Director Tess Jamias does a wonderful job of trying to keep the performance energy high, with huge credit going to Set Designer Carlos Siongco and Costume Stylists Monica Sebial and Sam Quizon for bringing this surreal nightmare to life..

VLF XXI – SET D [PUSONG MAMON]: BUHAGHAG

Unfortunately, all the visual theatrics cannot alleviate the play’s issue which could have been solved by the lesson: show, don’t tell. We need to actually see Phoebe working; we need to witness her missing out on life because of her obligations. Because Vergara’s entity comes far too soon, the remainder of the play relies almost on the two characters simply talking about the play’s plot. It doesn’t help matters that Valentino struggles to match Vergara’s powerful presence. As a result, she disappears underneath all that theatrics – the set, the costumes, the stage design – making it incredibly difficult to connect with the protagonist.

Footprint
By Jerom Canlas
Directed by Mikko Angeles

Production photos for “Buhaghag,” “Footprint,” and “Taksyapo!” by Orly Daquipil

In a near-future world, Jerom Canlas’s ‘Footprint’ follows a family who regularly visits the virtual digital archive containing the memories of Ram, a teenager who committed suicide. Within this virtual space, his father, mother, older brother, and girlfriend find each other and deal with the loss of a loved one and the painful realisation: they will never truly understand why Ram did what he did.

Director Mikko Angeles has the unenviable task of conceptualizing what this future looks like. Collaborating with set designer Carlos Siongco, the stage resembles an abstract drawing of a library, but its cool, slick design makes it look futuristic. Enhanced by a sharp projection mapping and immersive lighting and sound effects, the aesthetic and feel of the future is clearly palpable. If it was really needed, I’m not sure because the weight of the performances are enough to carry this play through. If it was an empty stage and the actors just spoke the lines in some oblivion-like space, the effect would have been just as powerful.

Screenshot

The ensemble, played by Elijah Canlas, Meryl Soriano, Jojo Cayabyab, and Pappel, delve so deeply into their emotional space that the audience really felt it. Everyone around me was crying. The rawness of the unearthed emotions and the sensitive issue of suicide – never romanticized, but carefully contextualized for the sake of the survivors – hit in a different way. When Omar Uddin, who has been exceptionally strong in all of his recent performances, comes up to do a monologue as Ram, the play reaches its absolute emotional peak and completely kills it.

Ultimately, while the heavy theatrics were undeniably well-executed and helped sell the idea of the play; it was executed well but felt unnecessary.

Taksyapo!
By John Lapus
Directed by Tuxqs Rutaquio

Mosang and Christian Bables in “Taksyapo!.” (Photo by Orly Daquipil)

A play centered around the famous rage booth in Tarlac, where one buy plates and mugs and throw them against the wall to elease their pent-up anger and frustration, is an interesting idea. John Lapus’s ‘Taksyapo!’ is a two-hander featuring booth clerk Maya (played by Mosang), and a gay patron, JM (played by Christian Bables). Through their banter, we see a world that is deeply painful to live in. Maya is a woman whose husband has left her, while JM is a gay man reeling from a recent a breakup. Both characters find themselves in the absolute perfect space to let out some steam.

VLF XXI – SET D [PUSONG MAMON]: TAKSYAPO!

And let off steam they do, to fantastic effect. The immersive sound effects of the shattering glass and plates add to the energy of the play as the actors hurl their frustrations through a cleverly designed fake wall. However, the play’s frustration goes beyond the personal. It extends to other things that bother them until the whole play becomes a litany of actions and people who piss us off. Of course, it gets political, but at the same time serves as a mirror to our society in general.

Ultimately, ‘Taksyapo!’ feels destined to become an instant classic – something that will be added into a line-up of short plays that will serve to end the show with a good laugh and a chance to call out the troubles and ills of the day. It is a brilliant piece that will unboubtedly be easily revived time and time again.

My Rating: 4 Stars

Virgin Labfest XXI runs until June 28 at the Tanghalang Ignacio Gimenez (CCP Black Box Theater). Don’t miss your chance to witness the raw emotional power and explosive comedy of Set D ‘Pusong Mamon’ for yourself, grab your tickets before the festival wraps up. For tickets, visit Ticket World and Ticket 2 Me.

June 15, 2026
THEATER REVIEW: Repertory Philippines’ ‘Man of La Mancha’ Finds New Life in Incredible Staging and Quicker Tempo

I grew up listening to the Broadway cast recording of Man of La Mancha, the 1965 musical with music by Mitch Leigh, lyrics by Joe Darion, and a book by Dale Wasserman. The musical is the source of the famous song “The Impossible Dream,” and for some reason, I always thought the name Dulcinea originated from this musical. I also caught the 1972 film adaptation starring Peter O’Toole and Sophia Loren.

So while I was happy to learn that Repertory Philippines was staging a new revival, helmed by Nelsito Gomez as director and starring Nonie Buencamino as Miguel Cervantes/Don Quixote, I worried about whether the play could resonate with a modern audience. Does its light, whimsical touch on madness and positivity reflect our contemporary issues? Does it treat too lightly things we do not play around with so easily in 2026, like mental health and sexual assault?

REP officially stages the seminal classic Man of La Mancha, as reimagined by director Nelsito Gomez. The musical will have a limited run until June 28 at REP Eastwood Theater | Photo credit: Krizhal Daryl Ordas of Indio Creatives

Set in the late 16th Century during the Spanish Inquisition, Man of La Mancha begins as Miguel de Cervantes and his manservant, Sancho, are brought to prison to await trial. But in prison, the other prisoners there conduct their own mock trial.

Gawad Buhay winner Marvin Ong plays Don Quixote’s faithful squire, Sancho Panza, joining his master in his many adventures.
Photo credit: Krizhal Daryl Ordas of Indio Creatives

Because Cervantes is not just a former tax collector but a failed poet and author, the inmates quickly deemed him guilty. But Cervantes demands that he be given a chance to defend himself and presents his defense by performing a play.

In REP’s Man of La Mancha, Nonie Buencamino makes his grand musical comeback playing three characters: the fictionalized version of the famed writer Miguel de Cervantes, and his characters the old gentleman Alonso Quijano and the iconic knight-errant Don Quixote. | Photo credit: Krizhal Daryl Ordas of Indio Creatives

He invites the other prisoners to take on roles in the story of Don Quixote, played by Cervantes himself, a noble who, driven by madness, believes he is a knight. Quixote renames Aldonza, a waitress and part-time sex worker, calling her by the name Dulcinea and insisting she is a noble lady.

Esteemed classical singer and actress Katrine Sunga takes the role of Don Quixote’s muse, Aldonza, in Man of La Mancha.
Photo credit: Krizhal Daryl Ordas of Indio Creatives

Though he is widely ridiculed, his delusion begins to transform those around him, inspiring them to see the best versions of themselves. Yet, as Don Quixote wants to fight for a better world, his family tracks him down as his exploits have become the talk of the town and brought shame to their name.

Man of La Mancha features the timeless classic, “Dulcinea,” a song Don Quixote sings to Aldonza, a barmaid.
Photo credit: Krizhal Daryl Ordas of Indio Creatives

Much of Quixote’s delusions were originally meant to be taken as a comic relief; it was written in 1965, after all, an era with a far more flippant attitude toward about how mental health is treated in this musical. What makes Gomez’s direction is so compelling is that he does not shy away from it. He never treats madness for mere comic effect, choosing instead to explore the very real, harrowing ramifications of Quixote’s delusions. Aldonza, for instance, is placed in harm’s way by his virtue-signaling, having been lured into believing Quixote’s idealistic vision of the world. There’s a hardness to Gomez’s direction that amplifies the other characters’ distaste for Quixote’s ramblings. Yet, there are moments of grace hit even harder. such when Quixote gives an innkeeper with dignity and honour, when Aldonza begins to desire the noble woman Quixote sees in her, and in the profound way Quixote wants the best for himself.

Sarah Facuri as Housekeeper, Steven Hotchkiss as Padre, and Mikkie Bradshaw-Volante as Quijano’s niece Antonia share their worry for the old gentleman’s mental state in “I’m Only Thinking of Him.” | Photo credit: Krizhal Daryl Ordas of Indio Creative

That is the delicate tightrope Gomez walks in this staging. Rather than shying away from the age of the material, he highlights how our perspective is different now. He speeds up the tempo of certain songs – such as “I’m Only Thinking of Him,” which is traditionally one of my least favourite songs in the musical, but here in the new arrangement, the song is vibrant and funny, especially with Mikkie Bradshaw-Volante and Sarah Facuri eating up that song – keeping the show from ever feeling too rigid or slow. His vision for the stage, realized alongside set designer Julio Garcia, initially presents an ICE detention center, a huge chained fence trapping the actors within and partly obscured to the audience. But as Cervantes begins his defense and tells the story of Don Quixote, the fence lifts, the walls break open and suspend into the air and the stage opens up for the play. Even the backdrop opens up to reveal the live band. It is such a strong use of stage imagery that visualizes how art opens up the world and allows us a new way of looking at things.

A favorite among REP audiences, Man of La Mancha in its third restaging dares audiences to believe in hope.
Photo credit: Krizhal Daryl Ordas of Indio Creatives

In today’s world, there is a bit of misplaced idealism to Man of La Mancha that can make it feel like a time capsule from a more innocent and pure era. Yet, Gomez, his amazing cast, and his artistic team manage to critique the elements that have aged poorly while still allowing the spirit and profound hope of the play’s core message to shine through.

Though there were noticeable technical difficulties, particularly with sound and lighting cues on opening night, these are easily remedied. The cast is incredible, with Buencamino leading the ensemble into a delightful frenzy. Marvin Ong’s Sancho is a breath of fresh air, while Katrine Sunga is utterly breathtaking as Aldonza. She is all power and forceful, Sunga commands a strong stage presence that matches Buencamino line for line. Meanwhile, Farley Asuncion’s musical arrangement is incredible, and Julio Garcia’s stage design is a theatrical revelation. Ultimately, this is a thoroughly engaging night at the theater and an interesting approach to reviving classic musicals.

My Rating: 4 Stars

Don’t miss this striking revival! Repertory Philippines’ Man of La Mancha runs at the REP Eastwood Theater until June 28. Secure your tickets now via TicketWorld or Ticket2Me visit Repertory Philippines’ official social media pages for updates and show schedules.

June 11, 2026
THEATER REVIEW: The Restaging of Artist Playground’s ‘Reverse Card’ Brings Along a Friend in ‘Al.Ter’ in a Twin-Bill Presentation Called ‘Double Take’

Artist Playground, in cooperation with Kho-lab Productions, presents the twin bill Double Take: Reverse Card and Al.Ter. The two one-act plays, written by Chase Kyl Loza and Pablo Joaquin respectively, are directed by Paul Jake Paule. Performed by a plethora of performers with alternates for each role, the production is slated for a stunning 20 shows over four weeks. This run cuts directly through Pride Month, a fitting backdrop since both plays revolve around queer stories.

al.ter | ARTIST PLAYGROUND

The show opens with Al.Ter, which follows Al as he loses his live-in partner, Lester (nicknamed Ter), the morning after an argument. While wandering through the furniture section of a department store, a heartbroken Al meets Terrence, who also goes by Ter and looks exactly like Lester. Al befriends Terrence and asks him to roleplay as his deceased lover, desperate for a chance to find closure.

Al.Ter opens provocatively with Al and two other actors acting out a threesome in the dark, recording it for publication on Al’s “alter” account. It’s daring, sexy, and shot in minimal light, giving the distinctimpression that one or two of them are actually naked. However, that provocative opening is merely a hook, from there on, Al must deal with the consequences of being caught living a double life.

al.ter | ARTIST PLAYGROUND

It is through Ter’s double, played by the same actor, that Al ultimately finds some level of closure. The one-act play is poignant and bittersweet, cleverly incorporating the idea of doppelgangers and the theory of genetic variation and use it to push for a moving story about forgiveness.

al.ter | ARTIST PLAYGROUND

On opening night, Al.Ter was performed by Johnrey Rivas and Drei Arias as Al and Ter, respectively. I also had the opportunity to see an open rehearsal featuring Rivas alongside James Ramada, as Ter. Both Arias and Ramada have shown great skill in bringing Ter to life. Arias easily shifts from one version of Ter to the other, crafting distinct mannerisms and delivery of lines for each character; the fact that he switches between both roles in a split second on stage is quite a feat. Ramada’s approach relies on a much more internal switch.

While there’s barely a visible difference between his two iterations, his Lester is softer and warmer, whereas his Terrence is all “bro” and macho energy. Ultimately, both actors do an excellent job at finding the nuances that allow the plays’s themes of forgiveness to flow, providing a grounded emotional core. Unfortunately, Rivas’ performance feels a bit too scripted and measured. It feels less natural than that of his co-actors. There’s a predictable pace and rhythm that gets in the way of the storytelling.

Reverse Card | ARTIST PLAYGROUND

Reverse Card, on the other hand, is a tense cat-and-mouse game between Marvin, a gay aspiring writer who was bullied in school, and John, former tormentor. As the play opens, Marvin is visibly excited because John is coming over to his house. While the encounter initially feels friendly, but as the night progresses, we realise there is far more to this meeting than a simple paid hookup. With secrets waiting to be revealed and mind games to be played, the atmosphere shifts from friendly to terrifying really quickly and it opens up a lot of emotions for both characters to unearth.

Reverse Card | ARTIST PLAYGROUND

On opening night, Reverse Card starred Gerhard Krysstopher as Marvin and Gerald Magallanes as John. Both delivered incredibly strong performances. Krysstopher playing out a wide range of tones and styles for the more eccentric Marvin, who turns out to be playing a much darker game than John.

Reverse Card | ARTIST PLAYGROUND

Meanwhile, Magallanes anchors the stage with a brusque, macho energy; he projects a frightening presence that makes you fear for Marvin except Marvin is not an easy character to break. I also had the opportunity to see Inah Evans and Drei Arias at the open rehearsal, and duo shared very good chemistry as well. Evans cleverly hides Marvin’s darker side behind a layer of comedy, which offers a refreshing contrast. Arias, not the other hand, brings a softer, more charming side to John that makes his John more charming and irresistible that it leads you to not question why Marvin would invite him to his home in the first place.

My issue with Reverse Card is how it takes the collective anger and frustration of gay people who have been bullied and mistreated poorly by their families, and channels it entirely into a spirit of vengeance. It problematizes and subverts a common trope, but instead of offering empowerment, the narrative resorts to violence and harm.

Dramaturgically, Double Take: Reverse Card and Al.Ter tackles the contrasting themes of retribution and forgiveness. The twin bill explores our shared humanity through the suffering inflicted upon us by others, alongside the suffering we inflict upon ourselves in relation to grief. However, by choosing to end it with Reverse Card, the production leaves us with such a sour note, considering that this is Pride Month. It’s not the best look.

My Rating: 3.5 Stars

Don’t miss out on this bold Pride Month twin bill. Experience the complex storytelling and powerhouse acting of Double Take live at the Illumination Studio, Makati. The production runs until June 21, 2026. Book your slots online via Ticket2Me.

June 7, 2026