Category: Theatre

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
1-2-3: Summer’s Not Over And Get Ready to Conga With The Cast Of On Your Feet!

9 Works Theatrical, in partnership with Rockwell, is thrilled to announce the powerhouse cast for the highly anticipated Southeast Asian premiere of On Your Feet! The Story of Emilio & Gloria Estefan.

The hit Broadway and West End musical will ignite the stage at The Proscenium Theater at Rockwell for a limited run from July 10 to August 2, 2026.

Alternating as the unstoppable Queen of Latin Pop Gloria Estefan are Molly Langley and Kayla Rivera.

Molly Langley a Filipino-British singer and actress who trained at Performers College in the UK. Molly’s theater credits include RENT, Side Show, The Wild Party, Spring Awakening, and most recently A Christmas Carol. She is a seasoned international performer with Royal Caribbean and Celebrity Cruise Lines. She was recently part of the sixth season of the singing competition GMA’s The Clash where she made it to the final Top 6.

Kayla Rivera is a Filipino-Canadian singer, actress, and radio personality who first gained national recognition as a grand finalist on ABS-CBN’s reality singing competition Star Power. Following her professional theatrical debut in the local adaptation of In the Heights, she established a celebrated stage career, earning multiple Best Actress nominations for her performances in acclaimed musicals such as Carrie and Side Show.

They will be joined by a stellar lineup of veteran actors including Ayen Laurel as her mother, Gloria Fajardo; Pinky Marquez as her grandmother, Consuelo Garcia; John Joven Uy as her father, Jose Fajardo; Vien King as Young Jose Fajardo; Jani Magadia as her sister, Rebecca Fajardo; and Anyah de Guzman as Rebecca Fajardo in certain performances, and as Robin.

Ayen Laurel makes her theater comeback in On Your Feet!. She is an award-winning actress, singer, and producer whose distinguished career spans more than three decades. On stage, Ayen has been seen in numerous productions such as Grease, A Chorus Line, Once on This Island, and LIVES. Beyond the stage, Ayen has an extensive body of work in television and film, including shows such as Amaya, Temptation of Wife, Born for You, Can’t Buy Me Love, and Never Say Die; and films such as Sigwa, Here Comes the Bride, and Ang Huling Henya.

Pinky Marquez is a veteran Filipina singer, actress, and musical theater educator whose extensive career spans decades across stage, television, and film. A vocalist for the band Music Making Company, she has built a celebrated theatrical repertoire, starring in prominent productions like Disney’s Newsies, The Graduate, Little Women, and The Sound of Music, as well as the internationally touring musical Marco Polo: When You Find Your True Love. Beyond her stage work and live musical performances, she is a familiar face on Philippine television with notable roles in series such as Zorro and Ang Probinsyano.

Multi award-winning performer and Entertainment Director John Joven Uy also joins the cast of On Your Feet!. He brings his WCOPA World Champion pedigree (Broadway Category, 2006) to this production fresh from his 2025 Global Trends Leadership Award win. He was recently seen in GMA’s Encantadia and ABS-CBN’s Pamilya Sagrado, as well as international productions such as Miss Saigon (Germany), Song of Joseph (Broadway), and most recently in A Christmas Carol and The Bodyguard.

Philippine theater’s sought-after leading man Vien King has won Best Actor in a Musical (Gawad Buhay, LEAF Awards) for Passion. He’s since wowed audiences as Ibarra in Liwanag Sa Dilim, in Rama Hari, tick, tick…BOOM!, Side Show, and most recently in The Bodyguard. He also starred onscreen in Partners in Crime and Love at First Stream.

Jani Magadia is a singer and live performer known for her collaborative work across various musical ensembles in the Philippines. She has showcased her vocal talents as a member of the Manila Philharmonic Orchestra (MPO) Singers and as a backup vocalist for the pop and jazz band 13th BLVD.

Anyah de Guzman is a Filipino-American singer, dancer, and actress who honed her musical theater training at the Osceola County School for the Arts, and at the University of Santo Tomas. She built her early stage repertoire in Florida, earning recognition for her performances in productions such as Guys & Dolls and West Side Story. She was recently seen in A Chorus Line.

The roles of Little Gloria and Young Emilio will be alternated by child theater prodigies Reese Iso and Althea Ruedas, and Elian Santos and Manolo Villalva respectively.

Rounding out the cast are is the dynamic ensemble who will bring the vibrant energy of the streets of Little Havana and the Miami Sound Machine to life through explosive choreography and dazzling vocals: Lorenz Martinez as Chris; Meliza Reyes Uy as Sonia; Neo Rivera as Phil; Antonio Valdez as Kiki; Altair Alonzo as Marquito; Roxy Aldiosa as Belen; Rica Laguardia as Lori; Matthew Barbers as Big Paquito; Carmelle Ros as Amilia; Winchester Lopez as Soldier (and as the show’s Dance Captain); Cheska Quimno as Lucia; Richardson Yadao as Kenny; Macel Dofitas-Yadao as Andrea; Gerhard Krysstopher and Lord Kristoffer Logmao as Marcello; Jacqui Jacinto and Gianna Hervas as Rachel; and Roni Paderes as DJ.

Directed by Robbie Guevara, with musical direction by Daniel Bartolome, and choreography by Nunoy van den Burgh, On Your Feet! features a book by Academy Award winner Alexander

Dinelaris, and music produced and recorded by Emilio & Gloria Estefan & Miami Sound Machine. The musical charts the Estefans’ monumental journey from their humble beginnings in Cuba and Miami to international superstardom, overcoming immense career hurdles and a life-threatening tragedy along the way.

Also joining the artistic team Raul Montesa as assistant director, Mio Infante as scenographer; Toma Cayabyab as vocal supervisor; Gabo Tolentino as lighting designer; Aron Roca as sound designer/engineer; Justin Santiago as video and projection designer; Sheik Completado as technical director, Elliza Aurelio as hair and makeup designer, and Charles Villaruz as photographer.

Heading the 9 Works Theatrical production team is managing director and executive producer Santi Santamaria; with Anna Santamaria as operations and finance director; Charyl De Guzman as production manager; Jonjon Martin and Loreta Arroyo as PR managers; GM Hernandez III and Mariella Laurel as marketing managers; Vinz Cantillo as marketing & digital content head; and Pachot Festejo as production stage manager.

On Your Feet! The Story of Emilio and Gloria Estefan will run on all weekends, from July 10 until August 2, 2026, at 8:00 PM on Fridays and Saturdays, and 3:00 PM on Saturdays and Sundays, at the Proscenium Theater, Rockwell Center in Makati City. Tickets are now available on TicketWorld outlets and online, and at the Power Plant Mall Cinema.

For more information, updates, partnerships & bulk buying inquiries, follow us on FB • Instagram (@ProsceniumTheater) and (@9WorksTheatrical).

On Your Feet! The Story of Emilio and Gloria Estefan is a 9 Works Theatrical production, presented by ROCKWELL, together with MAC Cosmetics as official make-up partner. Special thanks to Pitchworks Inc., Power Mac Center, PilotTV, and The People Diary PH by Myra Ho.

On Your Feet! The Story of Emilio and Gloria Estefan is presented through special arrangement with Theatrical Rights Worldwide.

#OnYourFeetAtRockwell #OnYourFeetMNL

June 4, 2026
THEATER REVIEW: Menchu Lauchengco-Yulo Delivers a Powerhouse Performance as Maria Callas in Philippine Opera Company Production of ‘Master Class’

Terrence McNally’s play Master Class is an imagining of one of the sessions of famed opera diva Maria Callas’ master class, which she held a few years before she died, after her voice had given out and her retirement. It is a fictional account of what a master class would be like with someone so important and revolutionary in the world of opera that her teachings would give way to asides that would talk about art, discipline, fame, and her own personal life. It is funny and brutal, it’s casual and accessible and yet it reaches out and engages thoroughly with the sophisticated world of an elite art practice. In efforts to demystify and humanize Callas, McNally allows humour – formed by Callas’ self-confidence and belief in herself and her brutally honest and frank way of critiquing the students and anybody else who catches her attention – into the script and interweaves it with explorations of what it takes to truly express the truth in art while also wrestling with Callas’ own personal demons.

The Philippine Opera Company’s latest staging of Master Class has Jaime Del Mundo in the director’s chair, and he strips away the theatrics of the Carlos P. Romulo Theater at the RCBC Plaza and turns the stage into a rather simple venue for a master class.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

There’s a piano, a high chair with a music stand, and a table filled with books at the back. Before the start of the play, a projection of Maria Callas is screened on the backdrop, a textured screen that remains dormant until the finale, which gives way to the only spectacle Del Mundo allows for this play.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

There are no theatrics here. The spectacle is the performance of Menchu Lauchengco-Yulo as Maria Callas, a force of nature walking in from the audience’s side who, through sheer aura and stage presence alone, grabs all of our attention.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

Lauchengco-Yulo does not try to mimic or imitate Callas. Instead, she takes all of the opera diva’s essence and truth and presents it in her line delivery, her posture, and her facial expressions. It’s a commanding role, with the majority of the play’s two acts centered around her. Callas knows she’s a star and that this class is filled with people who want to be like her, and Lauchengco-Yulo runs with it but, at the same time, is hiding something deep inside.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

This is presented in moments while her students are singing; she enters into her own interiority, and delivers a gut-wrenching monologue that mines all of the character’s emotional struggles into a powerful moment for Lauchengco-Yulo.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

She does this twice – once before the end of act one and a second time before the end of act two – and it’s really the highlight of the show.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

The cast surrounding her – her accompanist on the piano, Manny (Louie Angelo Oca), the three students, Sophie de Palma (Alexandra Bernas), Anthony Candolino (Arman Ferrer), and Sharon Graham (Angeli Benipayo), and a stagehand (Nelsito Gomez) – feels directed to play in total contrast to Lauchengco-Yulo’s Callas.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

As she is grounded in emotion, the supporting cast feel exaggerated and hyper-real; as Callas is striving for truth, the people around her are playing to people’s expectations.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

The contrast is apparent, and the magic really happens when Ferrer and Benipayo have to sing, with Lauchengco-Yulo, in character, directing them through the songs. I grew up listening to opera arias when my dad would play them while working. I know very little about it, but I could hear the shifts and tones when Ferrer and Benipayo began to imbibe Callas’ teachings.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

They are singing difficult pieces – one from Turandot and the other from Verdi’s MacBeth – and they are acting through them. The largeness of their spoken scenes is given nuance and texture as they sing their arias and learn how to find truth in the performance. By the time they exit the stage, Ferrer and Benipayo have changed their approach and Callas has done her work.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

Maria Callas, as a character, is not easy to like, though you can admire her. She’s abrasive and self-possessed and we can hang on to her story because she has lived a truly remarkable life. Lauchengco-Yulo plays her head on, without begging for sympathy, and the result hits like a hammer to the head. It’s a bravura performance from Lauchengco-Yulo that realises the full extent of McNally’s play, but it also makes the piece feel somewhat inaccessible unless you truly love the practice of art like I do. There were people around me who couldn’t grasp the full nature of the show; taking the master class tone and setting to mean they were not in the theater, they began talking incessantly from the middle of the first act.

My Rating: 3.5 Stars

Driven by a commanding, bravura performance from Menchu Lauchengco-Yulo, this production is a must-see for true lovers of the craft. Don’t miss the final weekend of Terrence McNally’s award-winning masterpiece, Master Class. The final shows will run on May 30 at 3 PM and 8 PM at the Carlos P. Romulo Auditorium, RCBC Plaza, Makati. You can secure your tickets now by calling 09176452946 or by visiting Ticket2Me.

May 30, 2026
THEATER REVIEW: Dance Theater Takes a Big Leap Forward with Mari Dance’s Restaging of ‘A Dance in a Day in a Dance’

I’m a huge fan of contemporary dance. I love how expressive and emotional the movements are; it takes a lot of skill to make these seemingly random motions of the body look beautiful, but it always requires a level of storytelling and performance. Having not seen a contemporary dance ballet in a while, I’m thrilled that Mari Dance is bringing it back in a big way by pushing the medium forward and bringing it into the realm of theater. In dance theater, the narrative structure of a play is at work, but the story is communicated entirely through movement. It replaces spoken language with kinetic energy, requiring the audience to let go of the need for words to communicate and instead trust their eyes and ears to pick up the feelings of the story through the performance.

Composed of five short, choreographed pieces by JM Cabling, A Dance in a Day in a Dance tracks the harrowing story of a rigid, abusive dance instructor and choreographer. Played by the terrific Al Bernard Garcia, as he uses capital punishment in the dance studio and terrorizes his students. This framing narrative serves as the transition points that link the five choreographed pieces together.

It begins with Nothing Special, a piece about finding one’s voice amid a culture of silence, performed by featured dancer Michael Que, which mirrors the students trying to process the dance instructor’s abusive ways.

A Dance in a Day in a Dance | Photo by Cesar Morales

At the midpoint, the company delivers a stunning performance of Ang Lihim ni Lea, an adaptation of Augie Rivera’s children’s book about a young girl who discovers she can walk through walls but the origins of this ability comes from a scary, dark place.

A Dance in a Day in a Dance | Photo by Cesar Morales

Performed by Janine Arisola-Cabrera as Lea, this powerful piece features where the dancer actually goes through the walls of her home, which is realised by a frame wrapped in fabric with holes cut through them.

A Dance in a Day in a Dance | Photo by Cesar Morales

The show then transitions to Bent, excellently executed by Arnel Sablas and Sheanne Montecarlos, about an accidental hook up between two dancers. It finishes with Nothing Special, performed by Garcia and Jenris Bernard Garcia, about a man rediscovering and reconciling with his younger self. It is the piece that leads to the transformation of Garcia’s problematic dance instructor that allows him to seek redemption withhis students.

A Dance in a Day in a Dance | Photo by Cesar Morales

Under Mikko Angeles’s astute direction and JM Cabling’s inventive choreography, the production transitions seamlessly between the world of the narrative to the world of the individual pieces, ensuring the emotional connection is carried through.

A Dance in a Day in a Dance | Photo by Cesar Morales

D Cortezano’s lighting design is exquisite, dynamically shifting colour temperatures and brightness to highlight the emotional spectrum of each scene. In one particular sequence, Cortezano manages to keep Garcia in the spotlight as he dances throughout the entire stage, while the rest of the company of dancers shifts rhythmically in darkness behind him. It had such a powerful effect.

A Dance in a Day in a Dance | Photo by Cesar Morales

Complementing this is Wika Nadera’s set design involves panels on wheels so they can be dragged around, with one side made to look like doors and the other to look like artsy walls. The dancers would move them around to change the scene, using whichever side is best for the story at that moment.

A Dance in a Day in a Dance | Photo by Cesar Morales

The emotional ride of the entire production is matched by its production savvy and elevated by a host of incredible dancers. Led by Al Bernard Garcia, the ensemble and featured dancers are so strong. Their lines were beautiful. Their technique showed but each one was able to convey the story so well.

A Dance in a Day in a Dance | Photo by Cesar Morales

For me, the night’s true standouts, aside from Garcia who really anchored the whole production, were Arisola-Cabrera, whose portrayal of Lea is intricate and nuanced, and Montecarlos, whose performance in ‘Bent’ really showcased her talent and training and she brought in a lot of charm.

A Dance in a Day in a Dance | Photo by Cesar Morales

Among the ensemble, Evan Joe Asuela stood out for his grace and strength. He was just part of the ensemble, but his stage presence was so strong that I couldn’t stop watching him dance during the big numbers.

A Dance in a Day in a Dance | Photo by Cesar Morales

If you’re looking to get into watching ballet or contemporary dance, Mari Dance’s A Dance in a Day in a Dance is a wonderful starter show and its theatrical structure keeps it familiar.

My Rating: 5 Stars

Don’t miss this breathtaking leap forward in local dance theater! A Dance in a Day in a Dance runs until May 31 at the Doreen Black Box Theater, Areté, Quezon City. Experience the magic live, secure your tickets NOW at maridance.com!

May 22, 2026