Sandbox: Review of SIDE SHOW (2025): Emancipation or Exploitation?

August 17, 2025

Siamese twins Daisy and Violet Hilton were the star attractions of the circus sideshow owned by the Boss. One day, musician Buddy Foster invited his friend Terry Connor, a talent scout for the Orpheum Circuit, to go check out the twin's act. Impressed with what he saw and heard, Terry paid the Boss extra to interview the girls more. He believed that they can do much better as a novelty singing act on the vaudeville circuit than where they were now. 

I had watched this musical "Side Show"(book and lyrics by Bill Russell and music by Henry Krieger) when it was staged by Atlantis in 2018 (MY REVIEW), so I already know that it was based on life of real pair of Siamese twins. I now learned that the version I watched back then was that of the 2014 Broadway Revival. This version to be staged by the Sandbox Collective this year was the original 1997 Broadway Production version, preferred by director Toff de Venecia for being completely sung through, with a darker, more political edge.

Krystal Kane and Molly Langley

I noted that only 10 full-length songs were held over from this original to the revival  -- "Come Look at the Freaks," "Like Everyone Else," "The Devil You Know," "Say Goodbye to the Freak Show," "Who Will Love Me as I Am?," "Leave Me Alone," "Private Conversation," "One Plus One Equals Three," "You Should Be Loved" and "I Will Never Leave You."  Those who had seen the revival will see and hear a lot of new songs here, like that eerie "Tunnel of Love." 

De Venecia also used some modern theater techniques here, notably the use of live cameras to project images taken on or off stage on to screens behind both sides of the bleachers. This was best used in the song "Leave Me Alone" where the twins were arguing about men in the makeup area backstage, but we see them singing live on the screens. This must have been how Rachel Zegler's "Don't Cry for Me Argentina" number in the latest "Evita" played out. 

Rob Atadero as Terry

The Hilton twins I caught was the pair of Krystal Kane and Molly Langley. Both ladies were vocal powerhouses, but their harmonic blending was melodious. Kane captured Daisy ambitious streak, as Langley caught Violet romantic side. They looked much younger than their alternates Marynor Madamesila and Tanya Manalang-Atadero, so they seemed more vulnerable against the men exploiting them, making us feel more protective for them. 

Reb Atadero Terry had a slimy charisma, while Tim Pavino' Buddy had us fooled. (CJ Novato and Vien King alternate as Terry and Buddy respectively. Jon Santos' Boss was intimidating and ruthless. (He also played the cameraman as well as a film producer.)  Even as early reviews pegged Marvin Ong as the actor to watch for Jake, alternate Joshua Cabiladas was just as powerful in his portrayal of the protective Cannibal King, especially the when he ended his solo number "You Should Be Loved" with dramatic flourish. 

The ensemble included Arion Sanchez, Chan Rabutazo, Fay Castro, Daniel Wesley, Ian Hermogenes, Mikee Baskiñas, Pamela Imperial, Pappel, Raflesia Bravo, Red Nuestro, Reine Paisley, and Rhap Salazar. The set was designed by Mike Dalacat, enhanced by the lights designed by Gabo Tolentino. The glamourous gowns of the twins and the costumes of the freaks were designed by Carlos Siongco. 

Joshua Cabiladas as Jake

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The Sandbox Collective's production of "Side Show" runs at the PowerMac Center Blackbox Theater, Centris, Makati from July 26 to August 17, 2025, with shows on Thursdays and Fridays at 8 pm, Saturdays and Sundays, 3 pm and 7:30 pm. Tocket prices at P2,900 (VIP), P2,700 (Premium) and P2,500 (Regular). The show runs 2 hours and a half, with a 15 minute intermission. 

Update: TWO MORE SHOWS on August 24, at 3 pm and 7:30 pm! Tickets at Ticket2Me at this LINK. 

Arete: Review of QUOMODO DESOLATA ES? ISANG DALAMHATI: Ghosts of Glory Gone

August 16, 2025

It was October 1941. The old Marasigan mansion in Intramuros has seen better days. Spinster sisters Candida and Paula were left to take care of the house and their elderly father Don Lorenzo, and they were struggling financially to pay the bills. Their well-off elder brother Manolo and Pepang preferred to just sell the house. Meanwhile, the last painting of Don Lorenzo caught the attention of critics, journalists and art buyers alike. 

If there was a poll for the most famous play written by a Filipino author, it is very likely that "A Portrait of the Artist as Filipino" written by National Artist for Literature Nick Joaquin in 1950 will be in that list. My introduction to it was the 1965 film directed by National Artist for Film Lamberto V. Avellana.  I then saw it as a play staged by Repertory Philippines in 2009. Both of these used the original English version of Joaquin. 

In 2017, there was a filmed musical adaptation in Filipino entitled "Ang Larawan," first translated by National Artist for Theater and Literature Rolando Tinio, and adapted into songs and set into music by National Artist for Music Ryan Cayabyab in 1997. This latest adaptation was based on a Filipino translation by Jerry Respeto, and reinterpreted as a Greek tragedy for the stage by director Guelan Luarca with choreography by Ronelson Yadao. 

We see the radical difference of Luarca's style right In the opening scene. When family friend Bitoy Camacho (Roldine Ebrada) was describing the glory days of the Marasigan household, he had eight white-faced "ghosts" behind him serving as Greek chorus telling the story as flashbacks of their memories right along with him. From these ghosts emerged elder siblings Manolo (Jethro Tenorio) and Pepang (Maita Ponce), the assertive Doña Upeng (Meyanne Plamenio-Cortezano) and poet turned senator, Don Perico (an outstanding Brian Sy). 

Delphine Buencamino was the perfect embodiment of Candida. She was resourceful and had a sense of humor, but the continuous cruelty of their fate had made her jaded and exhausted with life. Gab Pangilinan's Paula initially felt too young to worry about being called a spinster. However, later on this perceived youth would complement Paula's seeming impulsiveness and naivete. Their closeness as sisters felt very genuine, making us sympathize sincerely. 

Aside from Candida, Paula and Bitoy, the only other character who was not a ghost was Tony Javier, a student who was renting a room at the Marasigan house.  He was working nights at the vaudeville as a piano player while he studied to be a lawyer during the day. As Tony was typically played by debonair actors like Ricky Davao or Paulo Avelino, Vino Mabalot felt miscast because his Tony was immature, with no worldly sophistication nor sense of danger.

The highlight of D Cortezano's set and props was the capiz backdrop. Shadows of characters behind it can be seen, which was how the rat catching scene was executed among others, aided by Jethro Nibaten's lighting. Capiz windows would also "fall" all around during the bombing of Intramuros scene, making us all feel caved in. Ali Figueroa's costume design had period flair, with those of ghosts more attention-catching than those of the living. John Robert Yam (sound design) and Matthew Chang (music) provided the eerie aural atmosphere. 

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"Quomodo Desolata Es? Isang Dalamhati" has a limited 2-weekend run only, playing only 11 shows on August 8, 14, and 15 at 7:30 PM, and on August 9, 10, 16, and 17 at 2:30 PM and 7:30 PM, at the Hyundai Hall, Areté, Ateneo de Manila University. Tickets are priced at P1,499 (Premium) and P999 (Regular). 

BGOT: Review of 13TH OF SEPTEMBER (2025): The Madness of Mary

August 10, 2025

Three drag queens in all-white outfits, complete with corsets and veils, strut out on stage on their white high-heeled boots, while pushing their clothes racks around. The one in the center identified herself Mary Girard (Andoy Ranay), an abused woman who was in deep mental distress for her failure to conceive a child. The other two women taunting Mary were Polly and Sally (Drew Espenocilla and Lao Rodriguez), mistresses of Mary's husband Stephen. 

Mary was eventually confined in a mental hospital in 1790. Her days were a constant barrage of mental torment from her past (her uncaring parents), her present (the inhospitable asylum staff), and even her future (her naughty unborn children), all of them still played by the two Furies around her. The harshest nightmare of them all was Stephen himself (also Rodriguez), who broke what's left of Mary's spirit with his every cruel and hurtful word.

"The Insanity of Mary Girard " by Lanie Robertson, is a one-act play based on the real-life story of Mary Lum Girard, who was wed at a tender age to a rich husband who would later have her committed for lunacy. Mary eventually did give birth to a baby of uncertain paternity and who did not live long. Eljay Castro Deldoc translated the text into Filipino and, along with director Riki Benedicto, reimagined the play using only two actors to play all the Furies. 

The first time I had seen this show was back in 2022 at the Metropolitan Theater, starring Lao Rodriguez as Mary, with Marco Calilao and Norman Penaflorida as his Furies. That time, the play was en route to a theater festival in Esslingen, Germany. Before that, this play was first staged locally in 2019 featuring Adore Dominguez, Calilao and Rodriguez, before it went to a theater festival in Quebec, Canada that year. Espenocilla was the dramaturg that time. 

This play is once again bound for another theater festival, this time in Monaco. Compared to the 2022 version I saw, this new one had evolved with a much stronger impact due to the improved movement choreography and enhanced graphic projections. Andoy Ranay's powerful portrayal of Mary's unstable mind was the solid centerpiece that kept everything else fully grounded. His climactic dance twirling cloth while bathed in orange lighting was a mesmerizing highlight. 

The bombastic curtain call! 

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The rest of the crew includes BOGT producer Katreen Dela Cruz (production and stage manager), JayLo Conanan (production designer), Roldan Lozano (lighting designer), and Ces Valera (projection designer). 

The special fundraising send-off show of "13th of September" was held on 10 August 2025, Sunday, at 3pm and 7pm, at the Tanghalang Ignacio Gimenez, CCP Complex. Ticket prices at P1000 and P800. 

Teatro Meron: Review of SOPRANONG KALBO: Inane Interchange?

August 9, 2025

As the clock was striking 9, Mr. and Mrs. Santos (Joel Macaventa, Miren Alvarez-Fabregas) were sitting together in their living room. Mrs. Santos was taking account of the food that their maid Marie (Gold Soon) prepared. All the while, Mr. Santos was reading his newspaper, only grunting wordlessly in response to his wife's petty observations and comments. 

Later, their friends, Mr. and Mrs. Martin (Joseph Dela Cruz, Pickles Leonidas) dropped in the Santos house for an unexpected visit. Together, they engaged in more silly exchanges of ideas, arguing on topics like, "Is there someone at the door when the doorbell rings?" The chief fireman (Yan Yuzon) also came by to ask if there was a fire in their house. 

For its maiden offering, nascent theater company Teatro Meron chose to stage "Sopranong Kalbo," the Filipino adaptation of Eugène Ionesco's 1950 play "The Bald Soprano," as translated by the late National Artist for Theater and Literature Rolando S. Tinio. The artists of Teatro Meron, led by director Ron Capinding, chose to stage this personal favorite of their late mentor Dr. Ricky Abad, whose birthday will be celebrated on August 10.

"The Bald Soprano" (or "La Cantatrice chauve" in original French) is notable because since 1957, it has been continuously showing at the Théâtre de la Huchette, holding the world record for the longest time a play had been continually playing in one theater. It was considered a classic in the Theater of the Absurd, plays marked by illogical or irrational lines that play around with the philosophy of existentialism, very tough to pull off on stage.

I have to admit that this was not an easy play to get into. The pointless conversations did not lead to any important plot points at all. There was a part when the characters challenged each other in some sort of a storytelling showdown, none of which made any sense. They got some audience members on stage for some interactive gags, then later go around the audience area telling rapid-fire "jokes", which could either be funny or cringe-y. 

Having serious thespians (whom I've seen do classic Greek tragedies before) portraying these absurd characters subliminally suggests that there was more about this play than the inanities we see. This challenges the audience to look for the deeper substance that underpins the craziness on stage. For me, everything made perfect sense only by the final scene, which brought the whole play full circle even when the lines were in literal gibberish. 

Leonidas, Dela Cruz, Alvarez-Fabregas, Macaventa, Soon and Yuzon

at the curtain call

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The rest of the creative crew of this production includes: Tata Tuviera (production designer), Ara Fernando (makeup designer), Zak Joaquin Capinding (sound designer), D Cortezano (lighting designer), EJ Ramos (assistant lighting designer), Jo Aguilar (graphic designer), and Reamur A. David (photographer).

The show runs on August 8 at 8 PM, August 9 at 2 PM, 5 PM, and 8 PM, and August 10 at 2 PM and 5 PM, at the Rizal Mini Theater, Ateneo de Manila University. Tickets are priced at P800 (general audience), P720 (TA alumni, senior citizens, PWDs), and P700 (students of any level from any school), and may be purchased via the group’s Google Form.

 

SC: Review of DAGITAB: Delving into Dilemmas

July 12, 2025

Married for 27 years now, Jimmy (Jojit Lorenzo) and Issey (Agot Isidro) Tolentino are both writers and professors based in the University of the Philippines in Diliman.  Jimmy was about to wrap up a book he has spent many years researching and writing. Issey is a panelist on a writers workshop in Mt. Makiling for students, the participants of which included her 17 year-old godson and writing prodigy, Gab Atienza (Elijah Canlas). 

The original "Dagitab" was a movie written and directed by Giancarlo Abrahan, which premiered in the New Breed category of the Cinemalaya film festival of 2014. It starred veteran character actors Nonie Buencamino as Jimmy and Eula Valdez as Issey, with Martin del Rosario as Gab. During the awards night, it won Best Director and Screenplay for Abrahan, and Best Actress for Valdez, but lost the Best Picture prize to "Bwaya." 

I've seen Jojit Lorenzo and Agot Isidro essay difficult roles with long complex lines on stage before in "Changing Partners" (2016) and now, this one. They both had a field day portraying the eccentricities of UP professors and Palanca-winning writers. As Lorenzo's Jimmy wrestled with an insecure wife and the memory of his late rebel ex-love Lorena (Samantha Samarita), Isidro's Issey wrestled with an obsessive husband and an unexpectedly intense teenage infatuation. She also talked to the audience directly, calling us as her "yellow p*tas," as we wore paper hats given to us before the show.  

I have seen Elijah Canlas in several indie films, from "Kalel 15" (2020) to "About Us But Not About Us" (2022), where he won acclaim and awards for his portrayals of problematic young men.  This is the first time I saw him act on stage, but this was not his first play.  Canlas' Gab was vulnerable and impressionable, torn between an irresistible crush on his hot ninang,  and an inexplicable admiration for his magnetic, self-assured roommate, a poet and UP maximum residency rule poster boy Angelo (Benedix Ramos, in his first straight play), a character given more prominence in the play than the film.

Even as a film, the main star of "Dagitab" was its screenplay, with its "wry humor and lingering unhappiness," as I wrote in my original review. Certainly, the script of this play version, as adapted by Guelan Luarca, remains to be its pride and glory. Here, as in other plays by Luarca, you really need to hang on to every word so as not too miss any juicy eloquent wordplay as his lines shuttled from English to Filipino. With its debut project "3 Upuan" (2023), new theater company Scene Change seems to be carving his own niche with these deeply introspective plays that convey heavy emotions of loneliness and loss. 

Lorenzo, Isidro, Samarita, Canlas and Ramos at their curtain call

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"Dagitab" runs only for two weekends July 5, 6, 12, 13 with shows at 2:00 PM & 7:30 PM held at the Old Comm Black Box, Ateneo de Manila. At the time of this writing, this play is already all SOLD OUT, and this was despite the rather stiff ticket price of P2000 each. Kudos to Team Scene Change -- Luarca, Lorenzo, Abrahan, JC Santos, lighting director D Cortezano and Martha Comia. 

Rep: Review of ART: Fractals of Friendship

June 29, 2025

Serge (Martin Sarreal) bought a painting for 2 hundred thousand francs. His very good friend Marc (Freddy Sawyer) appalled when he saw that the painting was completely done in white paint with diagonal strokes, calling it frankly "a piece of white s**t." Serge took offense that Marc was questioning his appreciation for art. This argument escalated to more serious personal insults, rocking their 15 year-old friendship as it had never been before.  

Meanwhile, their common friend Yvan (Brian Sy) was in the thick of planning his wedding to his fiancee. However, because of complicated family relationships, even the matter of what names to put on the invitations was causing him a lot of stress. One night, the three friends were supposed to go out for a movie and dinner. However, when Yvan came late, even he got drawn into the brewing conflict between Serge and Marc as it reached its boiling point. 

Repertory Philippines' production of French playwright Yasmina Reza's "Art" (1994) is directed by UK-based stage director Victor Lirio. Just Rep's "Betrayal" last year, Lirio imbued this production an air of sophisticated British posh-ness. This atmosphere was evoked by the immaculate art gallery-like set, created by London-based production designer Miguel Urbino, as enhanced by the lights designed by New York-based Miriam Nilofa Crowe. 

The lines written by Reza, as translated by British playwright Christopher Hampton, had the razor-sharp wit as Reza's later acclaimed work "Gods of Carnage" (2006). Having UK actors Sarreal and Sawyer deliver those acerbic lines with their authentic British accents made the play's sarcasm feel drier and bite deeper. The "pissing contest" of their highbrow egos were going through the roof.  Sy's more familiarly Filipino emotional acting style made us feel more sympathetic towards Yvan as he was caught in the crossfire. 

Sy, Sawyer and Sarreal at the curtain call

However, what felt lacking for me was the sense of closeness among these three characters. I never really felt that they had that shared 16-year history which was crumbling down as they were throwing cold, cruel barbs against each other. Maybe that was the limitation of an international cast who barely had time to form a genuine friendship off-stage. I've never seen it, but I imagine that the first local production of "Art," starring real-life friends Bart Guingona, Jaime del Mundo and Audie Gemora did not have a problem with emotional connection. 

Recap of JO KOY: JUST BEING KOY TOUR: Mining Mirth from Mishaps

June 21, 2025

I only discovered Fil-Am comedian Jo Koy during the pandemic when I was able to watch his comedy specials on Netflix.  A staple of his routines was roasting his beloved Filipino mother. He would frequently quote her using her delightful Filipino accent, and these gags never grew old even as he rehashed variations of these jokes up to now. He is now one of the top-grossing comedy tours according to Billboard Boxscores, which is a big deal since he brings with him his crew of Fil-Am talent to perform on the same stage with him. 

Jo Koy performed in the Philippines for the first time just before the pandemic in January 2020 with his "Just Kidding" tour in Manila and Cebu. Then he returned in August 2022 for his "Funny Is Funny" world tour. I was not able to watch any of those, so I was happy to be able to watch this one, the first time I am watching a stand-up comedy show live in an arena venue. As we looked for our seats inside the MOA Arena, US-based Fil-Am Tim "DJ Turbulence" Alejandro was already onstage playing music to get people energized for the evening. 

Joey Guila opens the show

At around 8:00pm, stand-up comedian Joey Guila opened the show. He just turned 53 years old, so his first few jokes were about getting older, from wearing Sketchers, and awkward night-clubbing. His father is Filipino, while his mother was Burmese-English-Irish-Spanish-Italian but was born and raised in India. This led to jokes he told with an Indian accent, like that one about his Indian barber. Joey said he was thrilled to visit the Philippines for the first time, and he gave a shout-out to PBA player Marcio Lassiter who was a relative of his.

The next front act was Bboy Ronnie and Philippine All-Stars, five young men who regaled the audience with their intricate break-dancing routines.

Following that number, there was a video narrated by Wanya Morris of Boyz II Men introducing the main act of the night -- Jo Koy! His opening spiel was about coming back to Manila, and how special this stop was to him and his largely Fil-Am crew, amidst their many stops all over the world. Of course, he began with jokes about his famous Filipino mother, as he laughed about the "child abuse" he got from her using Vicks Vaporub. He shared how that joke elicited reactions from viewers who also had similar Vicks experiences with their mothers. 

Jo Koy rips through his jokes

A major part of Jo Koy's routine last night was the harrowing experience he and his family and crew had on an airplane with an electrical fire, mining humor out from such a traumatic event. Funny how he questioned God why they had to experience this right after his major project donating computers and generators to rural schools they also built. He paid tribute to flight attendants who kept calm while guiding the passengers to their emergency landing, including his sister, now manager Gemma Simmons, who was a former flight attendant herself.

Jo Koy picked out a 17 year old boy from the second row named Carl, and throughout the show addressed to him his advise for young people. His told Carl that "You're not promised tomorrow" so he has to pursue his own dreams, even if it went against the advice of parents. He shared how his elders all mocked him as he worked as a comedian. Ironically, he is now the one subsidizing the college tuition fees of the children of these same aunties who put him down, including magna cum laude nursing grad Jamie whom he called live via Facetime.  

Unexpected Arnel Pineda surprise!

Jo Koy also talked about experiencing various health problems, now that he (now turning 54) and his crew were all getting older. He cited gout in particular as it was a condition he shared with both Joey Guila and DJ Turbulence, and he related painfully funny stories about unexpected attacks during their tour as a result of the food they were given. In relation with this topic, he talked about his grandmother Lola Tinay, who developed cancer, but was cunning enough to parlay this disease to her advantage like a "credit card," as Jo Koy  called it.

The final hour of the evening was dedicated to the Filipinos known love for singing and karaoke. I did not expect that Jo Koy had a talent for singing R&B songs (he obviously loved Boyz II Men) and hiphop rapping (paying tribute to the Notorious B.I.G.).   He wished that Arnel Pineda was in the audience, and true enough he was actually there in the Lower Box section. Pineda gamely sang a few bars, as did Top Suzara of local R&B band Freestyle. Jo Koy became emotional when he saw the audience singing with their cellphone torches lit up. 

Jo Koy gets emotional

Ranking the 12 New Plays of VIRGIN LABFEST 2025: VLFXX: HINOG

June 13, 2025

This is already the 20th edition of this Virgin Labfest theater festival, held at the Tanghalang Ignacio Gimenez of the CCP from June 11 to 29, 2025. This year, I was fortunate to have been able to watch Sets D and C on their technical dress rehearsals. For Sets A and B, I watched on the first two days of the festival.   

The fact that these plays have been chosen to be staged means that their scripts have already been judged to be the best of all the submissions. My rankings here are purely subjective and personal, how I liked the concept of the play and how it was performed when I watched it. 

Here is how I would rank the 12 new plays of VLF 20 HINOG. I have to admit that it was not easy to rank one play over another this year as the quality of mixture of comedy and drama was pretty even. Frankly, I could even say that ranks 5 to 8 could be interchangeable. 

1. ANNIVERSARY (Set D)

Playwright; Nelsito Gomez

Director: Sarah Facuri

This must be the first Virgin Labfest plays I've seen with a story told in three parts and a coda.  The mostly English script of Nelsito Gomez was a very eloquent discourse about the grief felt upon losing a life partner. The topic may sound morbid, but there was a healthy dose of humor. The witty and pithy lines were delivered by Wilson and Orteza so naturally, with sincere emotional connection. The set design may be simple, but very classy and memorable.

2. UNANG ARAW (Set B)

Playwright: Ivan Villacorta Gentolizo 

Director: Cholo Ledesma 

Any Filipino would recognize who Gentolizo was referring to in his play, even without the slideshow epilogue.  Ledesma created a very tense, claustrophobic atmosphere of real danger inside that metal car by Io Balanon, with the eerie sound of Arvy Dimaculangan and the dramatic lights of Loren Rivera. Vencilao, Bagadiong and Estioco all give dark and intense performances like I've never seen from them before. This was dead serious, blood-curdling stuff. 

3. POLAR COORDINATES (Set A) 

Playwright: Ade Valenzona

Director: Paolo O’Hara

This was quite an interesting VLF play, succeeding to integrate an obscure, rather complex mathematic concept as the fulcrum of the story. Valenzona was able to explain it quite clearly (convincingly delivered by Hilao and Ceasico) and how it connected with Igo's conundrum in life at that moment. Veteran stage actors Comia and Villarama nail the parents' roles with sensitivity, as Denzel boldly held his own in portraying a teenager at his life's crossroads.  

4. ANG PROBLEMA SA TROLLEY (Set C)

Playwright: Imuthis

Director: Adrienne Vergara

Imuthis chose the most despicable of crimes for Dido to commit, making the dilemma of this intense morality play that much heavier, as its setting above a murky river was precarious. The religious ejaculations of Magallona's bumpkin Odell and the psycho-babble of Lanante's nervously excited Vesper provide much-needed comic relief. Wika Nadera's seemingly all-metal set was very impressive, and looked like the most difficult to set up among all the sets. 

5. MOMMY G (Set D)

Playwright: Jobert Grey Landeza

Director: Lhorvie Nuevo-Tadioan

Even if the story basically only revolved around Gina's big announcement, Landeza was able to give it many more dimensions. The script was laugh-a-minute yet there were lines that bite and hurt. As always, Sherry Lara was a radiant vision as Gina, even her tiniest facial expressions were fully in character. Sofie stood out with Gener's strong stage presence. Tadioan and Nellas were effortless in their comedy. In his key role, Molina held his own among the veterans. 

6. PRESIDENTIAL SUITE #2 (Set B)

Playwright: Siege Malvar 

Director: Johnnie Moran 

This biting and witty play gives us a disturbing yet hilarious behind-the-scenes peek into the dysfunctional dynamics of a political family dynasty whose only concern was their own self-interests, even when their matriarch was on her deathbed.  Veterans Ranay and Baento were comedy gold in their rapid-fire delivery of their sarcastic lines criticizing current politics, as well as the Catholic church. SPIT staple Diccion stole his scenes as the fussy chief of staff. 

7. MINATING NI MARIAH ANG MANTO NG MOMMY NI MAMA MARY (Set B)

Playwright: Eljay Castro Deldoc 

Director: Dexter Martinez Santos 

Deldoc is a known VLF brand, with classics which made it to the Revisited list before. This latest work of his again used crazy humor to make social commentary, this time on Catholic devotions and priestly mischief. The arguments of Silverio's flawed Mariah and Mosang's fanatical Monang were both delightful and disturbing. It was good to see big-time director Dexter Santos in his first VLF outing, scaling down back to directorial basics. 

8. DON'T MEOW FOR ME, CATRIONA (Set D)

Playwright: Ryan Machado

Director: Toni Go-Yadao

Movie star Angelica Panganiban did not seem like a stage neophyte at all the way she delivered her lines with assured confidence. In contrast, O'Hara is a veteran of the VLF stage, so her Reting tasted like a cup of spicy comfort soup for VLF fans. This topic about filial responsibility of children to their elderly parents resonated with us so much, we just wish Machado could have given that ending a stronger, more definite kick.

9. THE LATE MISTER REAL (Set C)

Playwright: Rolin Migyuel Obina

Director: Maynard Manansala

A COVID isolation facility made it possible for this estranged couple to be trapped in rooms next to each other and talk through the walls like they never talked. The set designer built walls and doors in the background, but we had to imagine that there was a wall between the rooms.  We saw how their marriage crumbled with the stories they told. Calilong's Boyet was a charismatic loser with many flaws. In contrast, Maala's Raquel was a picture of quiet resolve. 

10. ANG BATA KAG ANG ILAGA (Set A)

Playwright: Liane Carlo Suelan

Director: 『 s i g l o 』

What set this charming play apart from the others I had seen was the use of puppetry to tell its story with an innocent childlike tone. The lead character Isaac was portrayed by a puppet operated by Hechanova (who also provided his voice) and two other puppeteers (Amihan Bonifacio-Ramolete and V Soriano). In addition, there were also shadow puppets projected on the backdrop via overhead projector. Quite cute, but a tad too slow-paced. 

11. MGA MAGINDARA NG SIYUDAD (Set C)

Playwright: Chris Joseph Junio

Director: Riki Benedicto

This play gave us a behind-the-scenes peek into the miserable lives of circus performers and the dreams they still aspire for. Cariaga gave an admirably restrained performance as pragmatic Mylene, and her mermaid form was a pretty piece of stage magic. Pineda was apparently having difficulty singing his contest piece "Narito Ako." Did Junio mean for him to have a chance to win, or was everything just supposed to be a sad, delusional irony?

12. TAKBO, BATANG TONDO (Set A)

Playwright: YOJ

Director: Chic San Agustin-De Guzman

This play brought about memories of my own childhood, playing in the streets with neighborhood friends. The young cast all gave very energetic performances, even getting Cabrera all tangled up between them. To be honest, I have to take exception to the rampant use of profanity (certainly not the mild kind) throughout this play about kids featuring real kid actors. That kids had to shout out these crude swear words did not sit well with me, sorry. 

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Here are the links to my Full Reviews per set:

Set A: BUBOT (Link)

Set B: MANIBALANG (Link)

Set C: KINALBURO (Link)

Set D: MAY ASIM PA (Link) 

Review of VIRGIN LABFEST XX SET B "MANIBALANG" - Courting Controversy

June 12, 2025

1. "MINATING NI MARIAH ANG MANTO NG MOMMY NI MAMA MARY"

Playwright: Eljay Castro Deldoc 

Director: Dexter Martinez Santos 

Ex-scammer Mariah (Lian Silverio) wanted to reform by becoming a camarero (or caretaker) of religious statues. He joined their parish's Lenten activity by dressing up a statue of Mary Magdalene in his own over-the-top style, with the help of his (boy)friend Mentong (Esteban Mara). However, a devotee Monang (Mosang) noted that the veil Mariah used was the missing veil of Sta. Ana, the patron of the next parish under Fr. Mijares (George de Jesus III). 

Deldoc is a known VLF brand, with classics like "Ang Goldfish ni Prof. Dimaandal" (2014), "Si Maria Isabella at ang Guryon ng mga Tala" (2015) and "Pilipinas Kong Mahal With All the Overcoat" (2017) all making the Revisited list before. This latest work of his again used crazy humor to make social commentary, this time on Catholic devotions and priestly mischief. The arguments of Silverio's flawed Mariah and Mosang's fanatical Monang were both delightful and disturbing. 

I was surprised to learn that this is the VLF devirginization of acclaimed theater director Dexter Santos. It was good to see him scale down to directorial basics again from helming much higher-budget musical extravaganzas at Newport like "Ang Huling El Bimbo" "Buruguduy" and "Delia D."

2. "UNANG ARAW" 

Playwright: Ivan Villacorta Gentolizo 

Director: Cholo Ledesma 

After a job that did not go too smoothly, hired killers Egay (Aldo Vencilao), Enteng (Ybes Bagadiong) and neophyte Arnel (Earvin Estioco) ran into their getaway car driven by Tambok (DMs Boongaling). They were working for the Mayor, who sent them to eliminate a rival, which they did, albeit with an innocent collateral casualty. It was Arnel's first job, so he hesitated when he was supposed to pull the trigger, causing Enteng to be shot on his arm. 

Any Filipino would recognize who Gentolizo was blatantly referring to here, even without the slide epilogue that failed to project at the end.  Ledesma created a very tense, claustrophobic atmosphere of real danger with the metal car by Io Balanon, the eerie sound of Arvy Dimaculangan and the dramatic lights of Loren Rivera. Vencilao, Bagadiong and Estioco all give dark and intense performances like I've never seen from them onstage before. This was realistically blood-curdling stuff. 

3. "PRESIDENTIAL SUITE #2" 

Playwright: Siege Malvar 

Director: Johnnie Moran  

Senator Wilma Zaragoza (Clottie Gealogo-Lucero) fainted while she was testifying at a Senate inquiry. Her three adult children gathered at Presidential Suite #2 where she was admitted. They were: Congressman Constantino (Andoy Ranay), online influencer Gertrude (Kiki Baento) and priest Richie (MC dela Cruz). The whole time, their loyal secretary Andy (Ariel Diccion) was monitoring how netizens were responding to this news. 

This biting and witty play gives us a disturbing yet hilarious behind-the-scenes peek into the dysfunctional dynamics of a political family dynasty whose only concern was their own self-interests.  Veterans Ranay and Baento were comedy gold in their rapid-fire delivery of their sarcastic lines criticizing current politics. SPIT member Diccion stole his scenes as the fussy secretary. Too bad they were not able to borrow an actual mechanical ventilator for use in the suite to be more realistic. 

Review of VIRGIN LABFEST XX SET A "BUBOT" - Yearning Youths

June 11, 2025

1. ANG BATA KAG ANG ILAGA

Playwright: Liane Carlo Suelan

Director: 『 s i g l o 』

Orphan boy Isaac (Rigel Hechanova) lived in a childcare center in Iloilo run by Sister Mercy (Ina Azarcon-Bolivar). He was close to one of the caregivers, Manang Joana (Aubrey Savet). One of the naughty boys there who kept teasing Isaac was named Dom (Kizabelle Lopez Aromin), but he still had a mother visiting him every week. One day, Isaac was startled by a baby mouse in the warehouse. He decided to treat it like a pet, calling it "Ik-ik." 

What set this charming play apart from the others I had seen was the use of puppetry to tell its story with an innocent childlike tone. The lead character Isaac was portrayed by a puppet operated by Hechanova (who also provided his voice) and two other puppeteers (Amihan Bonifacio-Ramolete and V Soriano). It was interesting to learn that this technique was not originally conceived by the writer, but an inspired idea of the director. In addition, there were also shadow puppets projected on the backdrop via overhead projector. Very cute.

2. TAKBO, BATANG TONDO 

Playwright: YOJ

Director: Chic San Agustin-De Guzman

A gang of friends were out playing together in the street outside their homes in Tondo. They are: the naughty Albin (Prince España), the tomboyish Tomtom (Felicity Kyle Napuli), the gay Saymon (Ian Magz) and their rich neighbor Kyla (Ericka Peralejo). That day, Kyla brought along her father's collectible miniature Coke bottle to show her pals. While they were playing,  the bottle went missing causing panic among the kids. Baranggay official Dudong (Bong Cabrera) tried to intervene.  

This play brought about memories of my own childhood, playing in the streets with neighborhood friends, something not really done anymore by kids of today. The young cast all gave very energetic performances, even getting Cabrera tangled up between them. However, to be honest, I have to take exception to the rampant use of profanity (certainly not the mild kind) throughout this play about kids featuring real kid actors. That kids had to shout out these crude swear words did not sit well with me, sorry. 

3. POLAR COORDINATES

Playwright: Ade Valenzona

Director: Paolo O’Hara

Grade 10 student Igo (Jack Denzel) lived with his strict father Manny (Randy Villarama), doctor mother Risa (Martha Comia) and younger sister Sab (Chloe Dominique).  He was having a very hard time in his math class, especially in the topic of polar coordinates. His only chance to graduate was to pass the final exam of Ma’am Onquit (Sheryll Villamor Ceasico), coming in five days. Fortunately, his best friend Bobbie (Michael Hilao) was a math whiz and was more than willing to tutor him. 

This was quite an interesting VLF play, succeeding to integrate an obscure, rather complex mathematic concept as the fulcrum of the story. I do not even recall having taken up polar coordinates in any math class I've had before. Valenzona was able to explain it quite clearly (convincingly delivered by Hilao and Ceasico) and how it connected with Igo's conundrum in life at that moment. Veteran stage actors Comia and Villarama nail the parents' roles with sensitivity, as Denzel boldly held his own in portraying a teenager at his life's crossroads.  

Review of COME FROM AWAY: Gander's Graciousness and Generosity

June 8, 2025

The morning of September 11, 2001 started out as an ordinary day, when mayor Claude (Steven Cadd) of the small town of Gander in Newfoundland, Canada was having his daily can of soda at Tim Horton's. Soon, the police constable Oz (Gian Magdangal) came running in, telling the waitress to turn on the radio. The big news was that US airspace was declared closed because of major terrorist attacks in New York City and the Pentagon. As a result, 38 international aircrafts were diverted and forced to land in Gander International Airport .

This meant that the townsfolk have to play host to about 7,000 individuals, providing for their daily needs, including shelter, food and clothing. Senior teacher Beulah (Sheila Francisco) took charge of accommodating the plane people in the local school. Meanwhile local SPCA worker Bonnie (Caisa Borromeo) volunteered to take care of about 19 pets, which included a pair of rare Bonobo chimpanzees, one of which was about to give birth. Neophyte news reporter Janice Mosher (Becca Coates) had to give daily updates on these developments. 

The musical also told stories of some the so-called "plane people." Pilot Beverley Bass (Menchu Lauchengco-Yulo) was the first female pilot of American Airlines. Kevin J (Topper Fabregas) and Kevin T (George Schultz) were a gay couple from Los Angeles. Hannah (Carla Guevara-Laforteza) was a worried mother of a New York firefighter. Black guy Bob (Garrett Bolden) who was worried about discrimination. Texan woman Diane (Cathy Azanza-Dy) and British man Nick (Rycharde Everley) met and may be falling in love. 

The most miraculous aspect of this play was how these same 12 actors (with swings Mikkie Bradshaw-Volante, Mayen Cadd and Chino Veguillas) also managed to play all the multiple other nameless characters of varying accents from among the townspeople and the passengers, scene after scene in rapid yet seamless transitions. One characters that stood out was that of Ali (also by Fabregas), a Moslem. As lighthearted as the musical was, it did not shirk in tackling this sensitive topic of religious paranoia felt during that time. 

The songs by Irene Sankoff and David Hein ranged from upbeat humorous tunes with a country flavor (like "Welcome to the Rock" and "Screech In") to story songs that expressed the tension of the townspeople  and the passengers (like "On the Edge" and "I Am Here"). One number that stood out for me was "Prayer," which began with "Prayer of St. Francis" sung by Schultz's Kevin T. and Laforteza's Hannah. Jewish (Magdangal as a rabbi) and Islamic hymns then joined in. This was one of the more emotional parts of the whole show for me. 

Positive news like this was largely buried under behind the more sensational headlines about the 9/11 attacks back then. Thankfully, Sankoff and Hein thought of telling heartwarming stories from these five days of Gander's hospitality, graciousness and generosity via a stage musical the whole world can enjoy. it played on Broadway from 2017 to 2022, nominated for 7 Tonys including Best Musical, and winning one for director Christopher Ashley. For this Manila run to be played by local theater talents we know was definitely a major plus.

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The Manila staging of Come From Away was directed by Michael Williams, with Rony Fortich as musical director. 

The other members of the creative team are: Delphine Buencamino (Choreography), Harry Tabner (Lighting Designer), Luke Swaffield (Sound Designer), Kayla Teodoro (Production Designer), Myrene Santos (Hair and Makeup Designer), Hershee Tantiado (Costume Designer). Joel Goldes, the dialect coach from the original Broadway production of Come From Away, was also on hand to guide the accents required of the actors.

The show runs Fridays (8pm), Saturdays (3:30pm and 8pm) and Sundays (1:30pm and 6pm) from June 6 to 29, 2025, at the Samsung Performing Arts Center at Circuit Makati Mall. Tickets can be bought from TicketWorld, prices ranging from P5800 to P950. 

Review of VIRGIN LABFEST XX SET C "KINALBURO" - Depths of Desperation

June 6, 2025

1. MGA MAGINDARA SA SIYUDAD 

Playwright: Chris Joseph Junio

Director: Riki Benedicto

Since they were young kids abandoned by their parents, cripple Mylene (Donna Cariaga) and gay Maureen (Raf Pineda) performed as "mermaids" in a travelling fair. While they still owe their survival to Papi, the man who picked them up from the streets, they were also aware that business is not doing well recently. One day, Maureen decided that he wants to sneak away and try his luck to win the P15,000 cash prize of a singing contest in the city. 

This play provided a behind-the-scenes peek into the miserable lives of circus performers and the dreams they still aspire for. Cariaga gave an admirably restrained performance as pragmatic Mylene, and her mermaid form was a pretty piece of stage magic.  I am not sure if Junio actually meant for Maureen to have a chance to win the contest, since Pineda was apparently having difficulty singing his piece "Narito Ako," or was everything just supposed to be a sad, delusional irony?

 

2. THE LATE MISTER REAL

Playwright: Rolin Migyuel Obina

Director: Maynard Manansala

It was during the pandemic in Dumaguete City. Christopher "Boyet" Real (Roi Calilong) was spending a few days in an isolation facility for being a close contact of a COVID patient.  One night, he realized that the woman who was being isolated in the room next door was his long-estranged wife Raquel (Shé Maala), who had left him to work abroad. She has come back to her hometown to bring their 13 year old son Carl back with her to Canada. 

A COVID isolation facility made it possible for this estranged couple to be trapped in rooms next to each other and talk through the walls like they never talked since they separated. The set designer built walls and doors in the background, but we had to imagine that there was a wall between the rooms.  We saw how their marriage crumbled with the stories they told. Calilong's Boyet was a charismatic loser with his many flaws, while in contrast, Maala's Raquel was a picture of quiet resolve. 

3. ANG PROBLEMA SA TROLLEY

Playwright: Imuthis

Director: Adrienne Vergara

One night in Pandacan, a trolley operator Odell (Mario Magallona) was pushing his two passengers -- mall consignor Dido (Joshua Tayco) and med student Vesper (James Lanante) -- across a railway bridge. Midway, Dido ran to the edge of the bridge, threatening to jump. Odell and Vesper try to talk to get him to talk the distraught Dido out of killing himself. Once Dido confessed his reason though, they were not too sure anymore. 

Imuthis chose the most despicable of crimes for Dido to commit, making the dilemma of this intense morality play that much heavier, as its setting above a murky river was precarious. The religious ejaculations of Magallona's bumpkin Odell and the psycho-babble of Lanante's nervously excited Vesper provide much-needed comic relief. The seemingly all-metal set was impressive, and looked like the most difficult to set up of all the complex sets designed by Wika Nadera tonight for this set.