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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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?
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)
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