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.  

Review of VIRGIN LABFEST XX SET D "MAY ASIM PA": Senior Sensibilities

June 6, 2025

1. ANNIVERSARY

Playwright; Nelsito Gomez

Director: Sarah Facuri

On the first death anniversary of his wife Rachel, carpenter Rob (Jamie Wilson) visited her gravestone at the memorial park. He had not yet moved on from her unexpected passing, misery and pain apparent on his face. He actually planned to end it all right there and then. However, before he could do anything, an old retired teacher named May (Bibeth Orteza), who was then visiting the grave of her late best friend Anne Marie, saw him and began to chat him up.

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 that tree with orange leaves at centerstage was very classy and memorable.

2. DON'T MEOW FOR ME, CATRIONA

Playwright: Ryan Machado

Director: Toni Go-Yadao

It was 3 am at the new station of Albay Express bus to Bicol. Phoebe (Angelica Panganiban) was going to accompany her old mother Reting (Peewee O'Hara) back to their hometown. Her eldest brother had agreed to take over taking care of their mother, so 40 year old Phoebe can finally fulfill her plans to work in Canada, and hopefully settle down.  While waiting, Reting was being cantankerous and difficult, going on and on about her lost pet cat Catriona.  

This play drew the most initial media attention because it featured movie star Angelica Panganiban in her stage debut. She 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 and more definitive kick.

 

3. MOMMY G

Playwright: Jobert Grey Landeza

Director: Lhorvie Nuevo-Tadioan

Gina (Sherry Lara) was a widow who lived with her eldest son Ben (Jonathan Tadioan). A young man Ramon (Gelo Molina) was living with them, doing various chores around the house. On her 65th birthday, Gina's two daughters -- opinionated socialite Sofie (Sheenly Gener) and foolish lesbian Toni (Manok Nellas-Bagadiong) -- drove over from Manila to Bicol to attend her dinner party. Gina had an important news to tell them. 

Most VLF sets reserve the funniest play to be performed last, and this one definitely fit the bill. Even if the story basically only revolved around Gina's news, 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. 

Barefoot: Review of WE AREN'T KIDS ANYMORE: Anthems of Adulting

May 24, 2025

For its 2025 season opener, the latest show being staged by Barefoot Theatre Collaborative is Drew Gasparelli's "We Aren't Kids Anymore." This is a very unique show in that there is no story with a defined plot being told, nor any spoken dialogue to speak of. Instead, the actors are performing a series of 19 songs about Gasparini's journey to adulthood. There was also a moving poem by Keith White recited before the last three songs were performed. 

The show opens with the five cast members making their entrance onto the stage. However, since there are no words of dialogue to put things in proper context, it was not immediately clear who these people are, how they are related to each other and where they were at that moment. The opening song "Hello, My Name is Drew" suggested that all five members of the cast represented different aspects of the personality of the songwriter, Gasparini. 

The first Drew who entered the stage would appear to be the actual physical person of Drew, here portrayed by Myke Salomon. It was he who sang those charming songs with an innocent homespun vibe that told the story of Drew's family, like his siblings ("Danny & Andrew," "Little Sister") and his parents ("The Essence of George," "Mom Could Play Guitar"). The latter two were Salomon's best songs in the show, and he sang them with palpable filial loyalty.

The other four actors would seem to be playing various other personae within Drew. The most damaged one would seem to be the Drew played by Gio Gahol, particularly with his heartbreaking song "Snow," about his experience with cocaine. Another Drew in pain was portrayed by Luigi Quesada, who delivered the Keith White poem, and immediately followed it up by belting that powerful ballad of self-redemption -- "I'll Stick Around." 

Gab Pangilinan's crystal clear soprano resonated in the theater with songs like "On the Edge," "Caught in a Loop" and especially the self-deprecating "Faking Cool." Maronne Cruz had a richer lower register, evident in songs like "Turn the Page" and the title song "We Aren't Kids Anymore." My favorite song of the whole show was the song Pangilinan and Cruz sang as a duet -- "On and On and On" -- an absolute beauty of a song I have on repeat.

The fantastic live singing performances of this cast were undoubtable, as they nailed all those vocally-challenging songs. In fact, I think they should record their own soundtrack album.  However to be honest, since there was no dialogue, audiences may not be able to figure out Gasparini's message right away during the show. They would need to listen to the songs on Spotify a few more times in order to understand the lyrics better, then it hits you harder. 

Myke Salomon, Maronne Cruz, Luigi Quesada, Gio Gahol and Gab Pangilinan 

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"We Aren't Kids Anymore" was written by Drew Gasparini, with orchestrations and vocal arrangements by Justin Goldner and Drew Gasparini. This production by Barefoot Theatre Collaborative was directed by Rem Zamora, with Myke Salomon and Farley Asuncion as musical directors. Joey Mendoza designed the smart square set with the 4-musicians pit in the center.  It runs at the PowerMac Center Blackbox Theater at Circuit Makati from May 2 to 25, 2025. Tickets availbable at Ticket2Me, at P3,200 (Gold) and P2,700 (Silver). 

   

Full House: Review of DELIA D. : Dilemmas of a Drag Diva

April 27, 2025

Delia (Phi Palmos) was a drag queen who performed at the Drag & Tell nightclub run by Mama Eme (John Lapus). However, instead of the required lipsyncing, Delia wanted to sing her songs live. It was the big dream of her dear mother Anet (Joann Yap Co) back in Ozamis that she should succeed as a singer. She joined the Idol of the Galaxy singing contest of the JBC station. Delia's favorite singer Mamon (Tex Ordonez-de Leon) was one of the judges.

Because of his popularity with the TV audiences, the flamboyant Delia (now with a mysterious D as his surname) managed to make it to the semifinal round, together with her shy new BFF Kiki (Shaira Opsimar), his handsome crush Raymond (Omar Uddin), and bitchy mean girl Pheobe (Chaye Mogg). Station manager Sir T (Floyd Tena) seemed very sure that Delia D will win, but Kiki was gaining more confidence in her flawless belting and was catching up fast. 

This was the latest original Filipino jukebox musical theater show after those featuring Aegis ("Rak of Aegis"), the Eraserheads ("Ang Huling El Bimbo"), Ben&Ben ("One More Chance", Parokya ni Edgar ("Buruguduy..."), and Rico Blanco ("Liwanag sa Dilim").  The songs of "Delia D." are derived from the songs written by composer Jonathan Manalo, whose breakthrough as a songwriter came in 2003 when his song "Tara Tena" won an ABS-CBN songwriting contest.  

If you are not familiar with Manalo's name (probably Gen X like me) and which songs he wrote, you may not know which songs will be included in the show, even if they were very popular. Of course, Manalo's ultimate torch "Gusto Ko Nang Bumitaw" was the most ubiquitous song of the show. It was the first song we hear in the show, then it was sung a couple more times, once as a rousing duet, and the other, a painful solo. 

Aside from "Bumitaw," Manalo had other melodramatic ballads like "Patuloy ang Pangarap" and "Pangarap Kong Pangarap Mo." Manalo also wrote youthful pop like "Tara Tena" and "Pinoy Ako," dance bangers like "Unleash the Diva" and "Let It Loose," or novelty hits, notably "Boom Panes" and "Rampa." Manalo's versatility to write such a broad range of musical genres made his discography a rich and eclectic collection. On the other hand, some may find show's overall tone rather unfocused, yet undeniably entertaining.

Compared to previous jukebox musicals where the songs had to be integrated in the story, the storyline of "Delia D." made it easier for musical director Vince Lim to stuff in a lot of random Manalo's songs as contest pieces of various contestants and pop hits by various recording artists. Delia D.'s manager thought she was only good for novelty songs, so songs with silly comical topics like "Pancit Habhab" could make it into the show. 

John Lapus, Floyd Tena, Phi Palmos and Shaira Opsimar

at the curtain call

After a series of award-winning featured roles, Phi Palmos finally broke out as a lead star here. His Delia D. was delightful, endearing, and someone you'd want to root for to get back on track. He went for every song 100%, even if was beyond Delia D's range.  As Kiki, Shaira Opsimar was given all the big belting songs and she knocked them out of the park each time. She is such a vocal powerhouse, I've never noticed how petite she was in stature till now.

Floyd Tena's stage career is on a roll these days as he gets bigger and more varied featured roles. His Sir T was a two-faced anti-hero one here. Ever since she wowed me in "Lam-Ang" (2019), whenever I see Tex Ordonez-de Leon name in a show, I look forward to her songs. In this show, she sang with Opsimar in what is for me the most impressive duet number "Pagbigyang Muli" with de Leon even taking the higher harmony part. 

After making his mark in smaller roles in "Bar Boys" and "Next to Normal," Raymond allowed Omar Uddin to step further out more into the spotlight as Delia D's love interest with love duets like "Puede Ba?" and " Easy Boy Easy Gil." John Lapus' rough voice sounded like it was on the brink of hoarseness, but he was still giving his hilarious all as Mama Eme. Mimi Marquez was GVB, the elegantly dressed CEO of JBC, whose singing vocals were also just elegant. 

Miah Canton has really gone a long way from her innocent ingenue stage debut, here playing Tonee, a high-energy show host with a knack for intrigue. Too bad the run of Alfritz Blanche's character Billy gets cut short, we do not hear him sing more, especially with Natasha Cabrera playing his girlfriend Sheryn. Joann Yap Co can really wring the tears out of yet another mother role here, while Joshua Cabiladas playing Delia's older brother Jose. 

I do not follow the local drag scene, but I have to say that Delia D's drag sisters at Drag and Tell were truly impressive queens. Franco Reyes stood out with her yellow wig and beer belly proudly hanging out. Bomba Ding was fierce with her red wig and the beard. Having heard him sing in the "Zsazsa Zaturnnah" musical before, I thought Almond Bolante would be singing a lot more. He just had one brief yet spectacular belting run, that elicited spontaneous applause. 

Kudos to director Dexter M. Santos, with Menchu Lauchengco-Yulo and Michael Williams assisting. Book was by Dolly Dulu with Vince Lim as Musical Director. Budget seemed to be no issue for Scenic Designer Lawyn Cruz, Video Designer GA Fallarme and Lighting Director John Batalla for those fabulous sets they collaborated on. As this was practically full-length drag show, choreographer Stephen Viñas, costume designer Mitoy Sta. Ana and makeup and hair designer Marlon Rivera maxed on the groove, color and glitter.

*****

Newport World Resorts and Full House Theater Company's production of "DELIA D." runs from April 25 to June 8, 2025. You can buy tickets from TicketWorld and the Newport World Resorts Box Office: PHP 3,500 (SVIP), PHP 3,000 (VIP), PHP 2,500 (GOLD), PHP 1,800 (SILVER), and PHP 1,000 (BRONZE).

Review of VoiceConPH 2025: Vocalizing with Vitality!

April 26, 2025

April is the month when hospitals all over the world celebrate World Voice Day (WVD), specifically on April 16.  On this day in 1999, a group of voice care specialists chose to highlight the value and care of the human voice in Brazil. Since then, the practice of World Voice Day spread to other countries, serving as an education campaign to inform the public of the importance of the human voice and the need for preventive care.

April 16 is an important day in the calendar of Philippine Academy of Laryngobroncho-esophagology and Phoniatrics (or PALP), a sub-organization of board-certified otolaryngologists (or ENT-HNS specialists) with special interest and additional training in the care and management of diseases that affect the patient's voice, airway and swallowing. Care of the professional voice is one of the main advocacies of PALP. 

The full house audience eagerly awaiting the start of the program

Therefore, it was such a stroke of providence that for WVD this year, PALP had the opportunity to collaborate with Voice Con PH, a premier voice mastery event especially curated to benefit content creators, entrepreneurs, and professionals who rely on their voices to earn their daily bread. It is a joint brainchild conceptualized and executed by Ron and Joyce Titular of BrightSpeak, Peter Veriña of Finest Media and Brien Ordiales of Cloud Studio.

Only on its maiden outing this year, VoiceConPH promised an immersive learning experience which will impart science-backed, real-world strategies that can transform how one speaks and his confidence in delivering his message. Enrolling in VoiceConPH carried a premium price tag, either in-person or online, but it did gather top voice experts as faculty to teach attendees how to use their voices "for influence, impact, and income." 

Inside the PALP Booth

After getting confirming my attendance as a guest at the registration desk and having my wrist stamped, I was admitted into the convention venue located on the second floor of the SMX Convention Center Manila beside the SM Mall of Asia. Paying VIP (P24K) and Regular (P8K) delegates had a colorful lanyard and ID, as well as a pen and notebook in their kits. There was an exhibition area with booths of the various industry partners and sponsors of the event.

PALP had been given its own booth, giving out brochures about voice hygiene and the directory of PALP members, supported by PALP's generous partner Ms. Auldrey Silpedes and S.V. More. PALP has done this activity to fulfill our commitment to the advocacy of our umbrella organization, the Philippine Society of Otolaryngology - Head & Neck Surgery (PSO-HNS) for additional public awareness of the various subspecialties of our specialty. 

At 9 am, all the seats in the meeting area proper was already almost completely full, the place abuzz with excitement.  After the National Anthem, the emcees were introduced, namely award-winning radio host Jordan Escusa and popular motivational podcaster Myrza Sison, who wasted no time getting the program started with infectious energy, setting the positive and fun mood which was going to inhabit that room for the rest of the day.

Emcees Myrza Sison and Jordan Escusa

The first speakers were the real-life husband and wife team of Ron and Joyce Titular, both DJs of NU 107 in the past, and passionate voice coaches and voice talents currently.  Their morning session was entitled "Making the Voice Connection." They posited a metaphor of public speaking anxiety as the fear of seeing a T-Rex. We need to overcome this panic in order to reach a safe calm state, for which they taught a number of vocal yoga exercises. 

Ms. Joyce started with the vagal massage, starting from the back of the ears going down the side of the neck. This was done for vagus nerve activation needed in order to keep our calm. She proceeded to teach about the foundational breath, essential for achieving relaxation. She then taught about humming, which was essentially massaging the vocal folds. There were also various relaxing stretching exercises while making animal sounds, like the Cat-Cow.

Keynote Speaker Mr. Francis Kong

Up next was the keynote speech by the inspirational Mr. Francis Kong. I've only heard his talks via online videos before and already knew he was good. However, hearing him speak live in person exceeded all my expectations. As he discussed about investing in your voice, his talk was full of quotable lines and funny jokes. He emphasized that delivery is an important as the content, and he was truly an impressive embodiment of that tenet.

The first session after lunch featured another very popular content creator, Real Time Darbs. His hard-hitting talk was about creating Viral Content that Converts into Sales, about becoming an effective influencer. In order to create content that people will watch, one should follow his tried-and-true formula of Hook, Value and Pay-off, the proven secret path to success for a number of unlikely multi-millionaire TikTok businessmen.

The Virality Guru Real Talk Darbs

The next lecture was Audio Technicalities, a title that seemed to suggest a formidable sound engineering tech-heavy talk. However, when Ron, Joyce and emcee Jordan all acknowledged the next speaker Mike Pedero as their mentor in their careers as radio DJs, you too will sit up and listen to him. His easy-going fatherly speaking style made his subject matter about how to choose and use a microphone very engaging and easy to understand. 

Ron and Joyce returned with their second lecture-workshop session of the day, this time entitled "Setting Up Your Voice for Success." They talked about the shape, color, and range of the voice we produce, citing experts like Don LaFontaine and Dr. Albert Tomatis. They taught straw phonation and other vocal warm-ups before speaking in public. They talked about varying our intonation, volume, pace and phrasing to give further character to our voices.

The delightful vocal power couple, Ron and Joyce Titular

First at bat for PALP was current PALP chair Dr. Shamylle Quinto who talked about the anatomy, physiology and diseases of the vocal folds. She shared videos of her patients whose problematic voices were helped by available therapeutic options.  Former PALP chair Dr. Mary Arlene Bongosia then took the stage to share about her tips for Vocal Hygiene to prevent serious vocal disorders. The whole delegation of PALP was called onstage for a photo op.

For her third session, Ron and Joyce talked about how to develop a boss voice with correct Bruegger's posture, mirroring voice idols, saying it like you mean it and telling stories (and how these made you more memorable to your audience).  Joyce shared a traumatic speaking mishap she experienced on a TV variety show and related how she built up her confidence in public speaking back up to become a respected voice talent and coach now. 

Q&A session with PALP Drs. Arlene Bongosia and Shamylle Quinto

The name and face of financial adviser and influencer Chinkee Tan was prominently featured in the posters of VoiceConPH as a speaker. Unfortunately, he was not there in person. Instead he endorsed a video lecture about his TAPE Framework in monetizing communication to advise prospective influencers on how to start their online brand. However, he did oblige to have a live Q&A session via Zoom call so the audience was still able to interact with him.

The final part of the program was a casual discussion of Ron and Joyce, Jordan and Myrza with special guest Ms. Inka Magnaye. Everyone was just seated comfortably on a sofa and their conversation about their careers focused on their voices was free-flowing and unscripted, making their sharing feel very genuine and sincere. Magnaye was a big hit with the crowd, as she gamely and skillfully fielded a number of questions from the audience. After some closing messages, this full-packed whole-day event finally concluded at around 7pm. 

The magnetic Ms. Inka Magnaye and the insightful final panel discussion

I have to say, the multi-generational audience (more than 1,000 pax strong) of this first VoiceConPH was very impressive. When Ron went into the crowd for them to return-demo the various vocal exercises being taught onstage, those chosen were very game with the activities. When some delegates asked questions during Q&A sessions with speakers, their voice sound so good, it was obvious that they were formidable voice talents themselves who expressed themselves very well. 

Kudos to the organizers of VoiceCon PH who envisioned this to be THE premier voice development event in the Philippines, and succeeded with flying colors. The theme “Bringing Confidence to Your Voice" was achieved by teaching all aspects of the human voice -- from its basic anatomy and physiology, all the way to the maximizing the potentials of social media to expand the reach of that voice to spread one's message to the whole world. PALP will be willing to partner with you in this advocacy for future VoiceConPH's to come. 

Review of PILATO: A Troubling Truth to Tell

April 5, 2024

Poncio Pilato (Jerome Ferguson) was assigned to Judaea as its new Roman prefect. His wife Procla (Christy Lagapa) was very supportive of his ambition to leave a significant legacy. A Jewish historian Josepo (Onyl Torres) has been commissioned to record his rule. When Pilato placed monuments with Caesar's face in Jerusalem and then used temple funds for his aqueduct project, he caught the ire of Caiaphas (Jeremy Manite), high priest of the Sanhedrin. 

Act 1 chronicling Pilato's rise to power in Judaea ran for about 1-1/2 hours long. This part of the story will be new for most viewers (including me), as writer-director Eldrin Veloso distilled his extensive research into Pilate's largely apocryphal history into his Filipino languae script and lyrics. The start may be rather confusing as we met Pilato's father (Robert Macaraeg) and Emperor Tiberius's rep Sejanus (Thor Ganchero), but we do get the drift soon enough. 

An interesting part of Act 1 was the scene where they gave us a peek into the debates in the Sanhedrin, as Pharisees and Sadducees  (Mika Espinosa, VJ Cortel, Julia Panlilio) argue over laws applicable to the cases at hand. We also meet Nicodemus (Darwin Lomentigar) and hear his more liberal views. However if the production will decide to streamline the play in future stagings, this is likely the part which may be cut out without affecting the run of the story.

Hesus (Noel Rayos) will not come out until Act 2, which also lasted 1-1/2 hours long. It opens with His triumphant entry into Jerusalem greeted with palm leaves.  We see all the key events -- the Last Supper, the kiss of betrayal, the release of Barrabas on Pesach (or Passover), the trial with Herod Antipas (also Thor Ganchero), Pilate washing his hands, the Crucifixion and the sign above His head. We Christians already know this part of the story like the back of their hands, but I still feel that most of us watched this show only expecting to see this part of the story. 

An interesting part of Act 2 was when Pilato's three sidekicks -- Publius (Marit Samson), Decimus (Chan Rabutazo) and Marcus (Ard Lim) -- give their analysis of a tense meeting between Pilato and Herod Antipas. This was one of the rare humorous scenes of the whole play, as the three make witty side comments as they decode the hidden double-talk meaning of each and every statement made by the two politicians. (Before the show, we already heard Marit Samson warning that rule violators will be punished by flogging.)   

Jerome Ferguson certainly looked the part of Pilate, with his patrician looks and how he rocked a toga. However, his performance of Pilate as an ambitious governor with a streak of violence was not consistent. Ferguson had some uneven moments when it felt like he slipped out of character. This was perhaps because of the way this character was written to be an enigma, as there was barely any record about him before and after his time in Judaea. 

For me, the best total performance of the show was given by Noel Rayos for his emotionally and physically pitch perfect portrayal of Hesus. Even if the central character of this play was supposed to be Pontius Pilate, it cannot be denied that Jesus Christ still dominated this story. From the moment Rayos entered the stage through the doorway of the temple at the start of Act 2, he fully embodied the image of Jesus as leader, teacher and sacrifice. 

The best singers in the cast were: Jeremy Manite, whose soaring tenor lifted his Caiaphas over everyone else; Christy Lagapa, whose Procia can belt like any of the best power-divas; and Onyl Torres, whose vocals were solid throughout as he sang his lengthy wordy narrative songs. The rest of the ensemble include: Hiro delos Reyes, Misha Fabian, Francel Go, Harrah Casey, Cynthia J. Santos, Jason Chan -- all showing potential to be triple threats. 

The original songs with music by Yanni Robeniol and lyrics by Eldrin Veloso, had appropriate solemnity, yet the melodies were catchy and had some pretty complex choral arrangements. I'd listen to the whole soundtrack on Spotify if they uploaded them, to better appreciate the lyrics. The lighting design of Ian Torqueza worked very well to enhance the Tsard Chua set, as well as build up the drama of the emotional scenes, particularly those of Hesus. With a few tweaks here and there, this show could be a Lenten stage staple for years to come. 

The point of the play was precisely about the accuracy with which Pilate's history had been written. Among Christians, he was mentioned by name in the Apostles' Creed as the man who made Jesus suffer, as recorded in all four Gospels.  He believed Jesus had done nothing wrong, but he bowed to the pressure of the Jewish mob. Presently there are Orthodox Churches who even consider Pilate a saint because this disinclination to pass sentence. As Pilate himself asked Jesus in John 18:38, "What is truth?" Such is the question of any history.

Rebutazo, Manite, Torres, Ferguson, Lagapa and Rayos

lead the ensemble at the curtain call

**********

"Pilato" runs at the PETA Theater Center from April 4 to 13, 2025. Ticket prices are as follows: P2,200 (VIP), P2,000 (Orchestra Center), P1,500 (Orchestra Side and Lower Balcony Center), P1,200 (Lower Balcony Side and Upper Balcony Center) and P1,000 (Upper Balcony Side). To buy tickets, please click on this LINK.