POC: Review of MASTER CLASS (2026): Delving into a Diva's Divinity

May 24, 2026

Opera diva Maria Callas was christened Cecilia Sophia Anna Maria Kalogeropoulou to Greek parents in Brooklyn, New York. She moved to Athens as a teenager, trained in opera and made her debut at the Greek National Opera in 1941. One year later, she landed her first major starring role in Giacomo Puccini's "Tosca." From then on and throughout the 1950s, Callas had an acclaimed international career in dramatic bel canto opera. 

Due to progressive vocal and health issues, Callas retired from the operatic stage in 1965, drawing on a curtain on a career which was as much controversial as it was celebrated.  From October 1971 to March 1972, Callas accepted an invitation to give a series of master classes at the Juilliard School in New York open to students and spectators. It was on these classes that this 1995 play "Master Class" by Terrence Mc Nally was based on. 

The Carlos P. Romulo Auditorium is transformed into a classroom at the Julliard School. Menchu Lauchengco-Yulo as Maria Callas, dressed in her stylish all-black pants suit and large Chanel handbag, confidently enters from the back of the room. She immediately starts talking to us in the audience as if we are the students of her class. She makes us feel intimidated with her rules she has set, but then reassures us she is more bark than bite. 

Lauchengco-Yulo became Maria Callas in all her diva glory. Most of the show were lengthy monologues about her life -- her slim pretty blonde sister, her teacher Mme. de Hildalgo, her first husband Battista, her rival divas, and her Aristotle. She delivered flawlessly throughout the two hours of the show, never once faltering in her pronunciation, accent, nor character. The whole show, in itself, is a veritable master class in transformative stage performance.

In the first act, Alexandra Bernas played Sophie de Palma, whose look did not impress Callas at all on first meeting. She did not even allow poor Sophie to sing beyond her first line of her planned piece "Ah, non credea minarti" from Bellini's "La Somnambula," interrupting her at every word. This part was admittedly difficult to sit through for casual viewers, as there were so many names dropped and cultural references of her time, now way beyond our ken. 

In the second act, Arman Ferrer plays tenor Tony Candolino, who wore a tight outfit to show off his "bella figura," as Callas called it. Like Sophie before, Callas interrupted him on his first line, being unaware of the song's intention. But unlike Sophie, Tony fought for his opportunity to sing, impressing her, with his passionate rendition of "Recondita armonia" from Puccini's "Tosca." The audience erupted in spontaneous applause in violation of Callas's first rule.

Angeli Benipayo played Sharon Graham. Her character was comic relief at first, right when she entered wearing an emerald green princess gown, with a sparkly tiara and flashy necklace. However, when she finally got to sing "Vieni! t'affretta" from Lady Macbeth's Letter scene in Verdi's "Macbeth," we realize Benipayo's vocal virtuosity as she navigated those difficult notes. Sharon's exit line was shocking, as it was thought-provoking.

Louie Angelo Oca played Jewish pianist Emmanuel, Manny for short. He was an excellent pianist for sure, but his nerves as a neophyte actor was quite obvious with his self-conscious delivery of lines. However, in one scene, he impressed us with this rich baritone, when he got to sing duet line with Sharon. Director Jaime del Mundo cameoed the surly Stagehand, who could not care less about who the diva ordering him around actually was. 

Joey Mendoza designed a stylish minimalstic set. It had that wooden wall with a wavy weave-like pattern as backdrop, which created an ethereal illusion when played upon by D Cortezano's red lighting. This was instrumental in heightening the dramatic effect of those scenes where Callas was transported back to her glory days as she hears herself sing instead of her student. Amidst the applause she garnered, she also relived the difficulties she faced.

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Terrence McNally's "MASTER CLASS" runs from May 16 to 31, 2026 at the Carlos P. Romulo Auditorium of the RCBC Plaza in Makati City. Tickets are available via Ticket2Me or onsite. Ticket prices: Orchestra Center Premium P4000, Orchestra Center P3800, Orchestra Side P2960, Orchestra Side Zone 2 P2800, Loge Center P3080, Loge Side/Back P2800, Balcony P1840. 

GMG: Review of JESUS CHRIST SUPERSTAR in MANILA (2026): Gospel with Glitter and Groove

May 3, 2026

Because his teachings and miracles had earned him hordes of followers among the Jews, Jesus (Joshua Bess) has gained the ire of the Pharisees. Their leaders, Caiaphas (Grant Hodges) and Annas (Kodiak Thompson), bribed one of Jesus's apostles, Judas Iscariot (Javon King), to deliver him to them for the price of thirty pieces of silver. Jesus faced trial before Pontius Pilate (Ethan Hardy Benson), which led him to his death by crucifixion.

This timeless story, which formed the basis of Catholicism and all Christian religions, has been recorded in the Holy Bible, then told and retold over the centuries. In 1970, it became the subject of a sung-through rock opera, with music by Andrew Lloyd Webber and lyrics by Tim Rice. After its success as a concept album, it debuted on the Broadway stage in 1971, West End in 1972, then transitioned into film under director Norman Jewison in 1973.

In 2016, a revival of this musical was produced by the Regent's Park Open Air Theatre under the direction of Timothy Sheader, which later went on to win the 2017 Olivier Award for Best Musical Revival. In 2025, this same production was announced to go on an international tour, to kick off in Manila in May 2026. After Manila, it will be going to Taipei, Hong Kong, Singapore, and London in June (with Matty Juniosa just announced to play Annas!)

I have seen the film more than once and am familiar with the songs, but this is the first time I have seen it played live on a stage. This was not a 'traditional" interpretation, not your grandma's passion play. Except for the Sanhedrin with their capes, priestly breastplates, staffs (that doubled as microphones on the other end) and bare torsos, characters wore modern active wear outfits of polyester, denim or leather, no biblical robes here. 

There were massive scaffoldings at the back where the live band, led by musical director Harry Haden Brown, were situated on its various levels. On the foreground was a huge cross lying on the floor, acting mainly as a runway on which actors walked, but later doubled as the table of the Last Supper -- a perfectly-executed ingenious staging idea which may look better when seen from the loge or balcony. 

Javon King (Judas), Joshua Bess (Jesus) and Gab Pangilinan (Mary Magdalene)

Joshua Bess and Javon King made an electric Jesus - Judas tandem, the controversial friendship around which an intense and tragic personal conflict revolved around. Both of them had total control of their powerful wails. The main highlight of Bess' Jesus was "Gethsemane," innovated by having him play guitar while singing the initial verses, before power-belting the rest of the song with raw painful emotions. King's Judas had several showstoppers -- the opening song "Heaven on Their Minds," "Damned for All Time/Blood Money" when he stained his hands with silver glitter, "Judas' Death" with its heat-wrenching reprise of "I Don't Know How to Love Him," and of course, the anthemic title song.

For the Manila shows, the role of Mary Magdalene (still thought to engage in an unsavory "profession" in this 1970 iteration of the story) was played by local theater star Gab Pangilinan. For fans of her previous performances, from "Side Show" to "Ang Huling El Bimbo" to "The Last Five Years," there was no doubt that she would nail this role. She imbued all of Mary Magdalene's songs with her clear and calming mezzo-soprano -- "Everything's Alright," "Could We Start Again Please," and her signature hit "I Don't Know How to Love Him." 

The striking vocal contrast between deep bass-baritone Grant Hodges (as Caiaphas) and rock countertenor Kodiak Thompson (as Annas) was a wonder to hear performed live. Ethan Hardy Benson and his strong rock vocals gave grit to Pontius Pilate's difficult dilemma in "Trial by Pilate." This song peaked in that awesomely-staged scourging scene where Pilate counted down each lacerating lash of the whip one by one, all the way to 39. Erich W. Schleck's King Herod and his wacky, gold-plated, high-heeled, drag-flavored, campy fun song and dance number was a welcome comedic respite halfway in the heavy second half. 

When Jesus called shaven-headed Will Silver as "Simon," some viewers (like me) may be mistaken to think that he was playing Simon Peter. However, he was actually singing as Simon the Zealot, inciting Jesus to lead the Jews to rise against Rome. By the Last Supper scene that opened Act 2, it would be clear that Simon Peter really was someone else. This was when Thomas McFerran walked in playing his guitar, leading the apostles to sing about all their "trials and tribulations, sinking in a gentle pool of wine."

I watched the matinee on the second day of its run. Even so early in its run, Sheader's show flowed efficiently, with no transition delays nor sound glitches. The whole show finished in two hours, including a 20-minute intermission in between. The interactions of the actors and musicians were so fluid, especially during scenes of complex vocal harmonies and choreography, such as "The Temple" and "Superstar." The unexpected final scene potently left a quiet question about Jesus's redemptive mission and Judas' key role in its fruition. 

Ethan Hardy Benson (Pilate) with King, Bess and Pangilinan 

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JESUS CHRIST SUPERSTAR runs at the Theater at Solaire from May 2 to 31, 2026, with shows from Tuesday to Friday at 8 pm, Saturday 3 pm and 8 pm, and Sunday 1:30 pm and 6:30 pm. Tickets available at TicketWorld. Ticket prices range from P7,400, P5,600, P4,900, P3,700, P3,400 and P2000 for weekend shows, with lower prices P6,800, P5,000, P4,000, P3,400, P3,100, P2000 for Tuesday to Thursday shows.

The arrival of Luke Street, the actor initially announced to play Jesus, has been delayed due to unavoidable family circumstances. He will be taking over the role of Jesus later this week. The actor whom I saw perform as Jesus, Joshua Bess, is Street's understudy, who certainly proved himself stellar enough in the title role. Bess is also named as understudy for Pilate. 

Aside from Bess, Schleck, Silver and McFerran, the Ensemble includes Ashley Chafer, Filippo Coffano, Kalei Cotecson, Joshua Dormor, Savannah Fisher, Elizabeth Fullalove, Icis Hammond, Jake McPhee, Jessica Meegan, Caroline Perry, Sandy Redd, and Jordan Michael Todd, with Swings Lydia Ruth Dawson, Brittany Dowd, Cameron Kuhn and Darren Robinson. 

The creative team working under director Timothy Sheader include choreographer Drew McOnie, costume designer Tom Scott, musical supervisor Tom Deering, lighting designer Lee Curran, and sound designer Nick Lidster. 

AE: Review of SANTA JUANA NG MGA KATAYAN: Martyr of the Meat Market

May 2, 2026

Pedro Sakmal (Lee Gosuico) did not exactly like the dark and dirty nature of his business. However, since he was the big boss of the biggest slaughterhouse in town, his decisions influenced all the developments of all the people who did business with him -- the workers, the meat packers, the ranchers. He was lecherous and ruthless, qualities which his close associate Soro (Melvin Calubiran) would push further.

Juana (Tini Quadra) belonged to a religious charity organization calling themselves "Itim na Salakot," led by Paulo Sarmiento (Philippe Reyes). Of all the members, Juana was the one who actively preached to the poor about God. However, she observed that they were very much affected by their hunger and financial woes to pay any attention to religion. She decided to go talk to the root of their problem -- Sakmal himself. 

The original play upon which this latest production of Ateneo Entablado was based is "Saint Joan of the Stockyards" by German playwright Bertolt Brecht, known for his exploration of politics in theater plays that provoke critical thinking about social injustice. The lead character was inspired by St. Joan of Arc, but transposed the battles of the tragic divine-led peasant teenager from Siege of Orleans to the trading floor of the Livestock Exchange. 

The Meat Packers

This Filipino version was translated by no less than prolific Ateneo-based playwright Guelan Varela Luarca, whose name on the marquee alone guaranteed a thought-provoking time at the theater. We are more used to Luarca's emotional treatment of intimate interpersonal relationships, his translation still managed to make us connect to this complex Brechtian play, even as it was loaded heavily with the jargon of business economics. 

The name of antagonist Pedro Sakmal was derived from the original Pierpoint Mauler. Meat packers now carry typical Filipino surnames Garcia (Elle Quinto), Dela Cruz (Kyle Tano), Reyes (Mik Cadag), Cruz (Ron Abustan). The mission "Itim na Salakot" led by Paulo Sarmiento was originally "The Black Straw Hats" led by Paul Snyder. Oppressed housewife Gng. Kinulangan (Sam Saquilayan) was originally called Mrs. Luckerniddle. 

This play boasted of an all-student cast, who gave their all to bring this demanding, wordy, and lengthy (3 hours long!) script to life. Gosuico, the actor playing Sakmal, was so young, he still needed to wear a false beer belly to look more sleazy. Aside from all the chaotic shouting, there were those Brechtian singing interludes. The most recognizable song sung was one by Aegis, for which guitarist-singer Martha (Jam Asombrado) invited the audience to sing along.

The production team was headed by co-directors Delphine Buencamino and Issa Manalo-Lopez. The interior of the Fine Arts Black Box of the Old Communication Building was converted by set designer Wika Nadera and lighting designer Aldrie Valmonte into a grim, dreary, bloodstained butcher factory, complete with pig carcasses hanging on the wall. The class-and occupation- coded costumes were designed by Tata Tuviera. 

Pedro Sakmal (Gosuico) and Juana (Quadra)

This play was originally written by Bertolt Brecht almost 100 years ago, and yet the socio-economic drama it presents remains timely up to our present day. Brecht wrote plays like this with the hope that his audience will be encouraged to effect change in injustice and exploitation going on in our world. We remain optimistic that the yawning gap separating the rich from the poor may someday became narrower as a result of proactive action. 

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SANTA JUANA NG MGA KATAYAN by Ateneo Entablado runs weekends from April 19 to May 3, 2026. Show times at 7:30 pm, with 2:00 pm matinees on Saturdays and Sundays.  

Review of THE MOON AND THE BAKUNAWA: Connecting with the Caregiver

April 18, 2026

Tongyong (a nickname given by his Chinoy father) spent his boyhood in Bacolod with his Mamay. One of their bonding activities was to bang noisily on pots and pans during nights with a lunar eclipse, done in the belief that this would drive away the legendary dragon-like creature called the "bakunawa" which eats the moon. Tongyong never imagined that this monster would be a metaphor for a dreaded disease which will eat up his mother's luster. 

In 1991, the family migrated to Perth in Australia. Tongyong used his real name Benny professionally as a theater practitioner in Sydney. Everything changed when it was noted that his Mamay began behaving strangely, and saying the most unusual things. She was diagnosed with vascular dementia. She was only 67 years old. Because his sisters both had their own families, Tongyong was obligated to stay and care for his ailing mother. 

When I watched, Mamay was played by Divina Cavestany, who once performed alongside the legendary Rolando Tinio and Ella Luansing in Teatro Pilipino, the CCP resident company from 1976 to 1986. Cavestany was a force of nature as her Mamay slowly deteriorated in front of our eyes onstage. Her transitions to worse stages of dementia were subtle and nuanced, never histrionic until its final fulminance. (Arlene Abuid-Paderanga alternates as Mamay.)

Divina Cavestany and Phil Panganiban 

Tongyong was played by Phil Panganiban. Chan reminds that the dementia patient herself is "blissfully" unaware of her illness, so it is the caregiver who goes through a gamut of difficulties while attending to their every need and keeping them safe from harm. Panganiban's Tongyong had a notably colorful personality (he worked in theater, after all) so he tended to be hyperdramatic, very open with his feelings. (Remus Villanueva alternates as Tongyong.)

Veteran director Roobak Valle heads the creative team, with production designer Julio Garcia built the homey wooden frame outline of Mamay's house, as well as the seven moons above it. Roman Cruz's lights and TJ Ramos's sound effects and music gave the show an atmosphere of suspense and foreboding. Sheik Completado was the video designer/ technical director responsible for the haunting "bakunawa' visual effects in the background. 

This play was written by Ben Nitoy Chan, Jr. He shared that he was his own story, about the eight years when he was the sole caregiver of his mother as she went through dementia. His deeply emotional script felt lived in, not a mere product of imagination and research. You will feel that that the writer had gone through this challenging mission of filial piety himself, so audience members who live with elderly folks will identify closely and connect. 

Post-show Talkback Session with the actors, writer Nitoy Chan, and director Roobak Valle

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THE MOON AND THE BAKUNAWA runs for two weekends April 18-19, and 25-26, 2026, with shows at 3 PM and 7 PM. Venue is at the Jayne Offemaria-Abuid Auditorium located at the 12th Floor of the AIMS Tower, in the campus of the Asian Institute of Maritime Studies, Libertad St. near Roxas Boulevard in Pasay City. Tickets available at Ticket2Me, priced at P2,000 (VVIP), P1,500 (VIP), and P1,000 (Balcony). 

TA: Review of EMILIA: Asserting Authorship

April 13, 2026

Emilia Bassano Lanier (Chloe Abella, Francesca dela Cruz, Maliana Beran) was a talented writer and poet. Unfortunately, she was born during a time in history when women were looked down upon in society. Her drive to get her written works published was developed when she was raised in the household of Countess Susan Bertie (Iman Rahima) and later Mrs. Margaret Clifford (Nicole Sintor Chua), who both promoted the value of education for women. 

Several men came in and out of her life. She became the mistress of Lord Henry Carey (Joy delos Santos), but when she got pregnant, he married her off to his cousin Alphonso Lanier (Bea Racoma), a musician who would rather go off with his friends than stay home with her. She then met a promising young playwright at the Globe Theater named William Shakespeare (Chantei Cortez), who swept her off her feet by sharing her flair with words.   

"Emilia" is a play written by female British playwright Morgan Lloyd Malcolm, first staged in 2018 at Shakespeare's Globe theater in London. This current Tanghalang Ateneo production followed suit in its all-female direction and casting, but went further and adapted Malcolm's play into elegant Filipino. This Filipino script, written by Gab Mactal, Meeka Sayaboc, and Keith Bernas, was a formidable work of translation -- so deep and complex. 

Three actresses shared the role of Emilia -- Abella during her days as a student, Dela Cruz during her days as a rebel, and Beran during her days as an advocate -- three different personalities of this one person as she learned more about herself and her talent. This unique split-style presentation the lead character may not be clearly grasped at first, but once you get into its groove, you'd see how ingeniously done this was. 

The actresses playing the male characters were distinguished by wearing pants and some had ruff collars around their necks. Racoma's Lanier was a worthless cad at first, but later turned out to be a good partner. Cortez's Shakespeare was a swoon-worthy lover boy at first, but later turned out to an opportunistic leech. Delos Santos's Lord Henry Carey was a supportive nobleman, as her Lord Thomas Howard was a major misogynistic creep. 

Rahima's Susan Bertie and Chua's Mrs. Margaret, along with Andie Manlusoc's Ms. Anne, represented the supportive confidence of the forward-thinking women of that day. Patricia Anne Panganiban's Katherine would seem to Emilia's "frenemy" of sorts, an interesting and puzzling character. Petes Castillo literally stood out of the ensemble because of her tall gangly stature, but she also got her moment at the end as the tragic Eva.

The rest of the ensemble includes PM Oliveros (as Flora and the Midwife who assisted Emilia in give birth to her two children), Bienne Dator (as Maria and Mary Sidney), Ara Mariano (as Emilia's mother Margaret Johnson and Lord Howard) Camille Samson (as Dave and Lord Collins) and Gabrielle Stephanie Tano (as Ms. Helena and Emilia in the "Othello" play).

However, the direction by Sarah Facuri and her lively cast made the voluminous, serious material come alive with such engaging energy sustained through its 2-1/2 hour running time. We completely see the injustice Emilia had to endure and fully support her advocacy for female agency. This was set in Elizabethan times, and women have come a long way since then in terms of equality, but we recognize that misogyny still exists and must not be tolerated.

The 3 Emilia take a bow

(L-R) Chloe Abella, Maliana Beran, and Francesca dela Cruz

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Tanghalang Ateneo's EMILIA runs from April 10 -26, 2026 at the Rizal Mini Theater in the Ateneo de Manila University, Quezon City. Tickets at P800 only.  

The rest of the Artistic Staff include: Regina Manalo, Petes Castillo, PM Oliveros, Thandie Aliño, Joyce Ann San Buenaventura, and Sabrina Basilio (dramaturgy); Teresa Barrozo (composition); Julia Macuja (assistant set design); Hershee Tantiado (costume design); Amina Javellana (assistant costume design); Jethro Nibaten and Perine Nyssa Bianzon (lighting design); Teresa Barrozo and Erika Estacio (sound design); 

Encore: Review of MIRANDA & YOLANDA: Peeling Political Pretenses

April 12, 2026

Encore Theater is a company led by veteran theater practitioners Stella Cañete and Juliene Mendoza. Their maiden production in 2024 was "Grace," which turned out to be the final play written by outstanding playwright Floy Quintos, as he passed away unexpectedly one month before the show premiered. Encore chose to continue paying tribute to Quintos for its second project, presenting "Miranda & Yolanda" -- a twin-bill of Quintos' Palanca-winning one-act plays, both about what lay behind the masks that politicians wear.  

The first play, "Evening at the Opera" debuted at the Virgin Labfest in 2011. It was set in the marital bedroom of tough-guy Governor Bingo Beloto and his elegant classy wife Miranda. The power couple was having a tensely escalating argument before the curtains rise on Miranda's big project -- a P20M production of Italian opera "Cavalleria Rusticana" -- that night in the provincial capitol. All this was happening in the presence of Miranda's Mamang. 

Playing the same character again after 15 years, maturity gave Ana Abad Santos's present Miranda a heightened sense of jadedness and pent-up rage that radiated with extraordinary intensity. Watching Joshua Cabiladas's formidable portrayal of Gov. Bingo, with his uncouth manner, violent streak and foul tongue, now brings a different politician in audience's minds than back in 2011. Frances Makil-Ignacio's Mamang chimed in occasionally with her catty one-liners, enhanced by her character's special nature. 

Ms. Ana Abad Santos

The second play, "Ang Kalungkutan ng Mga Reyna" also debuted at the Virgin Labfest, in 2008. This was set in the presidential palace, the day after Pres. Yolanda Cadiz has declared martial law. One of her first acts was to summon Marcel de Alba, renowned hairstylist of various European and Asian monarchs, as she wanted him to change her style from dowdy to classy. That physical transformation was only the tip of the iceberg she was conjuring. 

Watching Shamaine Centenera-Buencamino act on stage is always a thoroughly involving experience, and this was no different. She may be laughing, but her Yolanda emanated a uncomfortable sense of danger and madness. Yolanda's apple-cut look and over-the-top style may evoke comparisons to Eugene Domingo, but take note, this play came before the first "Kimmy Dora" film (2009), so Ms. Buencamino actually did these things first in 2008. 

Ms. Shamaine Centenera-Buencamino 

With his electric stage presence and his colorful clothes, Topper Fabregas's Marcel de Alba was a funny and fabulous queen of his own, with those subtle uncertain hints of doubt and / or loyalty.  Jules dela Paz was delightful as the Minister of State with the crooked command of English. Red Nuestro, Alfritz Blanch and Jon Abella played musical palace ministers whose main duty was to sing national hymn "Somewhere Over the Rainbow" in harmony. 

Director Dexter Martinez Santos heads the artistic team, composed of Mitoy Sta. Ana (Production Design), John Batalla (Lighting Designer), Steven Tansiongco (Graphic and Video Designer), Arvy Dimaculangan (Music and Sound Designer), Mikko Angeles (Assistant Director), Marvin Olaes (Dramaturg and Publicity Manager), Davidson Oliveros (Dramaturg and Publicity Manager), and Meliton Roxas, Jr. (Technical Director).

But above all, this is all about Floy Quintos and his incisive social commentary that remains as timely and significant today as it was more than a decade or two ago. His wordplay is truly unmatched in these theater pieces about politics. They're all undeniably funny with his biting wit, yet at the same time, they were dead serious in his intent to paint the prevailing political landscape and explore its ramifications in our society. 

As a fan of his works ever since I watched "Collection" at UP back in 2013, I made sure I watched every new play Sir Floy released after that. I was deeply saddened by Sir Floy's passing two years ago as we have lost an extraordinary literary talent. I was very happy when Encore announced this revival of two of his earlier works that I have only heard about. I hope to see more of these revivals as his loyal fans, as well as the current generation still discovering him, need to see his plays as he intended them -- on the stage. 

Miranda & Yolanda together

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MIRANDA AND YOLANDA runs every Saturday and Sunday at 2:00 PM and 7:00 PM from April 11 to May 3, 2026 at the Power Mac Center Spotlight Blackbox Theater, Ayala Malls Circuit, Makati City. The show will runs for approximately 2 hours with a 15-minute intermission between the two one-act plays. Tickets available on Ticket2Me, prices P2500 for VIP, P2000 for Front (floor level) and P1500 for Sides (elevated bleachers). 

PETA: Review of ENDO (2026): Jobs in Jeopardy

April 9, 2026

Leo (Royce Cabrera, alternate Esteban Mara) worked as a food delivery boy, a scooter taxi driver, and a massage therapist. One day, he bought shoes from an online seller named Tanya (Jasmine Curtis-Smith, alternate Rissey Reyes-Robinson), a nursing graduate who also worked as a promodiser in the mall and tutored English for Koreans. He was  planning to give these shoes to his girlfriend Candy (Iana Bernardez, alternate Kate Alejandrino), who was planning to quit her current corporate job to become a free-lance online influencer. 

The original "Endo" was an indie film written and directed by Jade Castro, which premiered at the Cinemalaya filmfest in 2007. The title "Endo" was slang used by contractual workers on the last day of their job, short for "end of contract." After serving their six-month contract, they need to look for another job again. In that film, the jobs Leo and Tanya had were all based in actual department stores, groceries or fast-food restaurants.

When writer Liza Magtoto and dramaturg Eric Villanueva adapted it for the stage this year, she had to update the jobs to include current online-based jobs and businesses. The original meaning of the slang term "Endo" may not even be applied to these new jobs anymore, as they are not really limited by contracts anymore. However, like before, these jobs remain to be unstable and unfair for the most part, with no promise of job security. 

For the audience to fully feel the extreme stress that these characters are living through, director Melvin Lee and production designer D Cortezano gave the stage an unstable floor for the actors to move on. The most blinding lights of lighting designer David Esguerra were the orange ones that emanated from beneath that movable stage floor when it lifted up. Above the stage Cortezano hung multiple strands of rope that gave a stifling atmosphere of gloom.  

Lee expanded the emotional flow of the characters by making them express their angst in dance, as choreographed by Christine Crame. Dance reflected the chaos in the streets, as well as the bustle of their daily hustles. And there were those pas de deux between Leo and Tanya that represent their romantic trysts. While the first one with the big flowing cloth was eye-catching, the subsequent ones can feel repetitive, slowing down the story. 

The best reason to go watch this play is to see rare theatrical forays of its movie star cast. As Leo, Royce Cabrera possessed a strong, dynamic stage presence. He stood out from the ensemble with this leading man looks and energetic performance. As Tanya, Jasmine Curtis-Smith was simply riveting with her beauty and sweet demeanor. She definitely could sell us anything with her smile and her flawless "jologs" Tagalog spiels. 

As Candy, Iana Bernardez made the most of what was basically a thankless role of a third wheel. From the ensemble, Carlon Matobato played Leo's helpless ailing father and Denmark Brinces played his difficult younger brother. Raphne Catorse played Leo's best friend who was always ready with employment tips. The rest of the ensemble includes Rafflesia Bravo, Kirby Dunnzell, Ekiz Gimenez, Jacinta Pascual, Noelle Polack, Nikki Soriano and Teetin Villanueva.

Aside from social commentary and romance, the story tackled personal problems with work, family and the ex, OFW offers and tough decisions that add to the melodramatic mix. The advanced press preview I watched lasted for almost two hours without an intermission. That length can be felt because of some repetitive elements and the slow pace of the storytelling. Some streamlining may be in order in the second half to add more punch to that ending. 

Bernardez, Cabrera and Curtis-Smith

at their curtain call

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"ENDO" runs from April 10 to May 10, 2026 at the PETA Theater Center in Quezon City. Tickets can be bought via Ticket2Me on this LINK. Prices range from P2700 (Orchestra VIP and Balcony Center Lower), P2500 (Orchestra Center), P2200 (Orchestra Sides), P1600 (Balcony Center Upper and Balcony Sides). 

My review of the original film ENDO (Jade Castro, 2007) is posted HERE.