Ranking the 12 New One-Act Plays of VIRGIN LABFEST 2024

June 30, 2024

Virgin Labfest "Pintog" is coming to an end tonight. I was able to watch all 5 sets of VLF this year. This is thanks to the fact that Set A premiered on June 12, so i was able to watch it this year. Set A is the one I usually miss in past VLFs due to scheduling problems.  

The fact that these plays have made it to this stage already means that their scripts have already been adjudged to be the best of all the submissions. My rankings here are purely subjective and personal, how I liked the performance of the play that I saw that specific day. Here is how I would rank the 12 new plays of VLF 19:

1. Ang Munting Liwanag 

Written by Dustin Celestino 

Directed by Toni Go-Yadao

The highlight of a Dustin Celestino play is the way he wrote dialogue, heard in the thought-provoking conversations in plays like "Doggy" (VLF 16) and "Fermata" (VLF 17), and his film "Ang Duyan ng Magiting" (Cinemalaya 2023). Here, we are engrossed as we listen in to the thoughts of both men and GROs as they psychoanalyzed each other. Joshymae impressively played against type as a toxic male with a savior complex, with Dyas Adarlo, Bon Lentejas, Jorrybelle and Heart Puyong all also delivering strongly in support.

2. The Foxtrot 

Written by Chesie Galvez Carino 

Directed by Paul Morales

JC Santos and Liesl Batucan were already limbering up onstage even when the play had not yet begun. Director Paul Morales took advantage his dance background to make the dancing scenes spectacular to watch. Santos was lithe and limber as dance instructor Diego, as he projected sex appeal with over-the-top dance moves.  The heart of this show was definitely Batucan, so effortlessly lovable and delightful as the lonely matron Anna, it was impossible not to take her side. 

3. Sentenaryo 

Written by Herlyn Alegre 

Directed by Ian Segarra

Herlyn Alegre is a known quality brand in VLF, with memorable works like "Imbisibol" (2013) and "Fangirl" (2019). Here, she mined comedy out of greedy family dysfunction and self-serving solicitousness of local politicians in the light of the cash gift for centenarians, and pulled it off, despite some lapses in logic.  The physical comedy aspects were the funniest for me, with the convincingly aged-up Ekis Gimenez (as the 100 year-old Dencio) literally getting carried like a limp sack all around the stage.

4. Ningas 

Written by Lino Balmes

Directed by BJ Borja

The premise of this play was so innovative, I had never heard anything like it before. True, it asked me to suspend a lot of disbelief, but I was entranced by the eloquence of Balmes' script. With the way Ge Malacaman delivered the woman's arguments why she wanted to be born, I would have been convinced. Ross Pesigan has always been a charming and reliable actor, and that is why we totally understand Austin's decision, whether we agree with it or not. BJ Borja bravely took on this abstract concept and delivered a moving piece of drama.

5. Sa Babaeng Lahat 

Written by Elise Santos

Directed by Caisa Borromeo 

This play felt like a synthesis of various memories of graduates of an all-girl high school. In the grand scheme of things, I don't seem to see how the Immaculate Conception story was connected to the teen lesbian romance story, so i felt it was more for shock value than anything else.  In any case, the three young ladies (Jam Binay, Cheska dela Cruz, Yani Lopez) were committed and consistent with their characters, so they were quite entertaining to watch, even if some jokes tended to be too irreverent for me. 

6. Pagkapit sa Hangin 

Written by Joshua Lim So

Directed by José Estrella

This is the most serious play of the 10 shows I had watched.  The topic of the play had no room for any humor at all, and So wisely steered clear of that, going against the popular trend of being hip and funny at VLF. Urgent, gritty and realistic, the actors made the audience relive the stress and tears of the pandemic, not only for health professionals (for whom life-and-death decisions are haunting ghosts), but also those who helplessly witnessed their loved ones expire, as represented by the Watcher (Gold Villar-Lim). 

7. Identité 

Written by Jhudiel Claire Sosa

Directed by Meann Espinosa

Like the first two plays in this set, there were serious issues being tackled here behind the laughs -- about the wide difference between how female sexuality was regarded by the Gen X and Gen Z women.  Kitsi Pagaspas was also a master in comic delivery as the shell-shocked Mommy Luz getting to know the new Regina.  While a central mother-daughter bonding scene set to psychedelic imagery and heady music was trippy good, I was not really sure what they were actually doing. 

8. Si Hesus Na'a sa US

Written by Neil Azcuna

Directed by Phil Noble

For practically the entire play, Luna and Marlon were only talking in the makeshift "taxi," as the video projections behind them simulated the motion of the ride. It really depended on the skills of the two actors to make the lines pop into vivid life. Ceasico flawlessly went through the gamut of emotions, while Calilong solidly played her straight man. Luna was from Bohol, so the tone of the script was prominently Bisaya. The accents sounded realistic even if the actors were not Bisaya.

9. The Divine Family 

Written by Dip Mariposque

Directed by Roobak Valle

Via Antonio was clearly the star of this show as her undeniable talent for comic delivery was in full display here. However, I was not comfortable with the religious irreverence of her jokes, as her every line broke the third commandment. The pandemic setting of this play immediately made it and its jokes feel dated for me. I suspect it would have worked better if the story had been taken out of the Covid situation, which it could have. 

10. Love on the Brain 

Written by Rick Patriarca

Directed by John Mark Yap

Compared to the profane "Hapagkainan" (2016), the insightful "Birdcage" (2017) and the outrageous "Wanted Male Boarders" (2019) -- the topic of HIV/AIDS tackled by Patriarca in this play was rather too familiar already. However, the patient count of HIV/AIDS continues to grow, so public education about it is still important. The complicating issue of how HIV will impact one's popularity and clout as an influencer will resonate with the Gen Z LGBT crowd.

11. Lipistik at Pulbura 

Written by Ara Jenika Vinzon

Directed by Charles Yee

"Remember Erlinda" was apparently a battle cry for Filipinos fighting in the Battle of Bataan during World War 2. Honestly, this was the first time I have heard of this historical fact. Good thing, the play reminded us of Erlinda's tragic story before the story proper. It was admittedly confusing when you hear Odeng called her friend Erlinda, but you eventually understand that this play was trying to give Erlinda a more heroic story than what really happened. 

12. Vengeance of the Gods 

Written by Hans Pieter Arao

Directed by Hazel Gutierrez-Marges

The topic may have sounded interesting on paper, but the execution was very dry. The set is only a bare stage with a line projected on the floor and back wall, like the central line of a street. The two men were engaged in a rather rambling conversation, with several words unintelligible for me. One thing which was evident from the first scene to the end was the lawyer's sweating in the heat. I sure it meant something, but I can't guess it.  

Rep: Review of I LOVE YOU, YOU'RE PERFECT, NOW CHANGE: Reflecting on Relationships

June 29, 2024

As it ran for 12 years from August 1996 to July 2008, "I Love You, You're Perfect, Now Change" (or ILYYPNC) is the second-longest running Off-Broadway musical, albeit a far second from the 55 years of "The Fantastiks." It is a musical comedy with book and lyrics by Joe DiPietro, and music by Jimmy Roberts. It tells various stories about human relationships as a series of unrelated vignettes instead of one continuous story.  

Repertory Philippines had already staged ILYYPNC before, as their second show of their 69th season back in 2006. 18 years later in 2024, Rep brings it back as their second show of their 84th season.  The creative team behind this brand new staging is led by Menchu Lauchengco-Yulo, donning the director's hat for the first time since "Jekyll and Hyde" 12 years ago. Running for 2 hours (with a 10 minute intermission), ILYYPNC features a cast of four triple threat actors to portray the multiple characters in 20 skits, spread out in two acts. 

Gian Magdangal's powerful tenor and leading man looks had landed him lead roles in musicals. His past characters had always been very serious and intense, so seeing him being funny and playful in this show (playing roles ranging from a flighty gay dad, a husband waiting for his wife shopping, to a murderous inspirational speaker) is quite a surprise. His best bits here were the sensitive guy in "Tear Jerk," the disappointed dad in "And Now the Parents," and the elderly lothario in "Funerals are for Dating." 

The first time I saw Marvin Ong onstage was way back 2009 when he was still very young, as Toby in Rep's "Sweeney Todd" and Juan Tamad in PETA's "Si Juan Tamad, Ang Diyablo at and Limang Milyong Boto." He is already quite mature-looking now, but his singing voice was still very strong. His characters were usually shy and cute, the nerdy guy in "A Stud and a Babe" or the hesitant suitor in "The Lasagna Incident." His best number was his showcase solo song in Act 2, "Shouldn't I Be Less in Love with You."

Krystal Kane had been acting on stage since she was 10 years old, but this is only the first time I am seeing her perform. From the impatient date in "Not Tonight, I'm Busy, Busy, Busy" to the tired but frisky wife in "Sex and the Married Couple," Kane is energetic and perky throughout. However, her absolute most memorable number was the song that opens Act 2 --"Always the Bridesmaid." She was a riot as she sarcastically sang about all those ugly bridesmaid gowns of various fabrics she had been made to wear through the years.  

The fourth member of the cast should have been Gabby Padilla. However, she was sick today, so her place was taken over by the swing, Barbara Jance. I must say, Ms. Jance had the roles of Woman 1 (from the bossy mom in "The Family That Drives Together" to the exasperated wife in "Waiting"), as well as her solo song number "I Will Be Loved Tonight", down pat. Her most stellar moment was definitely "The Very First Dating Video of Rose Ritz," where she bared the heart and soul of a lonely divorcee desperate to meet a good man.

Even if the material is almost 30 years old, most of it still worked in the current context, as these male-female relationship tropes are timeless. A raunchy song like "A Picture Of His..." may be uncomfortable for the conservative types, but hilarious for most. There was a gender switch in "The Baby Song" to make the parents both male, and the guest female. The "Satisfaction Guaranteed" skit may not fly for everyone.  Based on the loud and hearty laughter of the audience, the show was a rousing success in entertainment value. 

*********

I LOVE YOU, YOU'RE PERFECT, NOW CHANGE runs from June 15 - July 6, 2024 at the Carlos P. Romulo Auditorium, RCBC Plaza Makati City. Buy your tickets from TICKETWORLD (LINK), TICKET2ME (LINK) or at the gate. 

Review of VIRGIN LABFEST 19 SET E REVISITED ("SAGAD"): Coercion, Corruption, Convolution

June 27, 2024

1. DOMINADOR GONZALES: NATIONAL ARTIST

Playwright: Dingdong Novenario

Director: George A. de Jesus III 

Playwright and theater director Dominador Gonzales (Joel Saracho) had been named as one of the candidates for National Artists. Oliver Torres III (Bong Cabrera) went to Gonzales's place to congratulate his former mentor and lover, whom he called Dmon. Oliver once wrote plays, but was now focused on a career in the corporate world. He asked Dmon to collaborate with him to stage an old play they had collaborated on before. Dmon was not interested.

Watching this live was so much more entertaining than its staged reading form I saw back in VLF 2020 via online video. Like before, Novenario still dropped a lot of updated pop culture and current events references, from the critic who gave negative infinity ratings to the girl who opened her laptop during a play. Saracho and Cabrera slayed the insidiously explosive script, delivering every line dripping with sarcasm, with AJ Sison completing the trio as Dmon's ward Edward.   

2. ROOM 209

Playwright: Zheg Arban 

Director: Delphine Buencamino 

Since he was a child, Cadet 4th class Anghelo Perez (Jao Catarus) was prepared by his late father and his older brother (Gino Ramirez) to enter the Philippine Military Academy. Their father wanted both his sons to follow in his footsteps to be PMA-bred military officers like him. Unfortunately, Perez became the target of bullying by his upperclassmen. Anghelo tried his best to withstand the abuse, until he could not. 

The dynamic directing decision of Buencamino to bring Arban's powerful script to life with energetic choreography created such a galvanizing effect on the audience. The ensemble of new young actors performed solidly -- especially Earvin Estioco and James Lanante as the bullies, Aksel Panlilio as the roommate, and Catarus in the vulnerable central role. Even if this was the second time I've seen this play, its sensitive and respectful ending still packed quite a punch.     

3. ANG AWIT NG DALAGANG MARMOL 

Playwright: Andrew Estacio 

Director: Nazer Salcedo

For its inaugural presentation, the Inang Bayan Theater Company was presenting a play about "Jocelynang Baliwag," known to be the "Kundiman ng Himagsikan." About two weeks prior to opening day, the playwright/director (Adrienne Vergara) brought in the dramaturge (Kath Castillo) who was seeing the play for the first time. Much to the director's dismay, the dramaturge's suggestions were transforming her play into something totally different.  

For theater fans who have long-wondered what the role of a dramaturge was to a theater production, Kath Castillo educates us, and then some. Soprano Rachella Jasmin Balunes, baritone Enso Lapresca, pianist Dane Hinol, plus "senior" actor Andrew Cruz gave their all to deliver the comedy, but the radiant Adrienne Vergara was effortlessly ebullience personified. The beautiful kundiman singing of Ms. Mia Bolanos brought this play to a specially fitting conclusion. 

  

Review of VIRGIN LABFEST 19 SET C ("PU-TIM"): Resuscitation, Reinterpretation, Recreation

June 20, 2024

1. PAGKAPIT SA HANGIN 

Playwright: Joshua Lim So

Director: José Estrella 

At the height of the Covid pandemic, the medical staff of the island hospital -- two nurses (Elora Espano and Wena Nagales) and one doctor (Timothy Mabalot) -- had already been on duty for more than 24 hours attending to an endless stream of patients. To make things worse, they were running out of oxygen supply for their tanks. Pushed to the wall to prioritize the remaining supply, the doctor made a tough decision that only the three of them knew.

This is the most serious play of the 10 shows I had watched.  The topic of the play had no room for any humor at all, and So wisely steered clear of that, going against the popular trend at VLF. Urgent, gritty and realistic, the actors made the audience relive the stress and tears of the pandemic, not only for health professionals, but also those who watched their loved ones expire from lack of oxygen, as represented by the Watcher (Gold Villar-Lim).  

2. LIPISTIK AT PULBURA

Playwright: Ara Jenika Vinzon

Director: Charles Yee

It was 1943 in Abucay, Bataan. Odeng (Pau Benitez) was a journalist who wrote news about the war. Her best friend, guerilla rebel Erlinda (Chase Salazar) passed by Odeng's office so she can have her hair curled and her face made up. Their lunchtime conversation turned serious when Erlinda told Odeng that her writing is being censored so that it would feel like pro-Japanese propaganda, something that Odeng vehemently disagreed with. 

"Remember Erlinda" was apparently a battle cry for Filipinos fighting in the Battle of Bataan during World War 2. Honestly, this was the first time I have heard of this historical fact. Good thing, the play reminded us of Erlinda's tragic story before the story proper. It was admittedly confusing when you hear Odeng called her friend Erlinda, but you eventually understand that this play was trying to give Erlinda a more heroic story than what really happened. 

3. THE FOXTROT

Playwright: Chesie Galvez-Cariño

Director: Paul Morales

Anna (Liesl Batucan) was a society matron who loved ballroom dancing as her outlet to escape the drudgery of her daily life with husband Mark. Her favorite dance instructor had been Diego (JC Santos), who was currently training Anna the foxtrot for an upcoming competition. However, Diego informed Anna that he was endorsing her to his fellow DI Gino because he was going to the States to get married.

Santos and Batucan were already limbering up onstage even when the play had not yet begun. Director Paul Morales took advantage his dance background to make the dancing scenes spectacular to witness. Santos was lithe and limber as Diego, as he projected sex appeal with over-the-top dance moves.  The heart of this show was definitely Batucan, so effortlessly lovable and delightful, it was impossible not to side with her. 

This was my favorite of Set C.

Review of VIRGIN LABFEST 19 SET D ("DI-TIYAK"): Taxicab, Toxicity, Teenagers

June 15, 2024

1. SI HESUS NA'A SA USA

Playwright: Neil Azcuna

Director: Phil Noble

Luna (Sheryll Ceasico) was going to the airport to meet her American boyfriend Greg who had promised to bring her back to Illinois, USA. Her ex-husband Marlon (Roi Calilong) rented a taxi to drive her there. Along the way, cheery pleasantries eventually led to bitter arguments as old wounds were reopened. Through all this, Luna thought about her mother Corazon (Kiki Baento) who left her behind when she went to the US. 

For practically the entire play, Luna and Marlon were only talking in the makeshift "taxi," as the video projections behind them simulated the motion of the ride. It really depended on the skills of the two actors to make the lines pop into vivid life. Ceasico flawlessly went through the gamut of emotions, while Calilong solidly played her straight man. Luna was from Bohol, so the accent was prominently Bisaya, realistic even if the actors were not Bisaya.

2. ANG MUNTING LIWANAG SA MADILIM NA SULOK SA ISANG SERBESERYA SA MAYNILA

Playwright: Dustin Celestino

Director: Toni Go-Yadao

One night, Gary (Joshymae) invited his fellow psychology professor Joseph (Dyas Adarlo) to join him to go drinking to release some stress. Joseph was still depressed over his recent breakup with his girlfriend. Gary frequented the nightclub of Mama Tess (Heart Puyong) to visit his favorite GRO Bea (Jorrybelle), whom he felt was truly in love with him. However, their night was marred when they saw their delinquent student Lazaro (Bon Lentejas) also there.

The highlight of a Dustin Celestino play is the way he wrote dialogue, heard in the thought-provoking conversations in plays like "Doggy" (VLF 16) and "Fermata" (VLF 17), and his film "Ang Duyan ng Magiting" (Cinemalaya 2023). Here, we are engrossed as we listen in to the thoughts of both men and GROs as they psychoanalyzed each other. Joshymae impressively played against type as a toxic male with a savior complex, with Adarlo, Lentejas, Jorrybelle and Puyong also delivering strongly.

This is my favorite play of Set D.

3. SA BABAENG LAHAT

Playwright: Elise Santos

Director: Caisa Borromeo

It was 2005 in an all-girls high school. Marie (Jam Binay) seriously thought that she was pregnant with the new savior via immaculate conception. Meanwhile, her best friend Regina (Cheska de la Cruz) volunteered to join an audition to pick the school representative to the Bible Week singing contest. Her guitarist was Gab, a boyish lesbian classmate who had a crush on Regina. However, Regina did not reciprocate the affection. 

This play felt like a synthesis of various memories of graduates of an all-girl high school. In the grand scheme of things, I don't seem to see how the Immaculate Conception story was connected to the teen lesbian romance story, so i felt it was more for shock value than anything else.  In any case, the three young ladies were committed and consistent with their characters, so they were quite entertaining to watch, even if some jokes tended to be too irreverent for me. 

 

Review of VIRGIN LABFEST 19 SET B ("BINGIT"): Deaths, Dibs, Dildos

June 13, 2024

1. SENTENARYO 

Playwright: Herlyn Alegre

Director: Ian Segarra 

It was the 100th birthday of Mang Dencio (Ekis Gimenez). He had a much-younger wife Tonette (Gold Soon), 35 years his junior. Also visiting were his problematic middle child, Carmer (Madeleine Nicolas), and his favorite eldest grandchild Joel (Reggie Ondevilla). Together they bicker among themselves while waiting for the arrival of Kapitan (Gie Onida), Social Worker (Chunchi Cabasaan) and media folk (Maron Mabana, Donn Boco) who will bring the check for P100,000 due centenarians as per the law  

Herlyn Alegre is a known quality brand in VLF, with memorable works like "Imbisibol" (2013) and "Fangirl" (2019). Here, she mined comedy out of greedy family dysfunction and self-serving solicitousness of local politicians in the light of the cash gift for centenarians, and pulled it off despite some lapses in logic.  The physical comedy aspects were the funniest for me, with the convincingly aged-up Gimenez as Dencio literally getting carried around the stage.

This is my favorite play of Set B.

2. THE DIVINE FAMILY

Playwright: Dip Mariposque

Director :Roobak Valle

The grandmother of the Divina siblings had passed away, so the three of them were spending the pandemic lockdown in the house she left behind. Gay elder brother Renzo (Alden Co) had been the one who took care of her and had dibs on the bedroom, so younger brother Caloy (AJ Castro) and ex-nun sister Emily (Via Antonio) had to stay in the living room. Suddenly, their 53 year-old mother Tess (Meliza Reyes) showed up with her own big surprise. 

Via Antonio was clearly the star of this show as her undeniable talent for comic delivery was in full display here. However, I was not comfortable with the religious irreverence of her jokes, as her every line broke the third commandment. The pandemic setting of this play immediately made it and its jokes feel dated for me. I suspect it would have worked better if the story had been taken out of the Covid situation, which it could have. 

3. IDENTITÉ

Playwright: Jhudiel Clare Sosa

Director: Meann Espinosa

Regina (Ash Nicanor) was a girl from the province who was allowed by her supportive single mother Luz (Kitsi Pagaspas) to study in the city.  One day, Mom visited to stay over at Regina's apartment over the weekend. Mom was scandalized to see a dildo among Regina's things. In the argument that ensued, they dropped a big box they were fighting over. When the contents scattered on the floor, Mom was shocked several times more.    

Like the first two plays in this set, there were serious issues being tackled here behind the laughs -- about the wide difference between how female sexuality was regarded by the Gen X and Gen Z women.  Kitsi Pagaspas was also a master in comic delivery as the shell-shocked Mommy Luz getting to know the new Regina.  While a central mother-daughter bonding scene set to psychedelic imagery and heady music was trippy good, I was not really sure what they were actually doing. 

Review of VIRGIN LABFEST 19 SET A ("DILEMA"): Health, Hope, HIV

June 13, 2024

1. VENGEANCE OF THE GODS

Playwright: Hans Pieter Arao

Director: Hazel Gutierrez-Marges

A video about an incident of "demonic possession" of a child becomes viral online. Lawyer Ifan (Jel Tarun) sought out the child's father Manong Odie (Jonathan Tadioan) to tell him about the real reason for the supposed "possession." He needed Odie's cooperation to file a case against the Mayor for allowing the continued operations of a big company responsible for his son's condition. However, Odie owed his livelihood to that same company. 

The topic may have sounded interesting on paper, but the execution was very dry. The set is only a bare stage with a line projected on the floor and back wall, like the central line of a street. The two men were engaged in a rather rambling conversation, with several words unintelligible for me. One thing which was evident from the first scene to the end was the lawyer's sweating in the heat. I sure it meant something, but I can't guess it.  

2. NINGAS

Playwright: Lino Balmes

Director: BJ Borja

It was a lazy rainy night at the fire station. 28 year-old fireman Austin (Ross Pesigan) was on duty.  Suddenly, a woman (Ge Malacaman) ran into the office from the rain for what seemed to be an emergency. When Austin asked her what she needed, she asked him to give her a name. She mysteriously told him that she was his future child who was yet to exist, and she will come to pass only when he gives her a name.  

The premise of this play was so innovative, I had never heard anything like it before. True, it asked me to suspend a lot of disbelief, but I was entranced by the eloquence of Balmes' script. With the way Malacaman delivered the woman's arguments why she wanted to be born, I would have been convinced. Pesigan has always been a charming and reliable actor, and that is why we totally understand Austin's decision, whether we agree or not.

This is my favorite play of Set A. 

3. LOVE ON THE BRAIN

Playwright: Rick Patriarca

Director: John Mark Yap

Ryan  (Shaun Ocrisma) got infected with HIV from his ex-boyfriend Jake (Esteban Fulay, Jr.). They broke up but they still kept in touch, supporting each other through their condition. One day, Jake unexpectedly met a handsome internet influencer Mike (Rap Robes). Jake did not dare reveal his health status nor consent to have penetrative sex with Mike. After one month of such frustration, Mike had enough of Jake's lame reasons. 

I had seen three VLF plays by Patriarca before -- the hilariously profane "Hapagkainan" (2016), the insightful "Birdcage" (2017) and the outrageous "Wanted Male Boarders" (2019). Compared to the others, the topic of HIV/AIDS tackled in "Love on the Brain" was rather too familiar already. But of course, the patient count continues to grow, education about it is still important. The complicating issue of how HIV will impact one's popularity and clout as an influencer will resonate with the Gen Z LGBT set.