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.

DUP: Review of ANG KALIITAN NG KASALUKUYAN: The Onus of an OFW

March 29, 2026

Bulan (Sandino Martin) has been working in Dubai for twenty years as a writer and director of government propaganda films. Bulan is already tired of doing this, and longed to return back to the Philippines to finally get to write about things that mean something to him. However, when he broached the topic, his parents (Fermin Villegas, Sheryll Ceasico) would guilt trip him, even though he had already given them a house and a business.

The first act was about Bulan's latest trip back to the country when his parents brought him to their hometown in Nueva Vizcaya to visit relatives he had not seen in years. The highlight of this part was when an uncle brought Bulan to see the grave of his beloved Lola Saling (Marichu Belarmino). This brought him back to a childhood memory of a time he had spent together with her as she was preparing as Hermana Mayor of the Flores de Mayo. 

Sandino Martin as Bulan

The second act was about Bulan when he returned to back to Dubai, with his heart totally not into his work anymore. He went to visit his elder sister (Tess Jamias) who had also been working in Qatar a soft drink company for almost as long as he had already. When he told her his dilemma, she also revealed her own plans. Their conversation was blunt, direct and as honest as close siblings would discuss their problems. Full disclosures always hit hard.

The acting of lead actor Sandino Martin was all-out here, and his gruff voice and intense eye contact spoke of his passion. I have heard him sing in shows like "Manhid" (2015), "Changing Partners" (2016) and "Himala" (2018), so I was not surprised at his range, but the way he was able to pull through his songs here with a hoarse voice was quite impressive, especially Noel Cabangon's "Hanggang Mamatay" at the emotional climax. 

Puppet Batang Bulan 

and his puppeteer Kerr Allen

The rest of the ensemble includes Jojo Cayabyab, Hazel Maranan, Domileo Espejo, and Mitzie Lao, along with current artist-scholars Kerr Allen, Angel Manansala, Raymond Aguilar, Julianne Quimio, Ralph Onrubia, Janae Delos Santos, and Cy Guerrero

Director Arlo Deguzman executed his play as a multi-media presentation. The stage was an all-white J-shaped structure, like a giant slide. The vertical part was used to project graphics and videos to define locations. Using puppetry was a stroke of genius, either the child Bulan in the Lola Saling scene, or the Arab boss in the Dubai video shoot scene.  The exact meaning may not be so clear, but that literal deluge at the end was definitely a memorable finale. 

The Whole Cast at the Curtain Call

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Dulaang UP's ANG KALIITAN NG KASALUKUYAN ran from March 12 to 29, 2026 at the IBG-KAL Theater in UP Diliman. 

REP: Review of UNPLUGGED: SOLE SURVIVOR: Narcissistic Neighbor

March 28, 2026

Nina (Gabby Padilla) and Anton (Markki Stroem) are fraternal twins raised in Poblacion, Makati, children of a British father and a Filipina mother (Ring Antonio). When they grew up, they were able to migrate to live and work in New York City. One day, one very expensive designer shoe fell from above onto Nina's terrace. When the shoe's owner Katie (Becca Coates) came to inquire, Nina outright denied that she had it. 

This play is the first play written by Fil-British writer and psychologist Patricia Manuel Go, who wrote "Sole Survivor" as a short story first in 2021 before developing it into a play in 2024. It was pure serendipity that her maiden play landed on the lap of Cara Barredo, who had been originally pegged to be one of the directors in Rep's experimental Unplugged series of staged readings this year, alongside the 100-year old "Private Lives" by Noel Coward. 

Gabby Padilla and Markki Stroem

I knew Gabby Padilla first as an intense internal film actress, like her quiet, restrained performance in "Gitling." On stage, this is the first play that I am seeing her play the lead. She really played obsessively narcissistic Nina with all-out delusional wickedness with that posh British twang, as she held on to that precious left shoe with gloating glee as Gollum did to the Ring. When Nina instinctively reverted to Tagalog in shock, the play hit a peak.

Markki Stroem's character Anton is one of those too-good-to-be-true type of guys. It was from his sharing with his colleague at the charity that we learn their tough family history. I felt this scene was practically a lengthy expository monologue. Being somewhat static, it suspends the satirical momentum of the play at that point. Also I wish the mom had another past occupation than the one mentioned, so as not to perpetuate negative Filipino stereotypes. 

Katie is wealthy by birth and position, so designer stuff for her were all par for the course. Becca Coates played Katie kooky, careless, with an endearing gullibility. The other actors went through a number of different funny accents to play various minor characters. Ring Antonio was a Filipino mother and a Guatemalan maid. Naths Everett was a Cockney tita and a Queens tita. Chesko Rodriguez was an AI app voice and NYC photographer.

Director Cara Barredo, Gabby Padilla, Chesko Rodriguez, playwright Patricia Go, and Markki Stroem. 

This particular staged reading was the very first time this brand new play is being performed in public, so it really felt like a true experiment, as Rep Unplugged was envisioned to be. I am pretty sure this is is not the final version of the play yet. After this maiden show and Q&A, Go, along with her director and actors, will surely make appropriate edits to make the show tighter, or develop certain parts more for a smoother flow of the storytelling. 

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REP UNPLUGGED: SOLE SURVIVOR will have one more staging tonight at 7 pm at the Rep Theater in Eastwood Citywalk. The show is in mainly English, with occasional Filipino expressions. It lasts for 45 minutes, with no intermission. Tickets at P1500 each. 

Review of TALES OF THE MANUVU (2026): Deities in Dance

March 27, 2026

"Tales of the Manuvu" is a classic Filipino ballet conceptualized, choreographed and directed by Alice Reyes, now National Artist for Dance since 2014. The libretto was written by Bienvenido Lumbera, now National Artist for Literature since 2006. The stories told were based on origin myths of the Manuvu (or Manobo) tribe, an indigenous subgroup of the Bagobo people in Mindanao, as recounted by Dean of Filipino Anthropology E. Arsenio Manuel published in Philippine Heritage back in 1974. 

The pop/rock musical score was composed by Dero (formerly "Nonong") Pedero, with additional music by rock band Afterbirth. It was first staged on February 25, 1977 at the Cultural Center of the Philippines. God of good Manama was sung by Boy Camara and danced by Gener Caringal. God of evil Ogassi was sung by Anthony Castelo and danced by Tony Fabella. First Man was sung by Hajji Alejandro and danced by Rey Dizon. First Woman was sung by Celeste Legaspi (Leah Navarro as alternate) and danced by Gina Mariano. 

Manama vs. Ogassi

The show told the story of the relationship between Manama, and Ogassi. The first part told of the "The Beginning of All Things," how Manama secured the fertile soil from Ogassi, setting off their rivalry. The second part told of "The First Man and the First Woman," both created pure by Manama, later corrupted by Ogassi. The third part told about "Trouble on Earth" when Manama raised his sky higher when human activities annoyed him, so Ogassi was able to wreak his havoc with a giant monster.

In this present 2026 incarnation, Manama was sung by Joshua Cadelina (alternate Ado Villanueva) and danced by Renzen Arboleda (alternate John Ababon). Ogassi was sung by Almond Bolante (alternate Greg de Leon) and danced by Earl John Arisola (alternate Erl Sorilla). First Man was sung by Ado Villanueva (alternate Joshua Cadelina) and danced by James Galarpe (alternate Renzen Arboleda). First Woman was sung by Christy Lagapa (alternate Toni Carm Santos) and danced by Krislynne Buri. 

First Man and First Woman entangled with the Uod

The 2026 set and costume designs were by Loy Arcenas, with lighting designed by Barbara Tan-Tiongco and sound engineering by Aji Manalo. The backing vocals were sung by the UP Concert Chorus, under the direction of Jai Sabas-Aracama. The dancers were from the Alice Reyes Dance Philippines and the University of the East Silangan Dance Troupe. The Lead Diwata was danced by Monica Gana, Francia Alejandro and Cielo Inday. The Lead Uod (in Part II) was danced by Dan Dayo.  The cute Bubuyog (in Part I) were Samantha Clare Hizon, Lua Jung and Stella Lu. 

Because of its classic status, I have heard about "Manuvu" long before, so I was so looking forward to finally be able to watch it now. The energetic choreography was exciting and exhilarating. The solos and pas de deux by the main leads were powerful for sure. However for me, it was those complicated group numbers by the ensemble that I found most captivating, with multiple dancers interacting with each other all across the full breadth of the stage with their various characters. They had this distinctive signature port de bras of moving flexed arms up and down which was so delightful to see. 

The Cast at the Curtain Call

It felt gratifying to hear that iconic song "Noong Unang Panahon" in its original context. , the soloists may not have the marquee names of the 70s original show,  but their singing was certainly outstanding, everyone was of stellar quality. This show I watched was a press preview, probably a technical dress run-through,  so there were some microphone glitches that made the lyrics of some narrative songs not too clear. The countertenor vocal range of Almond Bolante was impressive, but his mic in particular had too much reverb which muffled the words he was singing. The UP Concert Chorus also had a major moment to shine in that scene when their united voices drummed resonantly to create a thunderous atmosphere of fear.

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TALES OF THE MANUVU has a limited run at the Proscenium at Rockwell for only 3 shows: March 28 at 7:30 PM (Gala), March 29 at 2:00 PM (Matinee) and 6:00 PM (Finale). Tickets available on Ticketworld via this LINK. 

REP: Review of UNPLUGGED: PRIVATE LIVES: Flippant Flustered Folks

March 20, 2026

Ellie (Alfredo Reyes) and his young bride Sibyl (Karylle Tatlonghari) were on their honeymoon in a hotel outside Paris. Sibyl bugged Elyot by asking about his ex-wife Amanda whom he divorced five years ago. Meanwhile, in the adjoining suite, Mandy (Missy Maramara) and her new husband Victor (Hans Eckstein) were also on their honeymoon. Victor also bugged Amanda by asking about her ex-husband Elyot whom she divorced five years ago. 

"Private Lives" was first staged in 1930, but playwright Noel Coward wrote it in 1926, making this play already 100 years old this year. The first time this was staged in the Philippines was back in 1981 by Repertory Philippines on their 22nd Season. This year, Jeremy Domingo, the current artistic director of Repertory Philippines, thought of beginning their 89th Season with a staged reading of "Private Lives" in a new theatrical concept he called "Rep Unplugged."

This play is a century old as pointed out, so the manner of its comedy of manners can certainly feel dated. It was very much of its time -- so things can get uncomfortable even for a Gen X guy like me. Current red-flag topics like toxic masculinity, abusive relationships and casual misogyny were all over this script in the guise of "comedy." If not for its reputation as a classic, a play with a racy script like this may likely not get greenlit for staging anymore. 

Alfredo Reyes and Missy Maramara

That said, most of the play was indeed funny and quite entertaining. The cast went to town with it, albeit still holding their scripts in hand and delivered their lines by reading through it. 

The absolute MVP of the play for me was none other than Missy Maramara, who totally embraced all the quirky flaws of her Amanda. She had such a deliciously wicked delivery of Amanda's acerbic lines with timing so perfect, it was impossible for me to not laugh. Honed by her improv experience, Maramara's body language came across as natural and uninhibited. Commitment and consistent, she was truly a riveting and winsome stage presence. 

Alfredo "Bibo" Reyes had it rough because his Elyot was a most problematic fellow. While Elyot might have been considered "cool" in the 1930s (Noel Coward himself originated the role), he would be quite the creep nowadays. While he can sweetly play their theme song on a piano, he also had a violent temper can unleash a sharp slap. You can feel that Reyes was trying to soften the negativity of his character, but it was a tough balancing act. 

Karylle Tatlonghari and Hans Eckstein

The other two actors playing the new spouses actually embodied more of the 1930s-era acting style. Karylle did very well playing blond, kittenish socialite Sibyl with innocence and idealism, to the point of being clueless, but she had spunk, and would not go down without a fight.  Hans Eckstein clearly had fun playing Victor with classic gentlemanly attitude, with a nerdy sort of energy wound up in a nervous witty package. 

Repertory Philippines had staged several screwball American or British theater comedies like this over the years, and they are an integral part of the Rep signature. This time, departing from the Rep tradition of lavish productions, Director Domingo chose to present "Private Lives" as "unplugged" first, stripped down to essentials, immersive and intimate (with even seats for audiences up on the stage), with post-show talkbacks. It would be interesting to see how this experimental production style plays out in their next seasons. 

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"Rep Unplugged: Private Lives" runs only for two 7 pm shows on two days this weekend, March 21 and 22, 2026, at the Rep Theater in Eastwood Citywalk 2, Quezon City. 

Next weekend March 28-29, "Rep Unplugged" features another play, a new contemporary one this time -- "Sole Survivor" by Filipino-British playwright Patricia Manuel Go. This dark satire about consuming human ambition stars Giannina Ocampo Van Hoven and Markki Stroem, with direction by Cara Barredo. 

Tickets at P3000 - Double Feature (two readings), P1500 - Standalone (one reading only), and P500 - EXCLUSIVE STUDENT PRICE (one reading only), just present Student ID.

TGA: Review of A CHORUS LINE: Dynamism and Devotion in Dance

March 15, 2026

Veteran stage director-choreographer Zach (Conrad Ricamora) was holding auditions with his assistant Larry (Richardson Yadao) for the chorus of his upcoming Broadway production. Upon cutting down the initial group from 24 to 17, Zach asked the young people who remained to tell something more about themselves. The kids shared their own reasons about why they wanted to dance, among other personal discoveries and frustrations.

"A Chorus Line" is a 1975 musical conceived by Michael Bennett with music by Marvin Hamlisch, lyrics by Edward Kleban, and a book by James Kirkwood Jr. and Nicholas Dante. It won nine Tony Awards including Best Musical. With 6,137 performances logged, it remains to be one of the longest-running original run of a Broadway show ever.  

This 2026 Manila production joins in the 50th anniversary celebration of this beloved musical. It remarkably features an all-Filipino/Fil-Am cast, under the direction of Emmy Award-winning Broadway-based dancer-choreographer Karla Puno Garcia. 

The stage of the Samsung Performing Arts Theater followed its classic stage design -- a bare stage with straight line in the middle that traversed the stage from left to right, on which the dancers would position themselves. There would also be a wall of mirrors at the back to simulate a dance studio, plus eight more movable, lit up mirrored panels being wheeled around, as well as mirrors on suspended panels above the stage. 

The ensemble of dancers were mesmerizing to watch while in motion from that very first 10 minute number "I Hope I Get It" with its iconic grinding riff. As every character was desperate for a job, every one was just giving their all, dancing like there was no tomorrow. Since they were just being taught the steps at that point, each one had their own pace of learning, but despite this, they still flowed so smoothly as a group, and was exhilarating to watch. 

While everyone danced excellently, we can see some clear standouts. Angelo Soriano (as dance prodigy Mike Costa) did a spectacular high jump kick, plus plenty more slick moves during his "I Can Do That" number. Julio Laforteza (as family man Don Kerr) had heft and height drew attention to his grace. Petite Jessica Carmona (as 4'10" Connie Wong) impressively kept in step with her longer-limbed fellow dancers. Virgin Labfest playwright Mikaela Regis (as Sheila Bryant) surprised with her strong, sassy and sultry stage presence. 

In the singing department, it was Iya Villanueva (as Maggie Winslow) who stood out for me with crystal clear, soaring and sustained soprano, especially in the "At the Ballet" trio number.  Christina Glur (as Diana Morales) shone in her two solos -- "Nothing," about her disastrous high school acting class, and the inspirational anthem "What I Did for Love," still the most potent argument against the cynical Timothee Chalamets of the world. 

As this musical was written 50 years ago, it was inevitable that some topics in the confessions of those twenty-somethings back then may already sound outmoded for the youth of today. With Google as their ever-available reference material now, embarrassing questions like wet dreams and gonorrhea for Mark Anthony (Ken San Jose), or erections and homosexuality for Gregory Gardner (Luca Olbes), are not really such a big deal anymore as before.  

The most risqué number of them all would probably be "Dance Ten, Looks Three" where Val Clark (Brie Chappell) poured out her annoyance at being rejected for roles because of how homely she looked. Things only took a positive turn for her when she bought herself brand new bodily enhancements. The way she so frankly called them "t*** and a**"  sounds so archaic these days, but her song was still good for laughs, even for the titas beside me. 

In Act 1, Zach was mostly just barking instructions on or off stage. But Ricamora gets more stage time as Zach interacted with two dancers whom he cared about. When Zach repeatedly called lissome Cassie (Lissa de Guzman) out, she unburdened her passion for dance in one physically and emotionally demanding solo "The Music and the Mirror." The other sad character was Paul San Marco (Universe Ramos), a shy kid who lost touch with his parents when he found his calling for dance. He perseveres despite his conditions not being ideal. 

Also in featured roles were: Rapah Manalo (as enthusiastic Ritchie Walters), Stephen Vinas (as gregarious Bobby Mills), , Sam Libao and Jordan Andrews (as tone deaf Kristine and her supportive husband Al Deluca), Alyanna Wijangco (as forgetful Judy Turner), and Michaela Marfori (as Nureyev fan Bebe Benzenheimer). The rest of the ensemble include Lord Kristofer Logmao, Jim Ferrer, Winchester Lopez, Rofe Villarino, Bomba Ding (Vince Denzel Sarra), Paulina Luzuriaga, Anna del Prado, and Swings, Anyah de Guzman and Franco Ramos. 

In the end, it did not really matter who were the final eight chosen. The point of this musical is to make us see how important the art of dance is to the people who make a living with it -- as uncertain its future in terms of job prospects and financial security as it is. The chorus line may just be the backup behind the stars, but these people love their job and take it very seriously. They aim to entertain the audience with their every show, and we feel the very essence of that in the golden, hat-tipping, high-kicking finale number "One" -- truly a "singular sensation!"

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Theatre Group Asia's production of A CHORUS LINE runs from March 12 to 29, 2026 at the Samsung Performing Arts Center. Tickets available at TicketWorld (LINK): P5,500 (Orchestra Center), P4,500 (Orchestra Left or Right, Loge Center Front), P3,700 (Orchestra Left or Right Back, Loge Center Back), P3,000 (Loge Left or Right, Balcony 1 Center Back), P2,500 (Balcony 1 Center Back, Left or Right), P1800 (Balcony 2 Center). 

Barefoot: Review of ANTHROPOLOGY: Computerized Catharsis

March 13, 2026

Barefoot Theater Collaborative's offering for Women's Month this year is a play written by a female playwright Lauren Gunderson, directed by a female director Caisa Borromeo, and starring an all-female cast of four. Gunderson described "anthropology" as "a feminist sci-fi thriller that asks how we imagine the future and who is allowed to survive it." Borromeo called it "a play about connection - between sisters, ... between logic and emotion." This play is best appreciated going in blind, so SPOILER ALERT before reading further.

Software engineer Merril (Jenny Jamora) was the legal guardian of her younger half-sister Angie (Maronne Cruz) who had mental health issues. One year ago, Angie never came back from school and was eventually given up for dead by the police investigating her case. Merril never moved on from her loss, and decided to "resurrect" Angie by programming an algorithm fed with all the data Angie had on her phone and laptop. 

Seeking closure, Merril asked "AI Angie" to tell her more details about the day Angie disappeared. As required by "AI Angie," Merril needed to reconnect with her ex-girlfriend Raquel (Mikkie Bradshaw-Volante) and their estranged mother Brin (Jackie Lou Blanco) to ask if she could access their devices for more digital information which may help. Then one day, from out of left field,  "AI Angie" came up with a startling theory. 

In the middle of the black box theater was a raised circular stage. There were tracks on its outer rim, so Merril can move her box furniture around. There were four monitors strategically-located around the stage, where we can all see AI "Angie." The most mesmerizing feature of Sarah Facuri's set was this big white disc that moved above the main stage, which created an illusion of technological futurism, as enhanced by D Cortezano's lighting effects. 

The Stage

Jenny Jamora is not new to futuristic plays, as she had once played a detective investigating online crime in "The Nether" (Red Turnip, 2017). Her Merril was hoping her "AI Angie" can somehow help her move on from her sister's death, but her science project actually opened up more wounds -- between her, her sister and people around them.  Always the sensitive actress, Jamora totally surrendered to Merril's pain and passion to see things through.

Maronne Cruz has been a standout performer in all the productions I've seen her in, even in smaller roles, like the prophetic raven from "Horse and a Boy," the worldly maid in "Othello," the sexy stewardess from "Company," the neurotic friend from "Waitress," to last year's "We Aren't Kids Anymore." Her role as Angie has got to be the most impactful role even if most of it was as a AI avatar on a computer monitor, saving her best for the powerful finale. 

MIkkie Bradshaw-Volante's Raquel was left out in the cold when Merril prioritized her sister's death over their relationship. Bradshaw-Volante was able to portray the nuances of a woman caught between still being in love with a former lover and her own testy relationship with said lover's sister. Film actress Jackie Lou Blanco tackles a thankless role of a repentant mother whose drug addiction caused her to abandon her daughters in the past. 

The Cast at the Curtain Call

AI is truly dominating the way we live in this generation. You can ask your phone's AI app any question and it can answer back with full details almost spontaneously, in any language. People have made their AI apps their personal friend who can provide a shoulder to cry on and words of advice or solace. Gunderson provokes thought of AI "replacing" a departed loved one, but also warns us about the risks of losing true human connection because of it.   

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"anthropology" runs from March 13 to 29, 2026 at the Doreen Black Box Theater in Arete in the campus of the Ateneo de Manila University. Tickets at P2500 (Premium) and P2200 (Regular), from Ticket2Me (LINK).  They implement a 𝚂𝚃𝚁𝙸𝙲𝚃𝙻𝚈 𝙽𝙾 𝙻𝙰𝚃𝙴 𝙰𝙳𝙼𝙸𝚂𝚂𝙸𝙾𝙽 rule because of the intimate nature of the play. Latecomers will not be admitted once the show has started.  The play runs for 1 hour and 40 minutes without an intermission. 

Here are the links to my reviews of the two other plays by Lauren Gunderson that I have seen:

SILENT SKY (Repertory Philippines, 2018) (LINK)

THE HALF-LIFE OF MARIE CURIE (MusicArtes, 2024) (LINK)

IdeaFirst: Review of ABOUT US BUT NOT ABOUT US (2026): Moral Manipulation

March 9, 2026

In 2023, the first (and so far, only) Summer Metro Manila Filmfest was held. Best Picture was a film entitled "About Us But Not About Us," which also won Best Director and Best Screenplay for Jun Robles Lana, and Best Actor for Romnick Sarmenta. This was practically a two-hander, with Sarmenta and co-star Elijah Canlas sitting at one table in a cafe talking throughout the length of the film. Many viewers felt as if they were watching a play, and now, three years later, Lana himself adapted his screenplay to become a real play, directed by Tuxqs Rutaquio.  

Ericson (Romnick Sarmenta) was a gay 40-something English Literature professor in UP. He had a 22-year old student Lancelot (Elijah Canlas), who was being physically abused by his stepfather. Concerned for the boy's safety, Eric allowed Lance stay in his condo unit. Eric's partner of 17 years, Marcus (Epy Quizon), disapproved, finding the arrangement very inappropriate. Coincidentally, Marcus was Lance's favorite Filipino author, hailing him as the "Nick Joaquin of his generation." One day, Marcus died from a drug overdose. 

For those who have seen the film, watching Sarmenta and Canlas relive their characters Eric and Lance on the stage was surreal. Watching the film already made us feel very queasy, but actually eavesdropping on their conversation on stage was more intensely discomfiting. Eric was compassionate by nature, and Sarmenta portrayed Eric's helplessness so well, even shedding real tears.  Lance was not as innocent as he looked, and Canlas's subtle transitioning between opposite nuances was impressive.  

In the film, Marcus was just a topic of their conversation, or when there was a "flashback" about him, either Sarmenta or Canlas would "become" him. In this play, Marcus is a fully fleshed out character played by a third actor. The effortlessly realistic way Epy Quizon portrayed this complex literary genius finally made Marcus a three-dimensional tragic figure. HIs death was underlying reason why Eric and Lance met. As Quizon's stage presence was so strong, we certainly felt Marcus's presence even when he was mostly offstage.  

Except for a few minor edits in some scenes, the lines spoken in the play followed those in the film almost to the letter, gripping as ever, maybe more. However, since the pacing of the play was rather slower than that of the film, that may give the audience a little more time to ponder about certain details, from why a jarring confession of an alter Twitter account had to be revealed, to how a completed masterpiece novel like "Teorya ng Mga Tanong" could have been based on people who have not known each other that long at that point. 

Sarmenta, Canlas and Quizon at the curtain call. 

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The IdeaFirst Company 's ABOUT US BUT NOT ABOUT US ran from February 14 to March 8, 2026 at the Power Mac Center Spotlight Blackbox Theater, Ayala Malls Circuit, 2F Circuit Lane, Makati City. Tickets cost P3,920 (VIP), P3,360 (Orchestra Center), and P2,800 (Orchestra Side) via Ticket2Me. 

Alternate cast included Noel Rayos (for Eric), Jao Catarus (for Lance) and Andoy Ranay (for Marcus). Supporting cast included Jack Denzel Gaza and Herbie Go (as the waiter) and Geraldine Villamil (as the chair of the UP English Dept.). Strictly for mature audiences only.    

After the closing show, producer Perci Intal announced that there will be a rerun of ABOUT US BUT NOT ABOUT US on October 9 to 25, 2026. 

TP: Review of MABINING MANDIRIGMA (2026): Scintillating Shaira

March 7, 2026

"Mabining Mandirigma: A Steampunk Musical," with book by Dr. Nicanor Tiongson and music by Joed Balsamo, was first staged in 2015, retelling the life of Apolinario Mabini from his academically-gifted youth in Lipa, Batangas, to his days as the confidante and adviser of Pres. Emilio Aguinaldo in 1898 to his death at age 38 in 1903. This historical story from the turn of the 19th century was told with an eye-catching steampunk production design. It swept the Gawad Buhay awards, winning in 12 categories, including Outstanding Original Musical. 

One of its most distinctive features was the casting of a female actor to portray the male lead character Mabini. This bold casting decision came about because they wanted Mabini's voice to stand out among the male characters he interacted with in several key scenes. Delphine Buencamino originated this role in 2015 in an award-winning turn. In succeeding restagings, Liesl Batucan and Monique Wilson with understudy Hazel Maranan, have also taken on this challenge over the years, and every one of them turned in strong successful performances.

For this latest revival, it was Shaira Opsimar's turn to play Mabini.  She just recently hit a career high in 2024, when she won the Gawad Buhay for Best Female Lead Performance in a Musical for "Walang Aray." Last year, she displayed more of her awesome belting prowess in NWR's "Delia D." and Arete's "Si Faust." Aside from the intense dramatic moments in the book as Mabini dealt with frustrating and maddening situations beyond his control, the songs Mabini had to sing pushed Opsimar to the lowest and highest limits of her extensive range. 

On opening night, Emilio Aguinaldo was played by David Ezra, who had been alternating in this secondary lead role with originator Arman Ferrer from the 2016 restaging to this present one. Classically-trained power tenor Ezra brought dignity to this role who had to balance the idealistically patriotic advice of Mabini with the essential financial support promised by the Illustrados. His highlight  was "Pagbibitiw ni Mabini" where Miong has to belt incredible high notes steeped in emotion, reminiscent of "Gethsemane" in "Jesus Christ Superstar." 

The Illustrados in this new production are played by MC de la Cruz (as Pedro Paterno), Jonathan Tadioan (as Felipe Buencamino), Roby Malubay (as Benito Legarda) and Marco Viana (as Felipe Calderon). As before, they stole their scenes with their snarky lines and snappy funk choreography. This time, their costumes and make-up looked more androgynous that how I remembered them from before. The Illustrados also had powerful songs to sing, but just when I thought we'd finally hear Marco belt, he would shift to speak singing. 

The role of young Pule was usually played by a male actor -- Marco Viana in 2016, Phi Palmos in 2016 and Paw Castillo in 2019. This time, they were inspired to cast an actual young singer-actress Ynna Rafa as Pule, consistent with a female adult Mabini. One of the strongest female singing voices in local theater -- Ms. Tex Ordonez-de Leon -- played Pule's mother Dionisia. Gelo Molina (alternate is Earvin Estioko) played Pepe, the caretaker of disabled Mabini after polio, still armed with a sense of humor and a sense of hope for the youth of the country. 

As this smaller stage of the Tanghalang Ignacio Gimenez was more up close to the audience than that in the old CCP Little Theater, everyone and everything -- Sir Toym Imao's steampunk set and props, the late James Reyes's costumes, the late GA Fallarme's projections, the actors' hairstyles and makeup -- can be more clearly appreciated in deeper detail.  The rest of the Artistic Team includes Denisa Reyes and Richardson Yadao for Choreography, TJ Ramos for Sound and Musical Arrangement, and Roman Cruz for Lighting. 

The ensemble includes Lhorvie Nuevo-Tadioan (also Dance Captain), Anya Evangelista (also Understudy for Apolinario Mabini), Mark Lorenz (Swing), Sarah Monay (Swing), Rey Corregado, Heart Puyong, Murline Uddin and Sofia Sacaguing. As before, the show still ended with the cast going out of character to enumerate current socio-political issues which parallel those during Mabini's time. Like Mabini, we should not be cowed to speak out about them. Judging from the rousing audience reaction to that finale, that message was loud and clear.   

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Tanghalang Pilipino's "Mabining Mandirigma: A Steampunk Musical"  runs March 6–29, 2026 at Tanghalang Ignacio Gimenez, Cultural Center of the Philippines Complex, Pasay City. Tickets (at P2000 for VIP and P1800 for Regular) can be bought from show buyers (LINK), Ticketworld (LINK) and Ticket2Me (LINK). 

My review of the 2015 maiden production of "Mabining Mandirigma" is posted HERE. 

   

Teatro Meron: Review of WAITING FOR GODOT: Dallying in Despair

February 10, 2026

Camping beside a bare tree were two homeless men dressed in rags named Vladimir (nicknamed "Didi") and Estragon (nicknamed "Gogo"). They talked about a lot of nothing and did a lot of silly activities to spend their empty days as they were waiting for the expected arrival of the mysterious Godot. To break their monotony, they encounter haughty master Pozzo and his leashed slave Lucky, and a Boy who had one message to deliver.  

Fledgling theater company Teatro Meron debuted last year with absurdist play "Sopranong Kalbo," a Filipino adaptation of Eugene Ionescu's "The Bald Soprano" (1950). This year, they aimed higher and went directly for the best-known of all absurdist plays -- Samuel Beckett's "Waiting for Godot" (1953). It had once been hailed as "the most significant English-language play of the 20th century," a reputation that makes this a must-watch for all theater fans.

Previously, Didi and Gogo had been played by such acclaimed actors as Steve Martin and Robin Williams, Sir Patrick Stewart and Sir Ian McKellen, and just recently, Alex Winter and Keanu Reeves. The whole play is anchored on the back and forth conversations of these two chaps, whose tramp costumes, as well as sense of humor imbued with pathos, were inspired by silent film comedians, like Charlie Chaplin, Buster Keaton and Laurel and Hardy. 

Tarek El Tayech and Jj Ignacio play Didi and Gogo. They are not exactly as famous as the aforementioned Hollywood movie stars were, so it is a bigger challenge for them to make their Didi and Gogo lovable and sympathetic to local audiences. Act 1 may be tough to get into at first, especially as their interactions seemed monotonous and pointless. But by Act 2, El Tayech and Ignacio had succeeded to thoroughly endear their characters to us. From "Stage Kiss" (2020) to "Othello" (2024) to now, El Tayech has been as intense as he is versatile. 

The over-the-top pair of Pozzo and Lucky tended to steal scenes from our leads when they come on. In Act 1, upon Pozzo's order to "Think," heretofore mute Lucky launched all his long-repressed thoughts into a lengthy tirade of gobbledygook. In Act 2, Pozzo passionately bemoaned his fate as he suffered a debilitating physical handicap. John Bernard Sanchez and Lenard Tiongson understood Pozzo and Lucky, and fully inhabited their bizarreness. 

Before each act ended, Yael Ledesma appeared as the Boy, with that naughty smile plastered on his face. He came in just to tell Didi and Gogo that Godot was not coming that day. How he received this message from Godot was in itself a big question. How many days had he been coming around to deliver that bit of unwelcome news for Didi and Gogo -- news that would once again render their whole day of waiting totally meaningless?

This plotless play may not be for everyone, but Capinding's style of direction made the challenging material accessible without spoon-feeding. Still, a few may not have the patience to even get through the first act.  Some may see meaning in the props -- the tree, the hats (that hilarious hat-passing scene!), Gogo's shoes, Lucky's luggage, all the rope. However, most of us will wax philosophical about the repetitive routines of our mundane lives with days passing us by so fast as we wait with uncertainty for the fulfillment of our dreams. 

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Teatro Meron's "Waiting for Godot" runs from February 13 to March 1, 2026 at the Special Exhibition Hall, The Mind Museum, Bonifacio Global City (BGC), Taguig. Tickets at P2000 via Ticket2Me at this LINK. 

This show is co-produced by Eastern Communications and Tunog at Liwanag ng Teatro (TLT), with support from Alfred Vargas and the Ateneo de Manila University Department of Philosophy.

PETA: Review of KISLAP AT ALGO: From Myths to Memes

January 30, 2026

The two one-act plays of this twin bill were first staged by PETA in 2024, two of eight new works under the title of "Control + Shift: Changing Narratives, Reclaiming and Reshaping Stories." The next year, only Dominique La Victoria's "Kislap at Fuego" and Mixkaela Villalon's "Children of the Algo" were chosen to be staged in "Control + Shift 2025." 

This year, the same two plays are again re-staged under the new title "Kislap at Algo." This rationale is best expressed in the words of PETA Artistic Director J-mm Katanyag, "By placing folklore beside feeds, myth beside memes, this pairing embodies Control + Shift’s narrative change approach by asking how tradition and technology collide, converse, and co-exist, and how Filipinos continue to imagine revolution in a rapidly shifting world."

KISLAP AT FUEGO

Directed by Maribel Legarda and J-mee Katanyag. 

Written by Dominique La Victoria

Filipino adaptation and dramaturgy by Bienangela Mapagu. 

Ten days before her birthday on New Year's day, a feisty young woman named Gabriela (Felicity Kyle Napuli) went into the forest where the Kapre (CJ Novato) lived. Her father picked mangoes from the tree of the Kapre, so the creature asked for Gabriela as his servant as the payment for the crime. When Gabriela entered into the Kapre's world with her sack of books, she met Kapre's two minions -- Pipay (Carlon Matobato) and Leron (Ekis Gimenez) -- who seemed to know something about her that she didn't.  

Dominique La Victoria gave this hour-long play plenty of elements -- Filipino folklore, the Catholic religion, the Spanish occupation, and the Philippine Revolution, with special mention of Dr. Jose Rizal and his "Noli Me Tangere." The production design of Boni Juan (with the set of Kapre's forest and the costume) was impressive, as enhanced by the lights of Rafa Sumilong and the projections by Bene Manaois. There was also puppetry and shadow play involved, accompanied by the ethereally atmospheric music and sound by Kabaitan Bautista.

Too bad I was not able to see this play in 2024 and 2025, starring real-life couple Kim Molina as Gabriela and Jerald Napoles as the Kapre. However, the new actors Novato and Napuli also made a great romantic pair (despite their 10-year age gap), as evidenced by the thrilled screams of kilig heard whenever they had looked in each other's faces or shared an intimate moment. Matobato and Gimenez (the only one left from the original cast) were very funny, whether as Kapre's sidekicks or as Guardia Sibil. 

CHILDREN OF THE ALGO

Direction and Production Design by Johnnie Moran

Written by Mixkaela Villalon

Dramaturgy by Mikaundre Gozum Santos

They were Gen Z online content creators. BPO executive Yani (Nyla Festejo) talked about life and lifestyle topics. College student Jen (Frances Marie Akol) talked about art, beauty and food reviews. Graphic artist Owen (James Pe Lim) talked about gaming and sigma manhood. Fast-food server Mark (Otep Madriaga) was a gay provinciano who talked about his experiences in the big city.

At first, everything was light and happy, but soon. the harsh realities of life wormed into their content -- from the country's decreasing birth rate to reasons why Filipino youth have no ambition, from being a troll, to how monthly salary and expenses are not "mathing." As Yani, Festejo exuded an air of class. Akol gave Jen a down-to-earth vibe. Pe Lim (the only holdover from the original cast) and his bruh Owen were as cool and controversial as ever. Madriaga delivered the play's most sobering messages, but his Mark did so with campy flair. 

The main content of the play are basically the same since when I saw it first in 2024 -- the curated online personalities and their favorite hashtags.  For sure, the script had been updated with current memes, from "6-7" to flood control. The set consisted of a two-tiered movable metallic frame with multipurpose boxes on which the four actors weaved in, out and around. The lights of Rafa Sumilong would flicker and the sounds of JJ Valerio had static whenever the characters rebelled against the status quo -- an ominous warning about the dangers online. 

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Tickets are available via this LINK. Prices are ₱1,800 (VIP), ₱1,400 (Orchestra Center), ₱1,100 (Orchestra Side), ₱1,400 (Balcony Center), and ₱1,000 (Balcony Side). 

SHOW DATES AND TIMES

Tue, 27 Jan. 2026 – 9:00 AM

Wed, 28 Jan. 2026 – 11:00 AM

Thu, 29 Jan. 2026 – 11:00 AM

Thu, 29 Jan. 2026 – 4:00 PM

Fri, 30 Jan. 2026 – 9:00 AM

Fri, 30 Jan. 2026 – 4:00 PM

Sat, 31 Jan. 2026 – 9:00 AM

Sat, 31 Jan. 2026 – 2:00 PM

Tue, 3 Feb. 2026 – 9:00 AM

Wed, 4 Feb. 2026 – 9:00 AM

Thu, 5 Feb. 2026 – 9:00 AM

Thu, 5 Feb. 2026 – 2:00 PM

Fri, 6 Feb. 2026 – 9:00 AM

Fri, 6 Feb. 2026 – 3:00 PM