Daily TribuneThe Virgin Labfest continues to push boundaries and provide space to stories — raw, challenging, and sometimes uncomfortable — that often go unheard.
'MINATING ni Mariah ang Manto ng Mommy ni Mama Mary' by Eljay Castro Deldoc.
PHOTOGRAPH COURTESY OF KIKO CABUENA
Elise Santos' 'Sa Babaeng Lahat.'
PHOTOGRAPH COURTESY OF KIKO CABUENA
Ade Valenzona’s 'Polar Coordinates.'
PHOTOGRAPH COURTESY OF KIKO CABUENA
'MGA Magindara sa Siyudad' by CJ Junio.
Photograph courtesy of Orly Daquipil
Queer representation has long found a home in Filipino theater. Over the years, it has evolved — from subtle innuendos and comic relief to nuanced, empowering portrayals that challenge societal norms and celebrate diverse identities. These stories assert the importance of inclusive narratives and offer space for self-discovery — not only for LGBTIQ+ individuals but for audiences at large.
Today, a growing number of playwrights, directors, and theater companies in the Philippines are embracing the responsibility of telling queer stories with authenticity and depth. For years, Cultural Center of the Philippines (CCP) Virgin Labfest (VLF) has spotlighted queer characters — their struggles, joys, and triumphs. This tradition continued in full bloom with the festival’s 20th iteration, which was held from 11 to 29 June at CCP’s Tanghalang Ignacio B. Gimenez, celebrating untried, untested, and un-staged plays that push the envelope of Philippine theater.
‘Mga Magindara sa Siyudad’
In CJ Junio’s play, Mga Magindara sa Siyudad, two friends — Maureen and Maylene — are known as the magindara (mermaids) of the local carnival. Each month, they travel from town to town with their makeshift stage, singing nightly to entertain crowds. The play explores themes of systemic oppression and social confinement through characters who struggle to resist the futures imposed upon them.
“Noong binubuo ko na siya, malinaw sa akin na hindi siya magiging another gay play. Masyado na kasing maraming escapist at pa-emotional na characters (When I was creating it, it was clear to me that it wouldn’t be just another gay play. There are already too many escapist and overly emotional characters). What we are missing is a character na nagde-decide at nag-a-acknowledge ng (who decides and acknowledges the) present,” said director Riki Benedicto, who helmed Mga Magindara sa Siyudad, one of the featured plays in VLF XX: Hinog.
Benedicto emphasized that Maureen’s choices represent her core as a person — beyond gender or identity: “The goal is to evoke empathy, provoke thought, and inspire a deeper understanding of the human struggle — and the imperative for active engagement in shaping our own destinies.”
‘Polar Coordinates’
On the other hand, Polar Coordinates director Paolo O’ Hara aims to blend math, art, and the beautiful chaos of humanity.
“Math can seem cold and rigid, but here, it becomes a metaphor for transformation, relationships, and the space between people. In this production, we are playing to explore that overlap between logic and feeling — between knowing the formula and still not knowing what comes next,” he explained.
Playwright Ade Valenzona’s one-act play spotlights Igo, a Grade 10 student who failed his summative assessment in Math. His friend Bobbie offers to tutor him, providing him much-needed assistance amid the turmoil of his family falling apart. Like polar coordinates, Igo must figure out who he is, where he is going, and how to connect people and occurrences along the way.
‘Sa Babaeng Lahat’
Akin to Maureen and Igo’s characters, the protagonists of Sa Babaeng Lahat also go through their journeys towards figuring out their relationship with religion, sexuality, friends, and ultimately, themselves.
Playwright Elise Santos tells the story of 14-year-old Marie who believes she has been chosen by God to be the next Immaculate Conception and her best friend Regina who struggles with her feelings for Gab — the school’s resident “tibo” — as they practice for the Bible Week singing competition at an all-girls Catholic school.
“We wanted to humanize them as much as possible. It was a long process of dissecting where Regina’s deeper pains and confusion was coming from, and finding balance for Gab with her strength and confidence but also being very vulnerable at times,” shared director Caisa Borromeo. “I hope that this play makes young girls feel seen and validated. It’s hard being a teenage girl. It’s messy and complicated yet so pivotal in our lives.”
‘Minating ni Mariah ang Manto ng Mommy ni Mama Mary’
Religion also plays a significant part in Minating ni Mariah ang Manto ng Mommy ni Mama Mary by Eljay Castro Deldoc. Directed by Dexter Santos, the play examines pageantry, principles, and the politics of flamboyant traditions in the industry of pagsasanto. Through the character of Mariah, a retired scammer returning to religion, audiences are given a glimpse of the lengths people would go through in the name of faith and redemption.
“Ang dulang ito ay hindi lamang paggunita ng ritwal, ni hindi ito nakatali sa iisang pananampalataya. Hindi ito para lamang sa mga camarero, o mga Katoliko. Ito ay para sa ating lahat — isang salamin, mapanlikha ngunit matalim, na nagbibigay ng pagkakataong masdan ang ating sarili: Hubad, marupok, at totoo (This play is not merely a commemoration of a ritual, nor is it bound to a single faith. It is not only for the camareros or for Catholics. It is for all of us — a mirror, imaginative yet sharp, offering a chance to look at ourselves: Bare, fragile and real),” said Santos.
Since its inception in 2005, the Virgin Labfest continues to push boundaries and provide space to stories — raw, challenging, and sometimes uncomfortable — that often go unheard. With queer narratives, VLF champions the LGBTIQ+ community’s lived experiences and brings people closer through truthful and compelling storytelling.
