Since its debut in 2005 at the Cultural Center of the Philippines, the Virgin Labfest (VLF) has evolved from a daring theatrical experiment into one of the country’s most significant theater institutions.

Initiated by Tanghalang Pilipino and Writers’ Bloc, Inc. in partnership with the CCP, VLF has become the premier platform for untried, untested, and unstaged Filipino plays.

Why VLF matters

While much of the local theater industry relies on revivals and imported productions, VLF — now in its 21st year — continues to champion original Filipino writing and new voices. Over the years, it has helped shape the careers of playwrights such as Glenn Sevilla Mas, Eljay Castro Deldoc, Rody Vera and Dustin Celestino.

The festival has also become a reflection of contemporary Filipino realities, tackling subjects ranging from labor rights and migration to queerness and political memory. Because the format focuses on short experimental works, playwrights are given the freedom to respond quickly to current issues while experimenting with language, form and structure in ways traditional productions often cannot.

A space for experimentation

At its core, VLF places the playwright at the center of the creative process. Its “Virgin” philosophy creates a rare equal playing field where first-time writers can share the stage with established names — an approach that has earned the festival lasting respect within the theater community.

What selectors look for

So what exactly makes a script worthy of the VLF lineup?

That question was raised by DAILY TRIBUNE during the VLF 2026 press conference on 19 May, where the festival’s four-member selection panel explained what separates the scripts that make the cut from those that do not.

For festival founder Rody Vera, there is no fixed formula — something he says after reading thousands of submissions throughout the festival’s history.

“I’ve probably read all the submissions in the whole history of Virgin Labfest — maybe around 2,000 scripts,” Vera said. “What interests me is the potential in how the story is told. It doesn’t have to be linear. It doesn’t have to follow unified time and space. What matters is that the choices made in telling the story feel intentional.”

Unfamiliar perspectives

Vera shared that he is especially drawn to stories and experiences that are rarely explored.

“I’m interested in experiences that I haven’t heard or read before. I’m drawn to events in history that are not usually talked about,” he said.

Still, he emphasized that even familiar narratives can stand out when approached with sincerity and strong craftsmanship.

“Sometimes it’s a familiar situation, but the way it’s handled creates a big difference,” he added.

He also noted that rejection does not necessarily mean a script lacks merit.

“Once it goes through script development, it blooms, it flowers, and it undergoes a significant transformation.”

Fresh insight matters

Meanwhile, co-festival director Marco Viaña explained that originality often comes from perspective rather than subject matter itself.

“We read hundreds of scripts, and we notice that many topics and themes tend to repeat. But one of the main things we look for is: who offers a new insight? Even if the theme is familiar,” Viana explained.

“For example, one of the scripts we liked dealt with human rights and EJKs. A lot of writers submitted stories about EJKs, but in Elijah Felice Rosales’ script The Human Rights Story of the Year, the story was told through the lens of a journalist, which offered a fresh perspective.”

“A lot of people also submitted scripts about mental health, but in John Lapus’ Taksyapo!, the approach was comedy. It offered a different kind of insight. Those unique perspectives are what playwrights bring to Virgin Labfest.”

New voices take the spotlight

This year’s lineup introduces several “virgin” playwrights making their debut in the festival’s main roster, including Rosales with Human Rights Story of the Year, Neil Arkhe Azcuna with Balos, Alab Usman with Haram and Gab Mactal with Lualhati.

Also joining the roster are Ron Evangelista (She’s Electric), Faith Ferrer Lacanlale (Betamax), Jerom Canlas (Footprint), Sweet Lapus (Taksyapo!) and Gerald Manuel (Buhaghag).

Returning playwrights include Anthony Kim Vergara (Password 123, Pilipinas 321), Dustin Celestino (Elehiya), and Floyd Scott Tiogangco (Patayin ang mga Surot).

A festival built on discovery

More than two decades later, Virgin Labfest continues to thrive on discovery. Beyond introducing new playwrights, the festival challenges audiences to confront Filipino stories from fresh and unexpected perspectives.

In a creative space built on experimentation and risk-taking, VLF proves year after year that what matters most is not simply the subject matter, but how a playwright reshapes familiar experiences into something audiences have never seen before.

VLF XXI: “Hubo’t Hubad” runs from 3 to 28 June at the Tanghalang Ignacio Gimenez. Tickets are now selling.