At first glance, we thought she was Marian Rivera rehearsing that mid-day afternoon for the musical play KATIPS of Philippine Stagers Foundation. With her moves, with her smiles and nice gestures, you could very well compare her to that famous and pretty GMA-7 top actress. But she’s not Marian Rivera, really. She’s Maya Encila, the New Stager who’s portraying the role of Lara in the above-mentioned musical play of PSF.
She’s so sweet, friendly and nice. She smiled with so much captivating manners, and even one gay blogger could somehow feel he’s a ‘straight guy’, all the more when Maya sat beside with him for a quick interview and whispered words into his ears.
“Two months ago, when me and my dad visited here in the Philippines and direk Vince Tanada saw me, he at once offered me to play the role of Lara in this musical play”, Maya whispered so delicately into the ears of a blogger. “He told me I must become a Stager. I didn’t hesitate for once, and I readily said YES to direk Vince. You see, acting on theater is my passion, that’s why. And my parents also wanted me to experience more about life, most especially here in the Philippines. After two months, we came back here after organizing everything in our residence in the United States. And here I am now, rehearsing for this play. Everything came so fast.”
That was the last rehearsal day when we interviewed Maya which happened just a week before their first performance for the said musical play. And when the blogger saw Maya again on stage this time, definitely, the blogger knew that Maya fully deserved the role and the break she got into. She’s good.
“I can very well relate to the character I’m portraying”, Maya also said at that time. “Like Lara, my character in the play, I was also raised in the United States and grew-up there. And like Lara also, I had no idea what happened during the Martial Law years in the Philippines. Even the word Desaparecido doesn’t mean a thing to me. That’s why I felt I almost acted as myself.”
Maya was thankful also to her director for motivating her fully and being the ‘push-factor’ in giving her very best for the role.
“He’s always at my back supporting me”, Maya whispered on. “Direk Vince, gave me space and freedom to explore and further enhance my role.”
The Stagers, including his leading men on the play in persons of Kierwin Larena and Kevin Posadas (both alternating for the role of ‘Greg’ which is Lara’s love interest in the play. Lara is Maya’s character on the play, we say again), always gave her feed backs and moral support during rehearsals and performances.
“And I really appreciate it”, Maya whispered again to a blogger’s ear because loud music at their rehearsal venue was being played. “It helped me to further enhance my character because even though I have acted in some stage plays back in the United States, it’s still different here. Their feed backs and pointers were like my guidelines to do it better.”
But how does Maya feel when people tell her that she looks like Marian Rivera?
‘Well, I’m really excited about that”, Maya answered while whispering again at the end of interview. “It’s a challenge, too, on my part. Because it makes me feel I must really do good not to suffer in comparison. It’s also kinda’ mixed emotions on my part. Because you see, people may expect so much from me. That’s why I am taking advantage of my good singing voice now as an asset for me. In this play, I sing a lot and I hope people will notice that I really sing well.”
Maya Encila. Remember the name. A true artist and a good person, too, at that.
One of the Stagers we really do admire is Mr. Kevin Posadas. Very unaffected kasi ang attitude niya, innocent-looking, pure and gentle. Kaya naman napakaganda ng impresyong nailikha ni Kevin sa blogger na ito. Plus, the fact na sa oras na mapanood mo siyang umaarte na sa gitna ng entablado, mapapamangha ka talaga sa husay at galing niya. Kakaiba. Kakaloka.
Huli naming napanood si Kevin sa dulang Abattoir na naging isa sa mga dulang itinanghal nuong nagdaang Summer Theater Festival ng Philippine Stagers Foundation. Sayang lang nga at hindi competing play ‘yun sa nabanggit na Summer Fest, kasi, napakahusay ni Kevin sa dulang iyon. Napaka-memorable ng pagganap niya duon bilang isang ‘lost soul’ na napunta sa isang slaughter house at napatay mismo nu’ng may-ari ng slaughter house na iyon which happened to be his long, lost father. Kaya maski horror ang genre nu’ng nasabing play, napaiyak kami sa death scene ni Kevin sa dulang iyon. Pati paghingal niya, pagkurap ng mata, pagsambit ng mga salita- grabe, napakahusay talaga. Isa si Kevin sa mga ‘underrated actors’ ng PSF. Bihira siyang mapuri at iyon ang nakapagtataka.
Anyway, alam naman ni Vince Tanada ang tunay na kakayahan ni Kevin, kaya ito ang kinuha niya bilang alternate kay Kierwin Larena (kasama din palang alternate sa role na iyon ang New Stager na si Daniel Cruz) para sa role na Greg sa dulang KATIPS (Ang Mga bagong Katipunero), ang isa sa mga male lead character ng play, aside from the role of Panyong (na ginagampanan naman alternately nina Vince Tanada at Jomar Tanada Bautista).
Alam ni direk Vince, magagampanan din ng husto ni Kevin ang character na iyon sa nabanggit na musical play- dahil kaya-kayang ni Kevin na “mag-transform” into ‘different kinds of emotions and feelings’ na hinihiling nung papel.
Pero for Kevin, what made him fully embrace into the character of Greg?
“For one, maganda ‘yung material and the role as well”, bungad na sagot ni Kevin in one coffee break sa kanilang rehearsals ng play. “Very naturalistic lang ang ginawa kong approach sa character ko as Greg. Na tulad ng ibang mga taong nagmamahal sa bayan niya, I wanted to show, through Greg’s character, that your love for country is greater than anything else. It surpasses any forms or labels of LOVE. It goes beyond boundaries. And you are willing to give-up everything for the great love that you feel for your country.”
At tila nga yata napakasarap na gampanan ang ganitong uri ng character sa anumang forms or mediums of performing arts, di ba? Lalo pa’t sa kaso ni Kevin, nakita na niya ang kahalagaan ng dulang ito magmula pa nuong bata pa siya.
“Before kasi, I think that was the year 2007, I first became a production staff pa lang ng play na ito”, pagri-reveal ni Kevin. “I already saw the whole play at that time, at bata pa ako noon. Kaya alam kong maganda talaga ang play na ito. This year, may mga binago lang ng kaunti si direk Vince, mga minimal revisions sa dula. Pero mas lalo lamang itong gumanda ngayon.
“Minulat na ng play na ito ang aking kasipan, maski pa nuong bata pa lamang ako”, dugtong ni Kevin. “Kaya mahalaga sa akin ang play na ito. At muli, nagpapasalamat ako kay direk Vince dahil kinuha niya akong muli para gumanap rito.”
First time din ni Kevin na maka-eksena sa gitna ng entablado si Vince Tanada, muli para sa dulang KATIPS.
“Dati-rati kasi, ako ang laging alternate sa role niya kaya hindi ko siya nakakaeksena”, sabi pa ni Kevin. “At ngayon lang talaga kami nagkaroon ng mga scenes together dahil iba ang papel na ginagampanan niya.
“Maganda ang rapport namin ni direk Vince on stage. Pero off stage, we’re best of friends talaga. Ganyan kami ni direk Vince.”
Huling tanong para kay Kevin. Magagawa ba niya sa totoong buhay ang ginawa ng character na Greg sa dulang KATIPS?
“I am not plastic, sir Robert, to tell na hindi ko pa maisip sa ngayon kung magagawa ko ba sa totoong buhay ang ginawa nu’ng character na Greg sa dula”, huling sagot ni Kevin. “All I can say now is, let’s cross the bridge when we get there. Sobrang dami nu’ng pinagdaanan nu’ng character ni Greg sa dula. Pero siya pa rin ang nagbigay ng pagasa sa lahat. Sana, may mga ganyang klase pa rin ng mga Pilipino sa panahon natin ngayon.”
It’s easier to forgive, but harder to forget. More gentle to love, but scarier to hate. Braver to express but cowardly to hide.
In a time of sorrows, only one thing emerges:
“Hope”, Vince Tanada started saying to a blogger. “That there’s still hope amidst everything. That’s the message I so badly want to imply to everybody when I started revising and writing the play Katips. In the ending of the play, you’d see the message clearly. Parang gusto kong sabihin, na nagtagumpay pa rin ang pakikibaka ng mga tao para sa kalayaan.”
And the blogger asked: Was it a ‘yellow’ advocacy?
“No, this is not a Pro-Yellow advocacy”, Vince was quick to answer. “The play KATIPS is a re-telling of a story that happened in our lives and became a part of Philippine History. But History books were silent about it. And through my play, I want the youths to know what really happened during that time.”
Vince termed it as “the darkest era in Philippine History”. And if he’ll be given a chance, he so badly want to revise PHILIPPINE HISTORY.
“Me and my family, I do admit, were victims of Martial Law”, Vince continued saying. “We had to transfer from one place to another just to escape persecutions. I was young then, barely in my teens. It was very traumatic for me. My family was deeply affected by those people in power at that time.”
That’s why, when one blogger watched the whole play, he was so moved. The painful feelings were still so fresh via those remarkable scenes in the play. It relieved some anger, but subsided with a vision of hope.
“My Stagers all did their very best, even at the time we’re still rehearsing the play”, Vince continued on. “They were all too-passionate, so selfless in what they do, so intense. And altogether, they impressed me so much as their director.”
Great reviews about the play KATIPS were now pouring like Hotcakes in social networking sites, blog sites, and tabloids. The play, at this early, already had numerous performances in Manila and Baguio City. This pressured Vince to set a Grand Press Night and Gala Night to selected media friends on July 31 at SM North Edsa.
“I was simply so touched with all the great reviews we had so far”, Vince declared. “Our Grand Press Night will be a lot more bigger in scope and grandeur because I added some more dialogues and dances and ad-libs, too, that they will all enjoy watching. And I am inviting everyone to watch it.”
Through Vince Tanada’s gentle way of touching the hearts of the young, we know, he won’t fail.
Certainly, the play KATIPS will change the lives and ideas of the youths today,
(as the words were written by robert manuguid silverio)
It felt like magic. Electrifying, too, and ecstatic. That was the time it hit me- as I entered the Cinema One of SM Centerpoint wherein a full-packed audience of young students eagerly awaited the start of Philippine Stagers Foundation’s latest opus play- KATIPS (Ang Mga Bagong katipunero). It suddenly went into me, I mean, that kind of feeling. Maybe, it was already an extra-sensory-perception on my part or what you termed as ESP. I knew already I was going to watch a truly worthy and beautiful kind of a legitimate theater production.
I lingered to look first at the fabulous stage design at the very center front of the stage, rather than look around the noises and clamors I heard made by the students. The stage, it seemed was already inviting, tickling your artistic bones that I would soon see and hear, handsome performers and fascinating music. The stage, again, was just simple, though, but it revealed a deeper meaning- wherein old newspapers and front pages of it were made as wall designs with a cage/cell at the center- which truly implied a masking tape of lies during that era of a forgotten past in Philippine History. Kudos to Mr. Jeffrey Ambrosio, the Stage Designer who conceptualized and executed a masterpiece of art right there on stage.
Minutes later, I heard the music. The beat of an era. A tune so magnifying it at once brought me to a “not-so-forgotten-past” of my own life. It was the music, I knew, created and composed by Mr. Pipo Cifra- for this stage play. And yes, the play started right a time I really wanted it to be.
Ang Picket Sa Mendiola was the Intro Song of this play. The song was delivered in high notes by the Stagers as they all danced and sung it- in a very energetic execution of perfection and high vision. The choreography of this opening number, visualized by Mr. Gerald Magallanes (PSF’s choreographer) almost said it all and you were almost there. Like a magic wand, it turned you into a soul living in an era of the ’70’s or something. And even the young audience, as I looked around them, suddenly went into a “time travel”. They, yes… at once, knew. And now ready for something more.
I felt so happy again seeing the handsome faces and pretty looks of all the Stagers performing. They’re not half-hearted in what they’re doing on stage, but full-hearted and overjoyed in performing. The New Stagers easily mingled-in and coped-up, as the Old Stagers were still the most impressive performers of that night.
The first scenes of the play already highlighted the main conflict of that era they were presenting in an artistic medium. It became the “catalyst” of a revolt and an anger. Because those “people in power” at that time suddenly intervened at a peaceful rally and even ignored the presence of nuns and a priest. They held and shot a professor- which was Ka Manding (performed in a captivating manner by Jomar Tanada Bautista, with New Stager Alex Baylon alternating the role) – the rallysts’ leader, inspiration and idol.
Yes again, the death of Ka Manding became the catalyst and prime mover for the play to revolve. It soon gave birth to the other characters of the play, like the sympathetic character of a teenage boy named Art (awesomely portrayed by Johnrey Rivas) who’s an editorial staff of a campus newspaper, and of course, to a Balikbayan named Lara (so refreshingly portrayed by newcomer Maya Encila) who happened to be the very daughter of Ka Manding. This was already revealed seconds before Ka Manding died as he entrusted Lara to Greg (the play’s male lead actor and portrayed in a magnificent way by Kierwin Larena, with Kevin Posadas alternating) if ever he dies as the military people head-locked him and soon, he was shot and killed.
The play, all the more, continued on with mightier power, angst and tension. The music afterwards became transforming in many different emotions of love, flattery, subversiveness and revelations. I basically loved so much the song Bawal Kang Magsalita, not because of its unique music, but the message it implied. Panyong (the second male lead character of the play and portrayed with perfection and mastery by Vince Tanada) sang the song emotionally which only further made you feel how uncomfortable the life was during that era. Where people’s mouths were shut-up and taped. It was made clear the true message of the play.
Oh yes, the LIVE BAND. Whoa. It’s so good to the ears. I thought in a while, I was watching a rock classic- Jesus Christ Superstar ‘coz the feeling was exactly like that. Unique, surprising, trend-setting.
Thank you very much to Mr. Robert Encila and his band- because with the Stagers singing live in full force, the more they became impressive and the play exciting.
The costume design of Ms. Emy Tanada was colorful, passionate, authentic- and it provided more the feeling of ‘deja vu’ to whomever might want to have that kind of feeling while watching the play. The way the people dressed-up in the ’70’s could be perfectly be seen in this play.
The lighting of Art E. Gabrentina was Hollywood-ish in style in style and execution. It moved in varying colors degree of grandeur and “picture-like frames”, like, you are inside a photo studio of great, powerful lights.
The torture scenes of this play were the scenes I couldn’t bear. It was so heavy to look and watch at, but had to be presented that way because of its truthfulness. It had to be executed for the audience to know that it was really the way that those “people in power” at that time responded to rebellion. But they did it overboard. And Crimes Against Humanity didn’t set the records straight.
What made this play so impressive, really, to this blogger was the acting unison of all the Stagers. But they were able to do it because of great support from the major cast- most especially to Ms. Adelle Ibarrientos-Lim whose character in the play- as Alet– would further convince you of the treachery done to the little ones, the poor ones, the less-fortunate ones- as they were abused by the “people in power”.
Maya Encila as Lara was pretty convincing, too.
The supporting cast in persons of Glenn Magallanes, Rutchell Leonor, Vean Olmedo, Rospel Ann Gonzales, Johnrey Rivas, Hark Montillana, Jessica Evangelio, Oj Bacor, Marjorie Militar, Chin Ortega, De’Rotsen Etolle, Daniel Cruz, Chris Lim, JP Lopez, Art Andrade, Arian Golondrina, Levi Bracia and the rest of all of the Cast Ensemble, all did a terrific job. Even in small roles, they managed to steal “awes and wows”.
And lastly, no words could best describe the alluring direction of this play masterpiece. I bow my heads on you, Mr. Vince Tanada!
In the heart of one man, it was his task that only mattered. A task so dangerous and life-threatening. A task that could be called invisible to the naked eye, but gravitational in force and might.
Kierwin Larena as Greg delivered that. His character must live to serve as a “rainbow of hope amidst the changing tide”.
As Kierwin suddenly appeared anew in the ending scene of the play, and as the audience thought he had already died, the shrieks and shouts of the young students who watched became ear-defying to the blogger who was among them.
Not just because they saw hope, but also, because of the fact that the character became so much handsomer with his shorter hair cut, minus the groovy-shady looks, too. The actor came back and the promise fulfilled.
Together with the other actors of the play, a character only becomes alive if the actor gave his SOUL.
And Mr. Kierwin Larena surely delivered that.
(as the words were written by robert manuguid silverio)
EXCLUSIVE PHOTOS BY MR. VINO ORIARTE BELOW, TAKEN DURING THE SECOND DAY OF PERFORMANCE OF “KATIPS”:
When a group of the handsomest theater group (yes, we did agree when theater icon- Mr. Frank Rivera- labeled them as the “the handsomest and most powerful theater group” that existed in the world of performing arts) performed in front of you with all their might and power in their very last pre-production rehearsal, your view of the world seemed to change. You felt ‘awed’ and it transformed you into becoming a different person- all too suddenly. It made you ask questions of why people seemed to change views of their choices of leaders in the political world, it made you dig deeper and analyze why people seemed to abuse and disregard the freedom that DEMOCRACY has given them. It made you cry because of the hundreds and thousands of dead people and souls, seemingly, FORGOTTEN. People who sacrificed their lives for change. People who deeply believed in their ideologies. People who fought in their own little way – for freedom, for justice, for equality.
In an era of an almost-forgotten past, this group of fresh and very creative people brought one blogger back to an episode he did experience somehow when he was still young and in teens. They all performed so truthfully and convincingly – like, they were the very actual people of those dead heroes in The First Quarter Storm of the Edsa Philippine Revolution.
These “dead heroes” you met once or twice in your lifetime as you yourself participated in marching and took the vigil in Edsa at the height of the people’s unrest in 1970 and felt the beauty of their rebellion, again we say, came back to life in living colors of perfect emotions, moves, dances and songs.
And you cried alone as no one saw you there. Because the “dead heroes” you saw and felt anew, in the present generation and batch of people living as Filipinos, had forgotten them- even in the pages of the textbooks of students of Philippines. And even the son of a Political icon who became the President didn’t live-up to the sacrifices made by his dad and the people who died for the sake of his dad’s legacy??? That, we ask now. Or maybe, it’s the people who simply abused the gifts given by the spirit of Democracy.
Yes, we say, the man who wrote, directed, created and acted so perfectly in Philippine Stagers Foundation’s new theatrical production- KATIPS– delivered the job so awesomely. The message was clear and precise. The play challenged your intellectual beliefs, but more than that, it made you remember again- most of all, the young man you met who disappeared and became a Desparacido and victim in the darkest and most violent era of Philippine History.
You saw back that character in person of Stager John Rey Rivas- as he portrayed the role of a teenager who was abducted by military people and got so violently tortured physically. It was a crime against Humanity.
But you didn’t simply sympathized for that young boy character- yes, you sympathized to all of the characters who got involved there. Dead heroes, you say. People who fought, people who were regarded as N.P.A.’s (New People’s Army) during that time, people who simply have a different view of the world, people who were simply brave, outspoken, guileless, radical…
The most beautiful character in the play KATIPS was the character that Vince Tanada performed in their last theater rehearsal. He played the character of a very good rebel who fell in love so truthfully to a female comrade who loved someone else. But his female comrade soon discovered that the man she loved was the very man who caused her death. And as Vince’s character saw her dead corpse when the military people killed her, it became the most powerful and dramatic scene of the play. That scene alone, you would honestly say, was all worth it. You wouldn’t ask for more because Vince delivered an acting moment and highlight that would last a lifetime.
Stager Adelle Lim as Vince’s female comrade in the play and object of his affections, delivered an acting style that’s so superb, wonderful, incomparable. We asked- “How in earth could she act so subtle and subdued, but still delivered the perfect emotion?” Wonderful, truly wonderful.
And it was just a rehearsal. Lacking of costumes, stage design and lighting- but still, just because of the all-too passionate acting of the Stagers of this wonderful play- it was almost as good as new. Even the those New Stagers in the background and all the rest of the supporting cast- could steal attention, grab your hidden glances, snatch the scene away from the major characters. Yet, they delivered an acting unison, impressive chemistry with their fellow actors, and interactions. That’s the spirit of the Stagers in every theater productions they give. A well-coordinated and truly united acting participation.
Stager Kerwin Larena’s handsomeness and appeal glowed in every scene of the play. His beauty could somehow steal his convincing acting talent- but nevertheless, his presence in this stage play only added your desires to watch the play over and over again in their forthcoming new theater season performances.
People disappear because they have reasons. People takes risks of being gone all too soon because of their own crusades, tasks, battles…
People leave, People went missing, too.
But people sometimes can come back over and over and over again.
When Vince Tanada’s character in the play KATIPS died, it was not shown even in a single scene in the play’s final moments- and yet, you would miss him so much. You would feel. You would want to see him again.
As Stager Maya Encila’s character read it in the newspapers that two NPA’s were killed in an encounter and realized that it was Vince and Kerwin’s character who both died, her crying scene was lasting and redeeming.
The very people who sheltered her when his father was shot by the military, were the very people who also died at the end.
And now, an artist in the character of Maya, did believe in their causes. But they were all gone too soon.
Life could play tactics and surprises. In the end, life’s gifts could bring back a dead soul- as you thought.
The battle continues.
Because Kerwin’s character in the play did come back and Maya discovered that he did not really died in the encounter- was indeed, a symbol of hope. A rainbow of promise.
The spirit of Democracy lives on. As long as there are still people who comes back from the dead to show that love and freedom is still the greatest value of a NATION.
In the Philippines, it’s up to the young people to deliver that promise of…….
Nakakapagod na rin kung minsan ang MANGARAP, maski ba ito ay libre lang.
Nakakasuya na rin kung minsan ang UMASA, lalo pa’t ito’y wala namang katiyakan…
O, ang magbulag-bulagan, magpunyagi, at magmahal.
Sa isang madilim na sulok na iyon ng mga taong isang kahig, isang tuka lamang, marahil, hindi na nga nila taglay-taglay ang magagandang dulot na iyon ng buhay-
Ang mangarap, ang magmahal, ang umasa, ang magpunyagi….
Maaari pa rin naman silang mabulag-bulagan. Pero paano kung matuklasan rin nila sa bandang huli na ang pagbubulag-bulagan nila ay hahantong din sa kasukdulan balang-araw?
Hindi namin ikukuwento sa inyo ng buong-buo ang dulang “SAKO”, isang one-act play at kasali this year sa mga competing plays para sa Philippine Stagers Foundation’s Annual Theater Festival. Pero sa totoo lang, hindi mo mape-predict ang ending ng dulang ito. Isang malaking twist ang magaganap kasi sa pagtatapos ng dulang ito.
Hangang-hanga kami kay Cencherry Ann Bagtas sa kanyang pagganap sa dula. Hindi kasi “tradisyonal” ang ginamit niyang estilo sa acting. Makabago ang approach niya, at napaka-makatotohanan. Dahil ganun na ganun ang kilos at mga galaw ng mga dalagang lumaki sa kahirapan, nawalan ng pagasa, at naging pala-iyak na lamang. Sa totoong buhay, marami na kaming nakitang ganito. At kuhang-kuha ni Cencherry ang tamang timpla sa karakter niya. Kudos sa iyo, Cherry!
Hindi naman siguro dapat na laging sundin na lamang ang makalumang atake sa pagganap. Dapat din sigurong mag-eksperiemnto paminsan-minsan. Pero to be safe, parehong ginamit nina Patrick Adrian Libao at Chin Ortega ang mga “old patterns” na iyon sa effectivity ng kani-kanilang mga pagganap.
Kaya naman mas hinangaan namin si Cherry sa dulang ito dahil nag-“risk” siya. Hindi siya natakot maging SAFE. Hindi rin siya natakot mag-evolve. Iyan ang tunay na artista.
Muli, sa direksyon ni Vince Tanada, mararamdaman mo ang maayos na pagtatanghal ng dula. At dahil nakakulong lamang sila sa isang maliit na sabsaban (tatatlo lamang ang mga karakter ng dula), kailangang sumigaw ka muna sa labas upang tanungin ang oras. Kung hindi ka lalabas, hindi ka maririnig ng mga kapitbahay…
Kaya naman, hayun, maski may namatay na sa loob ng sabsaban na iyon, tila tumigil na rin ang oras para sa kanilang lahat.
Nag-excel silang lahat sa mga one-act plays na sinalihan nila. Ang Tuesday-Thursday group ng PSF Summer Workshoppers 2016. Tatlong mga dula ang itinanghal nila nung hapon na iyon ng Sabado, April 23, sa PSF Studio. At sa tatlong dula na iyon, ipinakita ng mga kabataang ito ang kani-kanilang husay sa pag-arte. Puwede na silang maihanay sa mga lehitimong theater actors/actresses dahil sa galing nilang lahat sa pagganap.
Sa taong ito ng PSF Summer Theater fest ay kasali na sila sa Immersion Plays. At tunay namang pinahanga rin nila ang tatlong naimbitang mga hurado na sina Ronaldo C. Carballo, Peter Flores Serrano at direk Franniel Zamora.
Ang tatlong dulang sinalihan ng mga PSF Workshoppers ay ang mga ito: “Babae Po Ako”, “Sa Azotea”, at “Sa Parlor”.
Look n’yo na lang sa ibaba ang mga litratong kuha ng guwapong photographer na si Vino Oriarte. GO!
(words by robert manuguid silverio, and exclusive photos by vino oriarte).*
PSF One-Act Plays for PSF Immersion Plays:”Babae Po Ako”, “Sa Azotea” and “Sa Parlor”— (as participated and presented by PSF Summer Workshoppers 2016, with special guests on the audience).*