Meaning of life takes center stage at UC’s Panagtipon 2025

CEBU, Philippines — At this year’s edition of "Panagtipon: A Festival of Cebuano Theatre", the audience may notice a recurring character present throughout the seven plays staged in two batches at Cebu Coliseum from March 19 to 22 and March 26 to 29.

It’s not actually a person but rather a moving prop: a large tree that can be divided into three trees, depending on the play’s story.

The tree was present when a woman killed her abusive lover after she was sexually assaulted. It was there to witness an impromptu beauty pageant skit between three gay friends. The tree appeared in both its full form and separate pieces when two characters of different faiths attempted to flee from war, and in another story where a couple’s neighbors protected them from an aswang (shape-shifting evil creatures of Pinoy folklore) attack.

In an era of multiverse storytelling where viewers expect continuity among anthology narratives, the tree featured in all the plays is an intentional symbol of the recurring theme of life.

“The tree on stage symbolizes life and reproduction. That’s why you see one tree that can break into three,” producer Rudy Aviles told The FREEMAN. “There are so many stories you can tell from that because it’s about the communion between humans and life. It’s a test of the miracle of life.”

Despite a few minor glitches, the first set of Panagtipon 2025 performances received thunderous applause from the audience on March 19 opening night, with the crowd reacting loudly — ranging from fear to laughter — to the plays’ biggest moments.

Since its debut in 2016, Panagtipon has been an annual tradition at the University of Cebu (UC) and a source of pride for Aviles who has long been an advocate for Cebuano theater.

“When I first joined UC [in 1994], it has always been my advocacy to promote and popularize Cebuano plays — stories that Cebuanos can relate to and find meaning in,” he said. “This is part of my philosophy to make Cebuano culture popular through plays.”

“Panagtipon” also highlights its local playwrights, as many of the festival’s productions are based on previous plays staged by the university before Panagtipon was first launched.

“Because we had so much material throughout the years, that’s when I thought of creating a festival of Cebuano plays that highlights its writers,” explained Aviles, noting that the cast and crew include both UC and non-UC alumni, as Panagtipon encourages open collaboration within the Cebuano theater scene.

The first week of Panagtipon 2025 featured four stories, beginning with Haidee Palapar’s drama-thriller “Bugti”, starring Czarina Ylaya and Michael Banaynal, with Alan Rico as director.

The play follows a couple whose relationship is on the rocks as Ylaya’s character attempts to leave, forcing them to confront the ugly truths of their turbulent relationship.

Next was Lorenzo Balili Jr.’s war thriller “Tugkaran sa Firing Line”, starring Kirsten Sabas and Remus Mission and directed by Alfie Mosqueda.

Sabas and Mission portray a Muslim and a Christian, respectively, as they attempt to escape the war. The story ends on an optimistic note when they choose coexistence over conflict despite their different faiths.

The festival then took a comedic yet still-dramatic turn with Aviles’ “Rayna Rayna”, directed by Everild Catugal and featuring a rotating cast consisting of Louie Resaba, Janjan Arnejo, Iñego Abayon, Clanche Dave Belleza, and Lord Lawrence Latonio.

This slice-of-life story follows three gay friends who reflect on their lives, using a parody beauty pageant skit as a narrative device to explore the joys and struggles of being gay. Through their journey, they realize that as long as they have each other, they don’t need a love interest to feel complete.

Closing out the first week was “Tunok sa Bagakay” by Joeylli Amierose Duallo, directed by Vittoria Eizxel G. Padilla and starring UC’s Arts and Design Grade 12 students.

A dialogue-free production with ambitious prop movements, it uses music to tell the story of a married couple threatened by a jealous manananggal (mythical creature that can separate its upper torso), as their neighbors rally to protect them from harm.

The second week, from March 26 to 29, will feature new plays, including Paul Dumol’s award-winning “Serapio”, directed by Orlando Magno, with Aviles translating the script into Cebuano. Other original productions include Czyril Mari Cabahug’s “Leche Fam” and Maria Niña Yuson’s “Tulo ka Lakang: Oro Plata Mata”, directed by John Ed Silva.

These seven plays were crafted with the intention of imparting an important message about making moral choices.

“After they watch these plays, I want audiences to be critical thinkers about choosing what’s right and wrong,” Aviles said.

Catugal, a regular director at Panagtipon who previously performed in “Rayna Rayna”, instructed his cast to stay true to the script’s intent, emphasizing that the message should resonate not only with the audience but also with the cast.

“I reminded the actors not just to be funny but also to convey the playwright’s message which is a story that celebrates the love of friendship,” he said.

Catugal added that the plays serve as timeless social commentary on relevant issues today.

“I have a better understanding of the story now, seeing how much our times are changing. That makes this story even more relevant today. It’s a meaningful and beautiful experience to be part of this play again,” he remarked.

Tickets for Panagtipon 2025 can be purchased by contacting UC’s Students Cultural Services at its Main Campus (tel. no. 255-7777, ext. 4145) or through the Student Affairs Office at any UC campus.