By: Alyszah Angela Beltran
Photo courtesy of Gwynette Merano | The LANCE
Teatro de Letran (TDL), the premier theater company of Colegio de San Juan de Letran-Manila, staged its annual Labfest titled, “ITUTULOY: Tatlong Dulang Panlaboratoryo” on February 6 and 7, 2026 at St. Thomas Hall. The two-day showcase celebrated the creative pulse of the Letran community, spotlighting diverse talents of Letranites from various academic programs.
Central to this year’s Labfest were TDL’s apprentices, many of whom were performing onstage as members of the organization for the first time. As newcomers to Teatro de Letran, the actors approached the performance as both a learning experience and a test of their craft. The event provided them with a space to explore their abilities, and begin their journey within the company, reinforcing TDL’s commitment to training and nurturing the next generation of campus theater artists.
The event kickstarted with a play entitled “STARVES!”,written and directed by Jethro Estrella, a third-year Political Science student. The production explored the performative nature of modern activism, confronting how social causes are often reduced to mere hashtags, trends, and public spectacle.
Throughout the play, entitled influencers filled the grocery-store setting, loudly espousing activism while remaining detached from its real consequences. This contrast was underscored by the recurring phrase, “jolly to serve” — a hollow refrain that echoed the transactional nature of both consumer culture and surface-level advocacy.
One of the play’s most striking moments came when a cashier, watching the spectacle unfold, declared, “ang pagsahod ay kalayaan,” a line that exposed the illusion of freedom promised by labor and participation in the system. The narrative ended in an act of cannbalism—a disturbing yet symbolic image that suggested how these systems ultimately consume individuals, turning people into commodities in the very moments meant to liberate them.
Jethro Estrella pointed to a shared sense of self-questioning among people today. “I think all of us…parang meron tayong innate na feeling na ‘are we doing enough for the world?’. And how truthful are we to the advocacies we are trying to preach,” he said.
Furthermore, he emphasized that the play speaks to the prevalence of performative activism. “‘Yun ‘yung gusto ko i-tackle: the war of virtue signalling, sino ang mas nakakaangat sa moralidad,” Estrella explained.
Serving as the opening act, STARVES! established a critical lens that questioned authenticity and morality. It challenged the audience to reflect on their own participation in systems that reward visibility over genuine action.
The second play, “KENDI”, written by second-year Marketing Management student Jelwyn Migel Marquez, sharply contrasted form and meaning. Its fun, vibrant poster belied the unsettling narrative that unfolded onstage. Performed entirely without dialogue, the silent play followed a child who began to cry upon hearing his parents argue—only for a clown to emerge, offering comfort in the form of a lollipop. As the action repeatedly rewound, the same exchange played out: the clown offering candy, the child accepting it. The seemingly innocent gesture gradually took on a disturbing weight, culminating in the revelation that the lollipop symbolized sexual abuse.
In its final moments, the appearance of a second lollipop deepened the discomfort, suggesting the normalization and repetition of harm. Through silence and symbolism, KENDI forced the audience to confront how abuse can hide beneath bright colors and familiar comforts.
Marquez shared that KENDI was created to raise awareness about sexual abuse—an experience many endure but few openly discuss. “Ang daming naka-experience nito, and hindi siya pinaguusapan. It’s a needed discussion—it’s a very important topic to discuss—and takot ang mga tao sabihin kasi it’s about a child,” he said.
He further emphasized how this taboo topic becomes even more taboo when the survivor is a male. “Lalo na ‘pag lalaki ka, dahil sa toxic masculinity dito sa Pilipinas,” Marquez explained.
Addressing his creative choices, Marquez noted that the lack of dialogue was intentional. “Since ‘yung topic hindi masyadong pinaguusapan, ‘yung direction ko is walang dialogue. Pero for sure, ang irony is pag-uusapan siya.”
Truly, the irony is alive in KENDI—a silent, vibrant performance that forces the audience to confront a topic often left unspoken. By turning discomfort into conversation, the play ensures that, despite its taboo subject, people will talk about it.
The final play, “By fate’s Roulette,” written and directed by Neptune, a second-year Marketing Management student, explored the allure of gambling and the high stakes of desire. The story showed a mysterious, silent, black figure—a haunting symbol of temptation and the unseen consequences of risk. Through the protagonist’s interactions with this figure, the play examines how the pursuit of instant gratification, even with the best intentions, can spiral into moral compromise and personal tragedy.
Themes of regrets, loss, and the desire to undo one’s choice permeated the narrative, leaving audiences to reflect on how easily chance and temptation can disrupt lives, and how difficult it is to reclaim what has been lost.
The play resonates strongly in the Philippine setting, where online gambling has become increasingly accessible and poses real risks, especially to young people. Moreover, it encourages audiences to reflect on both individual choices and systemic factors that make gambling an urgent social issue.
Neptune admitted that bringing the play to the stage came with its own set of challenges. “The hardest part of turning the play into reality is: wala akong masyadong experience sa Teatro, mostly sa films kasi ako active. This is my first time directing and writing a play that is very theatrical talaga, so I had to overcome that obstacle. Although film and teatro are interconnected in most cases, pero may difference sila. Para sakin mas forgiving ang film kaysa sa teatro na one take lang.”
He also highlighted the collaborative spirit of the production team. “I value the camaraderie and community that we built dun sa production namin. If comfortable sila sa director nila, hindi sila mahihiya magsalita. So ang nangyari is naging very collaborative naging discussion namin, pag may gusto sila sabihin na idea or suggestion, pinapakinggan ko. There’s no hierarchy in my production kahit director nila ako.”
Beyond the Curtain
Across all three productions, the actors stood out for their talent and versatility, many of them stepping onto the stage for the first time. From the biting social critique of STARVES!, to the chilling silence of KENDI, and lastly, the symbolic intensity of By Fate’s Roulette, the performers brought complex characters and challenging themes to life. Their willingness to take creative risks demonstrated not only technical skill but also a deep understanding of the material. Together, they turned the scripts into compelling experiences that resonated with the audience long after the final curtain.
Carlo Gula, the Company Manager of TDL, shared his perspective on the role of theater within educational institutions. “For me, ‘yung importance ng theater play sa educational institution is: napapakita dito ang artistry ng students especially doon sa mga programs na hindi naman centered sa arts. They were able to tap into their artistic side—lead those characters’ lives and be able to reflect their lives on them. So, it’s really important kasi art makes us human—nagbibigay satin ng humanity ‘yung art, and teatro.”
ITUTULOY: Tatlong Dulang Panlaboratoryo was more than a showcase—it was a testament to the creativity and emerging talent of Letranites. Across three very different plays, the Labfest explored pressing social issues. What made the event truly remarkable was not only the boldness of the stories, but the actors, directors, and the team who brought them to life. The Labfest transformed St. Thomas Hall into a space filled with ideas, emotions, and reflections—proving that Letran’s theater scene is alive, and ready to challenge both its performers and audience.