Cover Freddy Sawyer, Bryan Sy and Martin Sarreal take the REP Eastwood Theater’s stage for a limited-run production of Repertory Philippines’ ‘ART’, under the direction of Victor Lirio (Photo: courtesy of Repertory Philippines)
Freddy Sawyer, Bryan Sy and Martin Sarreal take the REP Eastwood Theater’s stage for a limited-run production of Repertory Philippines’ ‘ART’, under the direction of Victor Lirio (Photo: courtesy of Repertory Philippines)
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Catch the limited run of Yasmina Reza’s Laurence Olivier and Tony award-winning play, ‘ART’, translated by Christopher Hampton and directed by Victor Lirio, at the REP Eastwood Theater until June 29
Coming in blind to REP Eastwood Theater’s latest offering is perhaps the most important advice one can give before watching this hilarious and insightful production. With it, one enters the theatre with a fair judgment of who among the three characters prolific French playwright and actor Yasmina Reza crafted has a valid and sensible point. In navigating freely and weighing in on each of the characters’ defences, one appreciates the intricate writing of this play and the nuanced performances of the actors, albeit posing as hysterical to blend wit, humour and absurdity.
However, the plot has already been made clear to audiences once they purchase a ticket to Repertory Philippines’ (REP) ART. With intricate works of art, made by Persons Deprived of Liberty (PDL) dotting the hallway leading to the theatre, labelled with ludicrously affordable prices, one may expect that this play raises the very question that boggles art aficionados, collectors, gallerists and artists alike: “How do you put a price on an artwork?”
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Above A scene from Repertory Philippines’ 2025 production of Yasmina Reza’s ‘ART’ (Photo: courtesy of Repertory Philippines)
A scene from Repertory Philippines’ 2025 production of Yasmina Reza’s ‘ART’ (Photo: courtesy of Repertory Philippines)
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As part of the esteemed company’s Bridge Project, which enables Filipino artists and aspiring theatre practitioners to learn from globally based professionals, REP’s ART was made possible by creatives based in New York, London and Manila. The international cast features London-based Filipino-British actor Martin Sarreal, who appeared in Season 3 of the hit Netflix series, Bridgerton, award-winning Manila-based actor Brian Sy, who was recently seen in The Sandbox Collective’s Tiny Beautiful Things and in Company of Actors in Streamlined Theatre (CAST) PH’s Othello as Cassio and British stage, film and television actor Freddy Sawyer, a Bristol Old Vic alum who appeared in Apple TV’s hit series, Trying.
Written by Reza and translated by British playwright Christopher Hampton, this witty and sharp one-act play features three long-time friends: Serge (Sarreal), Marc (Sawyer) and Yvan (Sy). While it explores the subjective nature of art with an Antrios (a fictional artist written by Reza) painting—an all-white piece tinged with the faintest off-white strips worth two hundred thousand francs—becoming a source of tension, the play also cleverly dives deep into the complexity of friendship and how easy it is for personal beliefs to strain relationships.
Above Victor Lirio stands beside a teaser poster of REP’s production of Yasmina Reza’s ‘ART’ (Photo: courtesy of Repertory Philippines)
Victor Lirio stands beside a teaser poster of REP’s production of Yasmina Reza’s ‘ART’ (Photo: courtesy of Repertory Philippines)
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Directed by Victor Lirio, ART’s creative and production teams include Miguel Urbino (scenic and costume design), Miriam Crowe (lighting design), Fabian Obispo (original music and sound design), Maisie Carter (fight director), Zoe Littleton (voice coach), Uriel Villar (assistant director), Julia Pacificador (associate scenic designer), Hazel Gutierrez Marges (production manager) and Jayvee Carreon (production stage manager).
Besides being the catalyst for revelatory conversations among three friends, unfurling their ill-will against each other, the painting in question also symbolises the self-emptiness that has soured their fifteen-year friendship. Juggling characteristics and temperaments associated with narcissists, avoidants and people pleasers, the characters gradually unveil their true selves and remorse against one another as the story progresses. But buried deeply, both in the painting and their exchange of words, is the possibility to start over and see their friendship’s potential to move forward. Seeing themselves connect with the abstract work on a deeper level has allowed for introspection—the values they once upheld, the pretensions built over the years and the trajectory of their relationships with themselves and their loved ones.
Above A scene from Repertory Philippines’ 2025 production of Yasmina Reza’s ‘ART’ (Photo: courtesy of Repertory Philippines)
A scene from Repertory Philippines’ 2025 production of Yasmina Reza’s ‘ART’ (Photo: courtesy of Repertory Philippines)
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With my extensive immersion in the commercial art scene, I have realised that there are determining factors considered when placing an amount on an artwork. There is provenance, as an acquired artwork traces its history to its long list of collectors or the institutional spaces it was seen in, such as galleries, museums or auction houses. There is, of course, the name of the artist and the prestige it carries with it. Suppose it was by a National Artist or Presidential Order of Merit recipient, the artwork will be valued at an insurmountable amount, no matter if it is a draft (boceto) or the final work. If it were by an emerging artist, it would be reasonably priced. The scale and medium of the work are also important things to consider. Some galleries would price paintings by square metres. Meanwhile, some would try to upsell the work by explaining to the prospective buyer the intricate process and the materials used behind it.
These are just some of the basics, but there are also market analysis, sale records and other complexities within the industry that gallerists take into account when pricing their artists’ works. In ART, however, the symbolic meaning of the Antrios painting and the viewers' resonance with it emerge supreme.
Above A scene from Repertory Philippines’ 2025 production of Yasmina Reza’s ‘ART’ (Photo: courtesy of Repertory Philippines)
A scene from Repertory Philippines’ 2025 production of Yasmina Reza’s ‘ART’ (Photo: courtesy of Repertory Philippines)
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In a way, one can read between the lines of the play that Serge purchased the Antrios painting as a way to mock Marc. Another possible interpretation is that Serge wanted to liberate himself from how his friends perceived him. However, none of these were apparent, as we would always return to how much Serge had completely fallen in love with the painting, that he was willing to pay an insane amount.
But truly, was it insane? How do you put a price, or at least a ballpark value, into a work of art that not only speaks to you but also allows your friends to see the blots in their self-perceived immaculate souls? How do you measure your emotions, frustrations and aspirations when they all mesh together, producing various shades of white that bury the colours within? How can you sever ties with a friend who has known all your colours, even the darkest ones?
Above A scene from Repertory Philippines’ 2025 production of Yasmina Reza’s ‘ART’ (Photo: courtesy of Repertory Philippines)
A scene from Repertory Philippines’ 2025 production of Yasmina Reza’s ‘ART’ (Photo: courtesy of Repertory Philippines)
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Exiting the theatre, I spent more time looking at the masterful artworks outside, reminding myself of art’s much more important value—hope. REP partnered with members of the HOPE Project, an initiative made up of PDLs from the Bureau of Jail Management and Penology (BJMP) in Lipa City, Batangas, to allow theatregoers to purchase any of the exhibited works for a good cause. Founded by jail warden Aris Villaester, the HOPE (or Help One Person Deprived of Liberty Every Day) Project supports the release of qualified and deserving PDLs who are ill, in their senior years, and have no financial means to pay for legal fees.
Much like the characters in the play, may we find meaning and value in art beyond the price and the colours our eyes can see.
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About
Before assuming the Art and Culture Editor position, Franz has always had a penchant for visual and performing arts. He is passionate about exploring and writing about the local cultural scene and rediscovering the country’s storied past and rich heritage. Besides working on this luxury lifestyle magazine, Franz is an avid book reader, local traveller, museum-goer, chorister, and community theatre playwright.
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Franz earned a degree in Journalism from the University of Santo Tomas. He writes about local visual and performing artists and their craft; drinks wines, liquors, and spirits and talks about the creativity of their respective winemakers and master blenders; tries to learn more about business and investments; respects the tradition and artistry that go behind the making of watches and jewellery; and appreciates the genius of architecture and creative design.
As head of Tatler Philippines’ pool of writers, he helps them bring impactful and socially relevant stories to light.
For any leads, you may reach him through @franzsorillaiv on Instagram or franz@tatlerphilippines.com via email.
