Cover A scene from the stage play version of ‘About Us But Not About Us’ (Photo: Sef Tafalla)
A scene from the stage play version of ‘About Us But Not About Us’ (Photo: Sef Tafalla)
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How does a cinematic masterpiece translate to live theatre? Inside the raw, unapologetic stage adaptation of ‘About Us But Not About Us’, where ghosts of the past are brought vividly to life
Transitioning an acclaimed film to the stage is a delicate balancing act, but the live adaptation of About Us But Not About Us proves to be a masterful reimagining. Running until March 8 at the Power Mac Center Spotlight, Blackbox Theater in Makati, this production breathes devastating new life into Jun Robles Lana’s Palanca-winning story. Directed by Tuxqs Rutaquio, the play centres on a literature professor and his student meeting at a restaurant, where an exchange of secrets and lies reveals a sinister tie to a past tragedy.
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Above A scene from the stage play version of ‘About Us But Not About Us’ (Photo: Sef Tafalla)
A scene from the stage play version of ‘About Us But Not About Us’ (Photo: Sef Tafalla)
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While the original material, which garnered Best Picture, Best Director and Best Screenplay at the 1st Summer Metro Manila Film Festival, was confined by the language of film, Lana’s stage script embraces the exposed, open nature of live theatre. This translates into a highly visceral production where the characters’ internal frustrations become palpable enough to be seen through the walls.
The most jarring departure from the film is the personification of Marcus, portrayed by Epy Quizon (and alternating with Andoy Ranay). Once merely a spectral figure, Marcus is now physically present on stage, listening and looming over the conversation, which fundamentally alters the emotional stakes.
Director Tuxqs Rutaquio brilliantly physicalises the characters’ internal chaos by designing a world of liminality. The set features a massive crumpled paper backdrop acting as a totem of Marcus’s memory, screens that represent the cutting open of secrets and a revolving stage that mirrors the machinations of Eric’s world.
Above A scene from the stage play version of ‘About Us But Not About Us’ (Photo: Sef Tafalla)
A scene from the stage play version of ‘About Us But Not About Us’ (Photo: Sef Tafalla)
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Romnick Sarmenta breathes a different kind of fire into Eric; unlike his suppressed and lost on-screen counterpart, the stage Eric possesses a tighter, more manipulative grip on his unfolding reality. For Elijah Canlas as Lancelot, the continuous flow of live theatre allows for a deeper, more cohesive crafting of his damaged character’s arc.
To suit the exposed nature of the stage, Lana discarded the film’s ambiguous text-message finale in favour of a more direct and didactic ending.
The production wisely retains its pandemic timeline, utilising the era not just as a backdrop, but as a vital contextual anchor. The isolation of the pandemic injects a profound sense of urgency into the characters’ choice to break quarantine and meet face-to-face. The setting mirrors the warped passage of time and the fragmented, disoriented mental states that defined an era when the world stood still.
Above A scene from the stage play version of ‘About Us But Not About Us’ (Photo: Sef Tafalla)
A scene from the stage play version of ‘About Us But Not About Us’ (Photo: Sef Tafalla)
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At its core, the play is an unapologetic autopsy of toxic relationships and intergenerational trauma. The stage version introduces piercing new dialogue that dissects how young writers leverage their youth to manipulate older mentors, perpetuating a cyclical tradition of abuse. It serves as a stark exploration of how trauma dictates decisions and alters memories, demonstrating how deeply damaged individuals navigate their desire for control and connection.
Ultimately, About Us But Not About Us demands that its audience confront the unsettling sincerity of toxic dynamics. It is one of the good starts this year in Philippine theatre that lingers long after the final bow.
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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.
Work
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.
