Productions

by Eugène Ionesco (Filipino Translation by Rolando S. Tinio)

Featuring Teatro Meron’s resident actors, this iconic absurdist play satirizes bourgeois life and communication breakdown. The Santoses engage in nonsensical small talk. Their guests, the Martins, absurdly deduce they are married. The doorbell rings repeatedly with no one there, causing arguments. The Fire Chief arrives, laments the lack of fires, and mentions “the bald soprano,” causing confusion. Language completely disintegrates into chaotic shouting. The play then restarts with the Martins uttering the Santoses’ opening lines, implying an endless, meaningless cycle.

(shows on Aug 8, 9 [3 shows], and 10 [2 special shows within two separate special invitational events; limited tickets for walk-ins in these two shows])

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MEDEA by Euripides (Filipino translation by Rolando S. Tinio)

Featuring Miren Alvarez-Fabregas (of “Mga Multo” fame) in perhaps the most electrifying and visceral portrayal of the betrayed and vengeful Medea. Supporting this tour de force are acclaimed theater veterans like Yan Yuzon, Joseph dela Cruz, Katski Flores, Gold Soon, Pickles Leonidas, Mark Aranal and Chot Kabigting.
venue: WhyNot Makati

Betrayed by her husband Yason, who abandons her to marry Glauce (daughter of King Creon of Corinth), the sorceress Medea is exiled as a threat. Granted one day before banishment, she plots vengeance. She secures future asylum in Athens from her friend Egeo by promising to cure his sterility. Feigning reconciliation, Medea sends Yason’s new bride poisoned gifts—a coronet and robe—that kill Glauce and Creon. To inflict ultimate suffering on Yason, Medea does the unthinkable. She escapes Corinth in a dragon-drawn chariot provided by her grandfather, the sun god Helios, leaving Yason without anything and broken. This tragedy explores vengeance, betrayal, and the consequences of shattered oaths, culminating in Medea’s devastating acts of retribution.

Waiting for Godot
by Samuel Beckett

featuring Paolo Fabregas as Vladimir and Jamie Wilson as Estragon

venue: TBA

Two tramps, Vladimir (Didi) and Estragon (Gogo), wait endlessly by a barren tree on a desolate road for the mysterious Godot, who never arrives. To pass the time, they engage in circular conversations, contemplate suicide, and encounter the abusive landowner Pozzo and his enslaved, speechless carrier Lucky—who performs an explosive nonsensical monologue when commanded to “think” . A boy arrives to announce Godot will not come today but “surely tomorrow.” The next day repeats identically: the tree now has leaves, Pozzo is blind, Lucky is mute, and the boy (or a different one) delivers the same message about Godot’s non-arrival . Vladimir and Estragon again consider hanging themselves but lack a rope, and though they resolve to leave, they remain motionless as the play ends.

Ang Apologia ni Socrates
by Plato (Filipino Translation by Fr. Roque J. Ferriols, SJ)

featurng Ron Capinding as Socrates and Joseph Dela Cruz as Meletos

venue: TBA

Plato’s Ang Apologia ni Socrates records Socrates’ defense speech during his 399 BCE trial in Athens, where he faced charges of corrupting the youth and impiety. Socrates refutes the accusations by explaining his divine mission to question Athenians’ false wisdom, famously comparing himself to a “gadfly” awakening the state. He argues that corrupting others would harm himself, rendering any offense unintentional, and exposes contradictions in the impiety charge. Socrates declares “the unexamined life is not worth living,” refusing to abandon philosophy. Found guilty and sentenced to death, he rejects exile or silence, calmly accepting his fate by stating that death may be a blessing—either peaceful oblivion or an afterlife conversing with heroes. The work stands as a timeless testament to intellectual integrity and the courage to challenge conformity.