ABOUT US BUT NOT ABOUT US LIVE

When the material itself is already good, you expect the output to be the same. True enough, the play delivered. Not only that, but the theater version surpassed the film version. Seeing the characters live adds more volume to the story. Also, witnessing a third character in the flesh takes the game to a whole new level.

At first, there were only two characters on stage. Romnick Sarmenta and Elijah Canlas looked stiff, shy, and pretentious — which is quite appropriate for the situation they’re in.

Their accent sounds unnatural, including that of the waiter. Although gradually, you can get used to it as you’re more engrossed in the grandness of the story than bothered by the little accent details.

The variety of topics being shared in just one sitting is initially overwhelming. Nonetheless, all this information is essential to making the latter part more resounding.

The two actors give the same kind of energy for most of the first part, so it’s refreshing when another character enters, bringing the total opposite.

Andoy Ranay delivers a masterclass in acting porn because he is an expert at making love to his lines and his character. He knows exactly which words to emphasize for greater impact. His delivery is natural and alive, making every second of his presence a delicious treat. You can’t get enough of him. It’s addicting.

He can shake things up, exposing the inner layers of all the characters (including his own) and summoning the devil inside each one. After he appears on stage, the play is never the same as it was.

The characters are becoming more complex. Their different personas are filling the room.

Elijah Canlas unapologetically embraces the monstrous side of his character. It’s wickedly enjoyable to see him get hungrier by the minute.

The subtlety and discreetness in Romnick Sarmenta’s performance add more gray areas to his character.

When everyone has already loosened up, that’s when it also gets more exciting. No more lies and inhibitions. The dark side of every character becomes darker.

From being a predator to an ego booster to a user, they all have the tendency to inhabit each role. You keep asking who’s more evil. Your judgment of the characters keeps changing, making the show more riveting.

It’s dragging whenever the conversations keep going around in circles. On the other hand, the stage sometimes moves in a circular motion — and it elevates the scenes just when they need it.

The blocking can get awkward and disorienting at times. The sounds, lights, and stage design are underwhelming, but the artistry in the script is constantly filling the gaps.

The show makes you paranoid, questioning the integrity behind every work of art.

With all the stories out there, it makes you wonder which are about the artists and which are not. Secrets have the power to disguise themselves as art, endlessly blurring the extent of fiction.

This could be about everyone

but not about everyone.

Napakalawak ng sakop, pero hindi naging makalat. Sumisigaw siya, pero hindi sabog panoorin.

𝑻𝒉𝒊𝒔 𝒑𝒊𝒆𝒄𝒆 𝒐𝒇 𝒂𝒓𝒕 𝒊𝒔 𝒇𝒓𝒂𝒈𝒊𝒍𝒆 𝒚𝒆𝒕 𝒄𝒐𝒎𝒑𝒐𝒔𝒆𝒅.