By Dennis Gorecho
The 21st Virgin Labfest (VLF) carried the theme “Hubo’t Hubad” with the aim of “stripping down all pretense of innocence while showcasing the bold Filipino voice and spirit.”
VLF is known as the Philippines’ only festival dedicated to “untried, untested and unstaged one-act plays,” showcasing diverse voices that touch on complex human experiences and social issues.
Hubo’t hubad is a Tagalog phrase that translates to “completely naked.” It combines two related root words that describe states of being unclothed: “Hubo” from the waist down while “hubad” from the waist up. Together, they emphasize total nudity, the unadorned truth without sugarcoating.
Organized by the Cultural Center of the Philippines (CCP), VLF aims to give voice to marginalized sectors who are normally invisible in public discussion and discourse
Established in 2005, VLF has become more than a playwright’s festival. The VLF harbored the power of community between individuals who share the same intense passion for Philippine theater.
Besides opening doors for intricate human stories, this annual showcase of bold and untested works continues to draw acclaimed directors, well-known actors and diverse, enthusiastic audiences.
The plays for this year’s VLF are grouped into four thematic sets labeled A, B, C, D (“Tengang Kawali,” “Kapit Tuko,” “Balat Kalabaw,” and “Pusong Mamon”) with each set featuring three new plays plus set E (“Dilang Matalim”) which revisits standout plays from previous years.
“Password123, Pilipinas321” by Anthony Kim Vergara centers on Blackteam, a shady underground cyberspace operation disguised as a technical support center but actually functions as a massive disinformation machine. A tech-thriller that pulls back the curtain on the “troll farm” phenomenon.
“Human Rights Story of the Year” by Elijah Felice Rosales revolves around a reporter who is about to receive an international award on her coverage of extrajudicial killings. At her farewell party, a former colleague declares she does not deserve the recognition.
“Patayin ang mga Surot” by Floyd Scott Tiogangco occurs on the last night of Rodrigo Duterte’s presidency. While an Oplan Tokhang operation unfolds, tension builds as a couple conducts their own extermination of bedbugs.
“Balos” by Neil Arkhe Azcuna centers around four medical workers as they faced with a dilemma of treating a wounded fighter. They must decide between staying silent to save lives and speaking up to risk everyone’s refuge.
“Haram” by Alab Usman explores the complex intersections of faith and identity through three interconnected vignettes, focusing on queer Muslims struggling to manage love and religion across borders and barriers. It delves into religious anxiety, the pain of being labeled haram (forbidden), and the ways some queer individuals still hold on to their faith.
“Lualhati” by Gab Mactal is about a former nun turned philosophy professor Jacinta, who comes face to face with Lualhati, a nun from her time at the convent after 20 years. Their memories of faith and romance resurfaced on the last night of the wake held at the convent.
“Elehiya” by Dustin Celestino is an impressionistic montage of conversations of fathers and sons that could have taken place but did not. The play depicts the unspoken feelings that men never talk about as it touches upon fatherhood, parenting, toxic masculinity, and the culture of silence.
“She’s Electric” by Ron Evangelista features a former womanizer meets the love of his life who is an android. However, his friends make a discovery that leads to an insightful discussion on the sexual and philosophical nature of relationships.
“Betamax” by Faith Ferrer Lacanlale follows a woman who begins to see “human pigs” after a minor road accident. As she ascends to madness, the darkness surrounding her family is brought to light.
“Footprint” by Jerom Canlas is about a grieving family turns back time with a virtual archive of memories. While they scramble to make sense of a tragedy and search for answers, their unspoken feelings and memories inflict a much harsher truth. It is linked with the untimely death of Canlas’ youngest brother three years ago.
“Taksyapo!” by John Lapus is set in Tarlac where two strangers uncover an unexpected connection by exchanging tales of love and disappointment within the walls of a rage booth.
“Buhaghag” by Gerald Manuel follows a young lady who is haunted by a long-haired enigma that corners her into choosing between self-preservation and self-destruction.
In addition to the new plays, VLFXXI: Hubo’t Hubad revisits three stories from last year’s edition: Ade Valenzona’s “Polar Coordinates,” Rolin Cadallo Obina’s “The Late Mr. Real,” and Siege Malvar’s “Presidential Suite #2.”
VLF XXI ran from June 3 to 28, 2026 at the Tanghalang Ignacio Gimenez (CCP Black Box Theater).
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“Peyups” is the moniker of the University of the Philippines.
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Atty. Dennis R. Gorecho heads the Seafarers’ Division of the Sapalo Velez Bundang Bulilan Law Offices. For comments, e-mail info@sapalovelez.com, or call 0908-8665786./WDJ