Untried, untested, and unstaged plays are the main attraction of the Virgin Labfest (VLF). But after 19 seasons, it became so much more. VLF has transformed into a garden of culture and experience, mirroring the diverse voices and perspectives reflective of the Filipino identity. With its forthcoming 20th anniversary, co-founders Herbie Go, former Artistic Director of Tanghalang Pilipino (TP) and Palanca Hall of Famer Rody Vera looked back on the VLF’s origins and the many chaotic stories behind its curtains.
Cast and Production Team of VLF19 Set A (Pictures from Rafa Lubigan)
The very idea of the VLF blossomed during a 3-year production in Yamaguchi, Japan. Go and Vera were the Philippine representatives for a multicultural collaborative theater project sponsored by the Setagaya Public Theater. Out of 16 artists from all over the world, they were the only Filipinos alongside director Jose Estrella.
Cast and Production Team of VLF19 Set B (Pictures from Rafa Lubigan)
“Rody [Vera], let’s produce a festival of new plays,” was Go’s simple invitation while they were preparing for their culminating show, Hotel Grand Asia. Despite having an informal discussion, he was inspired by their artistic journey in Japan. Go even likened the experience to the spiritual awakening of luóhàns (devout disciples of Buddha): “It felt spiritual because it was a bunch of artists coming together to create new work.”
Because he was Chinese-Filipino, Go recalled numerous instances of being othered, especially in school. The dejected feeling, however, only fueled his fight for inclusivity. “I vowed to be more accepting, [and] more inclusive in my work even before the word ‘inclusivity’ became fashionable,” he narrated proudly.
Cast and Production Team of VLF19 Set C (Pictures from Rafa Lubigan)
And so in 2005, Go and Vera produced a festival celebrating inclusivity: the Virgin LabFest. They began with actors from different theater companies such as the Philippine Educational Theater Association (PETA) and Tanghalang Pilipino (TP).
It was National Artist Rolando S. Tinio, Go’s theater history professor, who planted the seed of VLF in his mind. Tinio made Go realize the importance of text after every theater run.
“Nothing is original. All ideas have been thought of and executed,” said Go, admitting that VLF is not a new concept. He drew the idea from Dulaang Talyer’s “Fringe Festival” which would sometimes feature original works and stage off-season productions.
“Eventually, the VLF offered a place where a repertoire of Filipino directors can guide different artists of PETA, TP, etc.,” said Vera.
VLF became an intersection of styles and schools of theater, catching the attention of the Cultural Center of the Philippines (CCP). With the participation of the CCP, the VLF turned into an annual tradition of the Philippine-leading arts institution. “That is the legend of the Virgin LabFest. Staging new works isn’t easy, especially with limited resources. It just really took a whole village,” Go elaborated.
Cast and Production Team of VLF19 Set D (Pictures from Rafa Lubigan)
From its colorful origin to its current state, the VLF harbored the power of community between individuals who share the same intense passion for Philippine theater. Go began VLF as a humble initiative, “But it has blossomed into a fruition of creativity and collaboration.”
After almost two decades, VLF has become more than a playwright’s festival; it is now a community. VLF also inspired other festivals to do the same, furthering its goal of finding and guiding budding playwrights. “I now know that this is for me: inspiring several people in different regions to do the same,” said Vera. VLF has been established in Cagayan de Oro and Bacolod. In Legazpi, Albay, independent theater company Sining Banwa began staging original play submissions from the region.
Cast and Production Team of VLF19 Set E (Pictures from Rafa Lubigan)
VLF was Go and Vera’s small home garden back in 2005. Now, the festival consistently flourishes with diverse stories and will continue to do so in its 20th year with: Eljay Castro Deldoc’s MINATING NI MARIAH ANG MANTO NG MOMMY NI MAMA MARY, Ivan Villacorta Gentolizo’s UNANG ARAW, Nelsito Gomez’s ANNIVERSARY, Imuthis’ (Harvey Rebaya Sallador) ANG PROBLEMA SA TROLLEY, Chris Joseph Junio’s MGA MAGINDARA SA SIYUDAD, Jobert Grey Landeza’s MOMMY G, Ryan Machado’s DON’T MEOW FOR ME, CATRIONA, Siege Malvar’s PRESIDENTIAL SUITE 2, Rolin Migyuel Cadallo Obina’s THE LATE MR. PALMA, Liane Carlo R. Suelan’s THE ORPHAN AND THE RAT, Ade Valenzona’s POLAR COORDINATES, and Mikaella Yoj’s TBT: TAKBO, BATANG TONDO.
Revisited plays from VLF19: Pintog’s setlist includes Joshua Lim So’s PAGKAPIT SA HANGIN, Jhudiel Clare Sosa’s IDENTITÉ, and Elise Santos’ SA BABAENG LAHAT.
Besides opening doors for intricate human stories, VLF co-founders Go and Vera wished for the Philippine education system to develop Filipino playwrights with courses and venues dedicated to theater. Vera hoped more artists would be given the opportunity to declare themselves full-time theater actors. He stressed, “I want to think that’s what VLF does. If there’s a venue for plays to be performed [in], then playwrights will be encouraged to write more.”
While looking forward to another decade of VLF, both Go and Vera felt reassured that their precious garden of stories was in good hands. It started as a playground for new artists but has evolved into a space that celebrates inexperience and experience coming together. “It’s very heartwarming to see our garden bloom with a multitude of voices and perspectives. Through VLF, we realize that we have a vibrant tapestry of stories and experiences as Filipinos,” added Go.
