Miss Philippines as a full-length play tells the story of a slum community in Manila struggling to mount a gay beauty pageant in the middle of Duterte’s ‘War on Drugs’
Yes, Miss Philippines is stil running!
For those who are asking, the short play running in the festival is the opening scene of longer play-in-progress. This is actually my newest full-lengt piece on stage since 2015 when I wrote Mas Mabigat ang Liwanag sa Kalungkutan (Light Falls Heavier in Sorrow).
Just a teaser on what the full-length Miss Philippines looks like.
The play revolves around a story of a slum community in Manila in Duterte Philippines where only women are left to survive since their husbands, sons, lovers, and gay male friends are either killed through extra-judicial killing, fled, jailed, or missing (forced disappearance) in the bloody government campaign against illegal drugs since 2016.
In the full-lenght play, all the characters are women from different ages and backgrounds: a grandmother who survived the war in Mindanao during the Marcos Martial Law regime, a Filipina domestic helper who just returned from abroad, a nurse waiting for her flight to London, transgender women, a mother, a former Communist rebel turned street vendor, a lesbian journalism student, and a Muslim woman. All these women have three things in common: poverty, the absence of men in their lives because of state violence and persecution, and the various ways of coping with loss.
Mimi and Madame Stella are just the two in the ensemble of women struggling to mount a gay beauty pageant in the middle of the fascist Duterte regime’s ‘War on Drugs’ in the Philippines.
Miss Philippines is a play in three acts exploring the themes of loss, violence, beauty, and the power of collective resistance to a patriarchal fascist regime in the present Philippines. Under the Duterte government, extra-judicial killings of suspected drug pushers, users, human rights activists, indigenous peoples, progressive cultural workers, and members of the media are rampant and being normalized.
In a pageant-crazed Philippines, beauty contests are important cultural markers. Duterte‘s popularity is still unchallenged in the archipelago. His supporters call him Tatay Digong—‘tatay’ literally translates as ‘father’ in the Filipino language. The killings that he orders are seen as punishment of the ‘tatay’ to discipline his ‘children’. The violence and the culture of impunity in the Philippines is framed on a power structure that is definitely patriarchal.
The opening scene of Miss Philippines is still running in New Earth Theatre’s New Stories Short Plays Festival, a festival of 17 short plays .
Miss Philippines is one of the four plays under development commissioned under New Earth’s Professional Writers Program. Are you excited to meet the rest of the women of Calle Real?