So Queer, So Good: Virgin Labfest 2025 Hits a Nerve

VLF will run at the Tanghalang Ignacio Gimenez this June 11 to 29, 2025.

Last week, I was invited to the previews for this year's VLF Sets A, B, and C and here’s my verdict:

This is one of the most inspiring, unsettling (in a good way), and proudly queer seasons Virgin Labfest has ever staged.

This year marks the 20th edition of the Virgin Labfest (VLF) a milestone for the country’s most daring and essential theater festival for new works. Held at the Tanghalang Ignacio Gimenez, VLF continues to be a space for untested, unstaged, and unapologetically bold plays. The 2025 season, HINOG! (meaning “ripe” in Filipino), reflects the artistic maturity of its lineup: emotionally charged, thematically sharp, and more collaborative than ever.

From production design and direction to casting and music, this year’s Labfest feels richer, riskier, and more refined. And let’s be real: the queers carried this season. Across all sets, queer narratives and performances didn’t just stand out they grounded the shows with emotional intelligence, rawness, humour, and truth.

Here's my review without spoilers:

SET A – BUBOT

This set focused on childhood, adolescence, and self-discovery. 

Takbo, Batang Tondo by Yoj, directed by Chic San Agustin-De Guzman, might seem designed for children or young teens, but its emotional core is relevant for all ages. It's a playful piece that uses campy humor and Pinoy wit to explore early friendships, and while some jokes may not land across all demographics, the actors keep the energy alive. Yoj mentioned basing one character on her sibling “just because” a personal touch that gives the piece warmth that is evident throughout the play.

Ang Bata Kag Ang Ilaga by Liane Carlo Suelan, directed by 『 s i g l o 』, stood out as one of my personal favorites this season. Rigel delivered a phenomenal performance: quiet, grounded, and emotionally precise. As Isaac’s story unfolded, it left a deep mark. I found myself internally humming Michael Jackson’s Ben the entire time. The ending is sharp and unforgiving in the best way.

Polar Coordinates by Ade Valenzona, directed by Paolo O’Hara, caught me off guard but not in a bad way, but in how unexpectedly delightful it was. My friends Jack and Michael are paired up in a way that’s surprising and clever. Ma’am Onquit is a scene-stealer, and the story offers something to both math lovers and those of us who flunked or hated Maths.

SET B – MANIBALANG

This set leans into subtle political jabs, grounded comedy, and real-life experiences. Once again, the queers dominated especially in their timing, layered delivery, and emotional depth. The chemistry among actors in this set made the stakes feel real.

Minating ni Mariah ang Manto ng Mommy ni Mama Mary by Eljay Castro Deldoc, directed by Dexter M. Santos, was a rollercoaster. Mariah, played by Lian, is brilliant. The first half of the play is tight and funny, but the latter half felt muddled and tangled. The character of Mentong didn’t quite land for me, and Fr. Mijares started strong but eventually tipped into over-the-top territory. That said, the lighting and staging were exceptional and did a lot to hold the piece together.

Unang Araw by Ivan Villacorta Gentolizo, directed by Cholo Ledesma, was the surprise favorite of this set. It’s dark and consistently chilling. Even though you sense what’s coming, it still shocks you when it does. The play builds suspense steadily, and by the end, you're just trying to catch your breath. Aldo continues to be one of my favorite performers working today: grounded, sharp, and emotionally aware.

Presidential Suite #2 by Siege Malvar, directed by Johnnie Moran, was one of the most anticipated pieces for me. With a cast that includes Kiki (my favorite from Rosang Taba), Direk Andoy, SPIT’s Ariel, and Mula sa Buwan’s MC dela Cruz, this piece was built on ensemble power. Charm as the doctor easily stole every scene. Still, I believe the glue of the whole play was Arriel Diccion’s portrayal of Andy. If that role were played by anyone else, the ensemble wouldn’t have worked as well. Andoy, Kiki, and MC played their sibling dynamics beautifully, even if some audience reactions threw them off enough to break character a bit, laughing along or jumbling a few lines. It happens, and honestly, you can’t blame them.

SET C – KINALBURO

This set focuses on the fragile, layered relationships between friends, lovers, and strangers, and how life tends to get in the way, for better or worse. Here, queer dynamics and narratives are front and center, offering some of the most emotionally rich storytelling of the entire festival.

Mga Magindara sa Siyudad by Chris Joseph Junio, directed by Riki Benedicto, tells the story of two friends trying to survive in a dying circus. The set design is especially well-curated, immersive without being overbearing. Donna, as Maylene, is both moving and quietly devastating. Raf Pineda as Maureen brings levity and heart. Their portrayal of a gay best friend wanting to win ₱15,000 at a singing contest feels so lived-in, so quietly painful; that longing for more outside the circus resonates deeply. Some blocking issues and lighting that was too dark in certain spots could be tightened, but the emotional core lands.

Ang Problema sa Trolley by Imuthis, directed by Adrienne Vergara, had promise from the press conference and it delivered. James Lanante (Vesper), Joshua Tayco (Dido), and Mario Magallona (Odell) work in perfect sync. None of them overpower the others and the direction is clean and emotionally charged, and the ending hit me like a brick.

The Late Mister Real by Rolin Migyuel Obina, directed by Maynard Manansala, is a sharply observed take on a couple fractured by abandonment. Roi as Boyet is annoying, funny, and painfully believable. Shé as Raquel, the former Mrs. Real, is stunning, emotionally sharp, grounded, and heartbreaking. Whether you’ve been married or just know someone who has, the story hits hard. The emotional truths are universal and land like lightning.

Coming Next

I’ll be seeing Sets D and E next week, and if the first three sets are anything to go by, the rest of the season will continue to challenge, entertain, and provoke.

So if you're still thinking about whether to go: stop thinking. Go. 

This year’s VLF isn’t just theater for theater’s sake. It’s a snapshot of where we are as a culture, what we’re grieving, what we’re fighting for, and who’s stepping up to say it out loud. 

HINOG! is more than a theme. It's a declaration. This is a season that's been earned.

Ticketing Information

Tickets are ₱800 for regular seats and ₱1,000 for premium seats. One ticket gives you access to one set of three one-act plays. Tickets are available through Ticketworld, Ticket2Me, and onsite at Tanghalang Ignacio Gimenez.

A 20% discount is available only at the CCP Box Office for senior citizens, PWDs, government and military personnel, and national athletes. Festival passes are valid only within the selected week (premiere, mid, or encore). Regular passes are ₱3,200, while premium passes are ₱4,000. Both include early entry, preferred seating, and a complimentary souvenir program.

Festival passes are sold onsite only. Payments can be made via cash, debit, or credit card. Box office hours are Tuesday to Friday, 9:00 AM to 6:00 PM.