Encore Theater continues to position itself as a steward of the late Floy Quintos’ legacy — and with “Miranda & Yolanda,” that mission becomes unmistakably vital.
Mounted to coincide with Quintos’ second death anniversary, this twin-bill brings together two of his one-act plays originally staged at the Virgin Labfest: “Evening at the Opera” (2011) and “Ang Kalungkutan ng mga Reyna” (2008). These works haven’t been widely restaged since their premieres, despite both earning Palanca recognition, which makes their return not just practical but necessary.
At their core, both plays are political. “Evening at the Opera” follows a socialite who marries into a warlord’s family to preserve status and privilege — an arrangement that feels disturbingly familiar even today. “Reyna,” on the other hand, imagines a fictional Philippines under a woman president who declares martial law and toys with the idea of establishing a monarchy to cling to power. Different worlds, same obsession: the desperate, often grotesque lengths people go to in order to stay in control.
But what makes Quintos’ writing endure isn’t just its political lens but the deeply human character studies underneath. These are actor-driven pieces, and that’s where this production truly excels.
Ana Abad Santos delivers a gripping return in “Opera,” revisiting a role she first played years ago. Time has sharpened her portrayal. What was once a self-absorbed socialite now feels more jaded, more hardened — a woman trapped in a life she helped create, yet can no longer endure. There’s a rawness here, especially in her volatile dynamic with Joshua Cabiladas, that recalls the emotional violence of “A Streetcar Named Desire.” It’s uncomfortable in the best way — tense, explosive, and impossible to look away from.
The production wisely opens with this piece, immediately immersing the audience in a world of wealth and power. Designer Mitoy Sta. Ana builds a set filled with glass, crystals, and chandeliers — beautiful, but fragile, as if everything could shatter at any moment.
Then comes “Reyna,” which shifts gears entirely. Where “Opera” is intense and claustrophobic, “Reyna” leans into satire. Shamaine Centenera-Buencamino fully embraces the absurdity of her role — an authoritarian leader wrapped in delusion, convinced of her own regal fantasy. The premise alone — a president discussing image and decorum with a hairstylist — sets the stage for comedy, but it’s the details that elevate it. The use of “Over the Rainbow” (the Judy Garland version) as a national anthem is both hilarious and unsettling, a pointed nod to the illusions leaders construct, which citizens often sadly accept.
The supporting cast adds texture across both plays. Cabiladas brings a dangerous unpredictability to his role, while Topper Fabregas offers a more grounded presence, evolving from timid to unexpectedly sincere.
Under the direction of Dexter Santos, the production benefits from a level of polish that these works didn’t enjoy in their original Labfest runs. The design, lighting, and even added flourishes like a barbershop quartet give the twin-bill a sense of scale and grandeur.
And yet, there’s an inevitable question that lingers: what would these plays look like if Quintos were still here? His themes remain painfully relevant — political marriages, delusions of power, the public’s complicity — but one can’t help but wonder how he might have sharpened the text for today’s climate, made it more biting, more immediate.
Still, the value of this production is undeniable. There is an entire generation — some even within the theater community itself — who have never encountered these works. And that alone makes Encore’s efforts worthwhile.
If this becomes its defining mission — to continually reintroduce Floy Quintos to new audiences — then it has chosen a path that is both meaningful and necessary. Because as “Miranda & Yolanda” proves, Quintos’ work still speaks. And clearly, he still has a lot to say.
“Miranda & Yolanda” runs until May 3, 2026 at Power Mac Center Spotlight Blackbox Theater, Circuit Makati.
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