There is a quiet violence in the homecoming of an OFW (Overseas Filipino Worker)—a tension between the “grand” persona expected by the community and the hollowed-out reality of the person standing in the foyer.
In Dulaang UP’s latest triumph, “Ang Kaliitan ng Kasalukuyan,” playwright and University of the Philippines’ new artistic director Arlo Deguzman masterfully dissects this duality, proving exactly why his Palanca-winning voice is essential for the modern stage.
The gravity of the moon
The story follows Bulan—a name meaning “moon” in Ilocano—portrayed with a devastating, soulful precision by Sandino Martin. Martin, transitioning seamlessly from screen to stage, anchors the production as a Dubai-based OFW returning to his family in Manila then going back to work abroad.
The play excels in magnifying the “smallness” of the present. Deguzman moves away from broad strokes of tragedy, choosing instead to focus on the festive facade: the forced laughter of homecoming reunions, the distribution of pasalubong, the exploitative requests of parents, and the ticking clock that signals the required return to becoming an ATM.
A technical masterclass
The production is a feast for the modern theater-goer. The pacing is relentless, utilizing multiple settings that shift with cinematic fluidity.
Two particular creative choices stand out: the puppet show and a live video conference. These techniques bridge the gap, answering questions the viewers have in mind.
Modern themes like vlogging and homosexuals bearing children are also embedded into the play to give a breezier moment, a requirement to break the gloomy atmosphere of the play.
The central symbolism of the travel luggage is used to brilliant effect. It is not just a container for clothes; it is an anchor, a burden, and eventually, a vessel for the family’s collective history.
From heavy hearts to desert sands
The emotional arc of the play is unconventional. The earlier scenes are heavy to bear. Yet, as the two acts unfold over two hours, the play paradoxically becomes more “enjoyable” as the characters’ guards drop.
By the final act, the tone shifts into something light yet still heart-wrecking. In a stunning piece of stagecraft revealed only when the house lights rise, it is discovered that the stage has been flooded with actual water. This creates a staggering visual irony; while the final scenes are set in the parched landscape of the Middle East desert, the characters are literally wading through the fluid, drowning the weight of their own history.
The March 21, 2026 performance saw icons like National Artists Ricky Lee and Ramon Santos in the audience—a fitting testament to the play’s significance. “Ang Kaliitan ng Kasalukuyan” is a love story to the children of OFWs who can put a good twist to the real story in the actual world.
Heartbreaking, innovative, and essential. This is another good show by the Dulaang UP.
Catch the remaining shows this March 27, 28 and 29.
Text\Words by Christian Aligo
Photos by Charity Merces
