There is a lingering stillness that Ang Kaliitan ng Kasalukuyan leaves behind — a kind of quiet ache that many Filipinos, especially overseas workers, may recognize all too well. Staged as part of Dulaang Unibersidad ng Pilipinas’ 48th Theater Season, the play is written and directed by Don Carlos Palanca Memorial Awards for Literature multi-awarded playwright, Arlo Deguzman.
It follows Bulan (Sandino Martin). who has spent 20 years in Dubai working as a writer and director of foreign government propaganda films. Tired and unfulfilled, Bulan longs to return to the Philippines to finally create art that holds meaning for him, but even this desire is met with resistance from his parents (Fermin Villegas and Sheryll Ceasico), who remind him of the life he has already built for them.
Eager to continue his dream of being a creative in his home country, Bulan goes back to the Philippines in the first act. His parents bring him to their hometown in Nueva Vizcaya to reconnect with relatives he has not seen in years. Among the most moving moments is his visit to the grave of his beloved grandmother, Lola Saling (Marichu Belarmino). This scene gently opens a window into Bulan’s childhood, where the play finds its emotional and reflective footing deeply rooted in memory.
The second act shifts back abroad, as Bulan returns to Dubai carrying the same questions that have long weighed on him. It is in this part that Bulan reaches a turning point. Fed up with being looked down upon by foreigners and frustrated with the lack of meaning in his work, he makes the bold decision to resign from his job. This is the moment where he finally stands up for his dream to create art that matters, to reclaim his voice, and to free himself from the internal struggle that has long weighed him down. It is an empowering moment, signaling a release from the pressures and expectations that have defined much of his life abroad.
He also seeks out his elder sister (Tess Jamias), who has also been working overseas in Qatar for a soft drink company for several years. Their conversation becomes one of the play’s most grounded and honest exchanges. When Bulan opens up about his dilemma, his sister reveals her own plans and struggles, leading to a frank and unfiltered dialogue that reflects the realities of siblings navigating life far from home.
These experiences, familiar to many Filipinos and their families, serve less as a straightforward plot and more as a backdrop to Bulan’s internal journey. His story moves across time and space, weaving together memory, longing, and the quiet burden of responsibility.
At the center of it all is Sandino’s performance, which captures Bulan’s quiet desperation and restrained anger. His portrayal feels lived-in, particularly in moments of emotional release. A standout sequence comes at the climax, where his delivery of “Hanggang Mamatay” by Noel Cabangon, together with the ensemble, resonates with raw vulnerability, further emphasizing Bulan’s longing to reclaim a sense of purpose.
The rest of the ensemble, including Jojo Cayabyab, Hazel Maranan, Domileo Espejo, and Mitzie Lao, along with current artist-scholars Kerr Allen, Angel Manansala, Raymond Aguilar, Julianne Quimio, Ralph Onrubia, Janae Delos Santos, and Cy Guerrero, adds depth and texture to the production. Their presence onstage often forms a collective world around Bulan, shifting between roles, movement, and performance styles that highlight both his isolation and the community that surrounds him.
Visually, the production embraces a multi-media approach. The stage, designed as an all-white curved L-shaped structure, stretches across the theater, with its vertical surface used for projections that help define time and place. Scenic design allows for a dynamic flow of ideas, while lighting enhances the shifting moods of the narrative. The set becomes especially effective in visualizing Bulan’s sense of being caught between past and present.
The use of a puppet in depicting Bulan’s younger self and representing figures like his Arab boss during a Dubai shoot proves to be one of the production’s most creative choices. These elements add a layer of imagination that contrasts with the play’s grounded and serious tone.
Still, despite its strong intentions and compelling elements, Ang Kaliitan ng Kasalukuyan occasionally struggles to fully translate its emotional weight into a cohesive whole. The material feels to be carrying more ideas than it can clearly shape, which can make certain moments less impactful than intended.
There are also instances where character interactions feel distant, limiting the depth of connection that could have made key relationships more affecting. While this may mirror Bulan’s own sense of detachment, it can create a gap between the story and the audience’s emotional engagement.
Technical challenges, particularly in sound design, also affect the viewing experience. In some scenes, dialogue becomes difficult to catch, especially during ensemble sequences where multiple voices overlap. At times, background chatter overpowers important lines, slightly disrupting the flow of the narrative.
Yet even with these limitations, the play’s sincerity remains undeniable. Ang Kaliitan ng Kasalukuyan is, at its core, a reflection of the Filipino experience of sacrifice, distance, and the quiet hope of returning home not just physically, but with a renewed sense of self.