Legazpi City –For centuries, theater has not only entertained but also challenged societies to confront uncomfortable truths. El Mahusay does exactly that. Staged on March 18-19 at Bicol University College of Arts and Letters Amphitheater, the play boldly tackles one of the Philippines’ most controversial issues—extrajudicial killings (EJK). Influenced by Shakespeare’s Titus Andronicus, it weaves together themes of vengeance, power, and moral judgment, delivering an unflinching portrayal of a reality that continues to haunt the nation. At its core, El Mahusay explores the idea that “Justice is a choice.”
The Inspiration Behind the Theme
Tiffany Dorothea Espinosa, playwright of El Mahusay, applies theater theory by reimagining Shakespeare’s Titus Andronicus within the context of extrajudicial killings (EJK) during the Duterte administration. This period, marked by a highly controversial anti-drug campaign that led to 20, 322 deaths from July 2016 to November 2017. Recognizing the play’s intense themes of violence and chaos, Espinosa saw an opportunity to mirror contemporary Philippine society. The play’s original concept was centered on the realism of EJKs, but they eventually transformed it into a game show format to challenge the audience’s perception of justice and morality.
“We thought of making it a game show, something that might be a bit difficult for the audience to grasp since the director’s approach is also theater theory,” Espinosa explained.
Despite Duterte’s term having ended, the demand for justice remains. “Actually, we didn’t expect it, because, you know, Duterte’s term has been over for a long time. Although, we’re still asking for justice for the victims of EJK. We’re in a new administration now, and we thought we had already forgotten Duterte,” she added.
Just days before the play’s performance, former Philippine President Rodrigo Duterte was arrested by national authorities on March 11, based on an International Criminal Court (ICC) warrant accusing him of crimes against humanity. The resurgence of EJK cases in the news further underscored the significance of the production. Espinosa argues that even without these developments, the play remains timely as accountability has not yet been fully realized. She draws a connection between Duterte and Titus Andronicus, emphasizing their shared tendencies toward violence and misogyny.
Challenges in Casting and Directing
Lorenzo Andes, co-writer and director, shared the difficulties in casting actors for the play. While auditions were conducted, they already had actors in mind who fit the roles. The casting process was rigorous, as they needed actors who could embody the emotional weight of their characters.
“To be honest, I’m not really that experienced in directing, but I can handle it, and I’ve tried it before. With the help of our playwright, we were able to create a masterpiece that will leave a lasting impression on the people,” Andes told BicoldotPH.
The play underwent numerous revisions over a year, with many ideas coming in, but the team remained committed to producing a work that would leave a lasting impact on audiences.
A Bold Theatrical Approach
The staging of El Mahusay is a striking spectacle of white contrast to its colorful promotional posters as seen in their social media promotions. What looked lively in its pubmats unfolded onstage in stark white, with flowing white fabric slowly stained with blood as the show progressed–turning its bright illusion into something far more unsettling.
The actors, many of whom have personal connections to the themes explored in the play, delivered performances that were both haunting and deeply personal. Among them was Ronel Madrilejos who portrays the character El Mahusay/ Diego El Mahusay. He expressed his struggles in internalizing such a heavy role.
“Perhaps the hardest part is internalizing the character while also carrying the weight of the story. As a father, it’s incredibly difficult to lose a child because of what happens in the play. It’s also very challenging to portray such a cruel character—it’s so heavy that at times, you don’t even know if you can handle it. It feels like you could break down at any moment after the show, and even when it’s over, the story stays within you,” he said.
Madrilejos reflects on the weight of his role, acknowledging both the pressure and privilege of bringing such a powerful story to life. For him, the opportunity to portray such a character serves a great purpose to amplify unheard voices and a reminder that the fight for justice continues.
Through its powerful storytelling and thought-provoking performances, El Mahusay goes beyond the stage, leaving audiences with an urgent call to awareness and action. The emotional weight of the play resonated deeply with viewers, sparking introspection and critical discourse.
“This is a show where I won’t walk out of the theater feeling relaxed. We Filipinos are known as drama lovers, and we often want happy endings in stories. But this play is deeply unsettling. Even after leaving, the images and events will linger in our minds and hearts—even in our sleep,” Prof. Uno Armena stated.
“While watching, so many ‘what ifs’ came to mind. What if our government is just a performance? Like these clowns pretending to be happy, but behind the white curtain, there is blood, crime, and corruption? What if everything is just a show? It’s unsettling, but I’m glad because what I teach in class—the history of theater, from Greek theater to medieval to Shakespeare—was effectively used in this production,” he reflected.
As the final scene fades to black, a haunting silence lingers — not just in the minds of those who witnessed it, but in the broader conversation about truth, power, and accountability. In a country where stories of EJK often fade into statistics, El Mahusay ensures that the voices of the victims and those left behind are not forgotten. IKyla Literal, Froilance Alcazar