With this new production, Albay-based theater group Sining Banwa invites audiences to revisit a story that began a decade ago, one that still confronts the stigma surrounding people living with HIV.
Ten years later, Sining Banwa has once again brought their advocacy play under the soft glow of the stage lights, championing human immunodeficiency virus (HIV) awareness amidst the stigma.
On October 4, journalists, students, and theater enthusiasts packed the intimate Pasakalye Blackbox Art Studio to witness the powerful opening of the 16th Theatre Season, marked by the premiere of “GYMGURLS, TOO.”
With this new production, the Albay-based theater group invites audiences to revisit a story that began a decade ago, one that still confronts the stigma surrounding people living with HIV.
A sequel to the 2015 original “GYMGURLS,” this latest version reunites its characters after ten years, all facing the weight of time, memory, and survival.
After ten years
In “GYMGURLS, TOO,” the four friends meet again after years apart. Their reunion is interrupted when a mysterious delivery boy arrives with a package addressed to them.
What follows is a journey through dreams, heartbreak, and self-discovery as they confront their shared past and the truths they’ve long avoided.
At its core, the play explores religion, family, romantic relationships, discrimination, and the struggles of the LGBTQIA+ community. But beyond these, it asks an important question: How can love, empathy, and awareness overcome fear and stigma?
For Frida Deborah Delavega, the artist who portrayed Sherry, reprising her role after nearly a decade, carried deep emotional weight. She shared that performing the play again reminded her of its lasting impact.
“When we first staged Gym Girls 1 at CCP, I met people living with HIV who said they felt empowered seeing our performance. That’s when I realized we need someone to step up and speak up, because HIV is not a death sentence,” Delavega recalled.
Hyacinth, one of the audience members of the play, said that “GYMGURLS, TOO” opened her eyes to the real struggles of people living with HIV.
“The play showed me the struggles of those who are living with HIV, especially the fear they experience. I think it reminded me that we need to be more supportive of them and ask questions, because they won’t always speak up unless we do,” she said.
A sequel with a purpose
The first “GYMGURLS” was performed nearly ten years ago, centering on four individuals living with HIV who found solace and strength in each other inside a gym: a space that, for them, symbolized both discipline and healing.
According to Sari Saysay, director of the production, the decision to revisit the play after a decade came from a shared sense of unfinished work.
“We saw the need to continue the advocacy. Ten years ago, there were a lot of developments in terms of awareness, but there’s still a need to educate people through theater. We want to remind everyone that HIV is not a death sentence. With the right treatment, you can live a normal life,” he said.
Director Saysay added that “GYMGURLS, TOO” embodies Sining Banwa’s mission: to use art as a mirror of society and a medium for education.
“This production is very important because it shows who Sining Banwa is. HIV and AIDS awareness is one of our advocacies. Our campaign is to reduce or eliminate stigma. That’s our brand—advocacy plays, education through entertainment,” he explained.
Beyond HIV awareness, Sining Banwa has long been known for addressing environmental and sociopolitical issues. But for this season, the group chose to return to the story that first made audiences confront the realities of living with HIV.
“Theater is a form of dialogue between the actors and the community. Through theater, we hope to empower people to ask questions and look deeper into social issues. When the audience leaves the theater, we want them to carry that message with them,” he added.
Broader social relevance
The message of “GYMGURLS, TOO” extends far beyond the stage. In a country where stigma continues to affect people living with HIV, the play becomes both a reflection and a call to action.
It challenges audiences to confront long-held biases and to recognize that HIV is not a punishment, but a health condition that can be managed with compassion and awareness.
Through productions like this, regional collectives such as Sining Banwa PH prove the power of art in shaping dialogue and building empathy. By giving voice to marginalized stories, they remind us that theater is not just for entertainment; it is a space for truth, courage, and community healing.
As the lights dimmed at the Pasakalye Blackbox Art Studio, the audience’s applause echoed what “GYMGURLS, TOO” stood for: the resilience of those who continue to fight stigma, the power of storytelling, and the enduring spirit of advocacy through art.
Founded in 2011, Sining Banwa PH has long been a voice for Bicolano artists using theater as a tool for education and advocacy. Known for tackling issues from climate change to gender equality, the group has built a reputation for producing performances that speak directly to the people, often in their own dialects and community spaces. | Jay-r Nabor, Michael Josh Toledo
