#TheaterPH - Why I’m Still Thinking About Encore Theater’s Miranda and Yolanda
I’ll be honest: I couldn’t just post about this the moment I walked out of the theater last Sunday, April 19, 2026. Like most of the late Floy Quintos’ masterpieces, this twinbill requires a "digest period." You don't just watch a Quintos play; you let it marinate. It’s been a few days, and the dialogue is still echoing in my head.
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| photo by: @OhOhLeo.ph |
The moment you enter the venue, the stage design for Evening at the Opera hits you. It’s "posh" and "sosyal" in the best way possible—you immediately feel like you’ve been invited into a world of high-stakes political pageantry. If you love a production that looks as expensive as the drama feels, this is it.
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| photo by: @OhOhLeo.ph |
The show starts with theater royalty Frances Makil-Ignacio and Ana Abad Santos. These two are the definition of powerhouse. Because they both successfully crossover between theater, TV, and film, they bring a specific kind of grounded, cinematic intensity to the stage.
They introduce their characters with such subtlety that you don't realize how deep the rabbit hole goes until the plot twist hits. Ana’s Miranda is a study in jaded elegance—a woman clinging to high culture (like organizing an opera for the province) as a shield against the grime of her family’s political dynasty.
Frances as Mamang is brilliant; she’s a haunting presence from the past, dropping sharp, catty one-liners that remind us that corruption in this family is generational.
Joshua Cabiladas’ take on Governor “Big Boss” Bingo Beloto is incredibly effective. He’s very "Erap-coded"—the way he delivers his lines with that specific cadence and "nouveau-riche" swagger is so familiar it’s almost eerie. He represents the raw, uncouth reality that crashes into Miranda's polished world.
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| photo by: @OhOhLeo.ph |
After a quick 15-minute breather, we were transported from the boudoir to the grand, cold halls of a government office for Ang Kalungkutan ng mga Reyna.
I haven't seen Topper play a character this flamboyant before. As the hairdresser Marcel, he was absolutely posh and fabulous, owning every second of his stage time. Watching him navigate the President's "functional madness" with both terror and fascination was a highlight.
Shamaine Centenera-Buencamino is truly on top of her game. Her Yolanda is a fascinating, functional crazy. She plays the character with such rhythmic discipline that you see the calculated moves she makes even as she’s declaring a monarchy and demanding a hairstyle to match.
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| photo by: @OhOhLeo.ph |
Jules dela Paz is a total scene-stealer as the queen’s right hand. Between his comedic timing and the Generals singing a familiar song in various (and hilarious) choreographies, the audience was in stitches. The vocals from the Generals were genuinely powerful, adding a surreal but brilliant layer to the office setting.
If you’re on the fence about watching, here’s why this is a must-see:
- Floy Quintos had a genius for stripping away the public facades of the powerful. This production honors that by being intellectual without being "nosebleed"—it’s sharp, relatable, and deeply Filipino.
- Both sets scream opulence. From the ornate chandeliers to the stylized Philippine flag cape Yolanda wears, the production value makes the entire experience feel like a premium night out.
- You’ll go from being gripped by a psychological thriller about complicity in the first half to laughing at the absurdity of megalomania in the second.
- In 2026, seeing these portraits of political dynasties and lavish displays of wealth hits differently. It’s a timely critique of how power can make leaders lose touch with reality.
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| photo by: @OhOhLeo.ph |
Don't wait. Go for the sosyal aesthetic, stay for the powerhouse acting, and leave with plenty to talk about over dinner.
This production will run until May 3. You may get your tickets here: https://www.ticket2me.net/event/22745
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