A mother is traditionally seen as the figure who plays a vital role in raising and nurturing us during a certain stage of life. Others would even argue that we need mothers throughout life. The word has long symbolized compassion, unwavering love, strength, resilience, protection, and life.
In recent years, however, younger generations have expanded the meaning of ‘mother’ to include anyone—regardless of gender—who embodies power, confidence, leadership, and a nurturing or protective presence. Interestingly, the term has also evolved into an adjective, used to describe individuals who exude maternal qualities.
If there are creatives who ‘mothered’ so hard at Virgin Labfest XX: Hinog, these are the stage managers and production managers who work relentlessly behind the scenes and ensure that every playwright, director, actor, and production member is cared for and every play is on track. Stage and production managers Camilo De Guzman, Rafa Lubigan, Daniel Gregorio, and Sandie Javier shared how they ‘mothered’ this year’s VLF with much care, passion, and commitment.
For stage manager De Guzman, their role feels like being a mother figure to the individual stage managers involved in each play. Since making their VLF debut in 2022 as stage manager for one of the main featured productions and stepping into the role of festival stage manager last year, De Guzman had come to realize that stage management requires flexibility.
“Not everyone responds to the same kind of guidance. Each person needs their own kind of handling, some even need more reminders. It’s really about getting to know who you’re working with and learning how best to communicate with them,” they said.
Meanwhile, assistant production manager Gregorio, believes that “mothering” in production starts with open and sincere communication. “Kailangan lagi mo silang bantayan, ‘yung mga concerns nila, kailangan mo silang pakinggan tapos intindihin kung saan sila nanggagaling, and only then can you respond, para tama ‘yung mga sasabihin mo sa kanila,” they shared.
When Gregorio first worked with VLF in 2012 as costume mistress who handled wardrobe for the whole theater festival, they learned to treat everyone as their children.
For ten-year VLF veteran Lubigan, stage management is akin to script analysis where one identifies the beginning, middle, and end, then finds a single word that defines the story’s objective. In their case, that word is care.
“Feeling ko, ‘yung super objective ko when it comes to stage management is to care. Everything stems from caring. ‘Yung pagiging demonyo ko, why do I do it, because I care for the production. It encapsulates the journey,” he said.
Lubigan shared that arts administration can sometimes feel mechanical or routinary, or done out of obligation rather than intention. But they always return to their core principle of caring and collaboration.
“Sometimes when you’re managing or doing arts administration, it feels like you’re just being forced to do it because it is work. And sometimes it gets too mechanical, so we need to humanize the practice as well. The best way to describe my practice is to care,” they said.
Much like a mother nurturing her children, Javier, the production manager of this year’s VLF, shared that leading the festival requires patience, empathy, understanding, and communication. It was a role that was entirely new to her. “The very first production manager for VLF from CCP was Nikki Torres, who held the position for 12 years. After which, I took over and I had big shoes to fill, because theater isn’t really my medium.”
Taking on the role felt much like becoming a first-time mother, as Javier had to build connections with VLF regulars and the tight-knit theater community . “But because I work at CCP, I need to be exposed to everything. So, I embraced the role wholeheartedly, even if it wasn’t my network. I didn’t really know many of the people involved with VLF, so I had to start from scratch and build those relationships as I went along.”
This year, VLF returns with HINOG, celebrating 20 years of untried, untested, and unstaged works. Since 2005, it has nurtured—or ’mothered’—emerging and established playwrights, directors, actors, and theater artists, becoming a vital platform for fearless Filipino storytelling.
For more information on the festival schedule and ticket prices, visit the official social media accounts of VLF, CCP, Tanghalang Pilipino, and Writer’s Bloc on Facebook, X, Instagram, and TikTok. For group discounts and ticket inquiries, email salesandpromotions@culturalcenter.gov.ph.
