It is often said that life is made up of little brilliant things. But in this specific staging of Bawat Bonggang Bagay by The Sandbox Collective, we are reminded that the most brilliant thing on stage is Jon Santos himself. 

Award-winning playwright Guelan Luarca translated Duncan Macmillan and Jonny Donahoe’s Every Brilliant Thing into Filipino. The 1 hour 40 minute one-act play, which celebrates the small things that make life worth it, has been performed in dozens of countries. This current run of Bawat Bonggang Bagay marks Santos’ fourth time performing the show.

Bawat Bonggang Bagay has a simple premise: a boy creates a list of things that encourage him to push forward. This hopeful act grows with him over the years, becoming a coping mechanism and a personal chronicle of life. 

Improvisation, interaction, inclusion

Continuously advertised as intimate and interactive, the play lives up to its promise with its complete focus on human connection. Before the start of the show, ushers give out strips of paper to members of the audience. These strips contain numbers and corresponding words; when Santos shouts a number, the audience member with that number must shout out its corresponding words. 

For the shy people, it is advised by some theatregoers to avoid sitting in the front. Why? Because Santos himself picks out five audience members to act certain moments. If you fit a certain profile, or wear certain clothes, you are likely to be picked. Santos, however, cultivates a welcoming atmosphere that equates to a safe space for anyone and everyone. Even the most apprehensive volunteer can’t help but warm up to him. It is important to note, though, that they take a no for an answer. If you are unwilling to participate, your decision is respected.

When it comes to the five audience members, they are usually asked to respond with whatever Santos tells them to do. Although, there may be moments where they are asked to improvise with something. This led to a heartwarming moment in our show, plus a moment that got everyone laughing their hearts out due to surprise. These moments render each specific performance different and utterly unique. 

Presence and precision

No two shows will quite be the same. This is not because of different audiences, but rather the ways that Santos responds. Given the reliance of the play on willing audience members, it is imperative that Santos is adaptable. He is truly exceptional in adjusting his rhythm and reactions to these differing moments. Such ever-changing interactions may make one stumble, but Santos pulls it off with such ease. 

Santos brings to Bawat Bonggang Bagay his comedic timing and sharp wit, ensuring his presence is nothing but commanding. His execution of the character’s wide emotional range, from childlike whimsy to grown-up grief, solidify his status as a masterful performance. His charisma pulls people in, but it is his gentleness that keeps them engaged. 

Whether he is guiding a shy audience member through a scene, or recalling a memory, Santos proves brilliance does not shout and make its presence known. Instead, it can just whisper, laugh, or listen too. 

Design and direction

Jenny Jamora returns to direct this year’s run of Bawat Bonggang Bagay. The play, as expected, thrives best with a theatre-in-the-round staging. Now performed at the Power Mac Center Spotlight Black Box Theater in Circuit Makati, the space enables Santos to give even more power with his performance. 

The theater’s setup cultivates a shared safe space for everyone in the audience. Jamora understands this; her delicate direction is both restrained and intentional. The main theme of the play, which is mental health, could have resulted in a heavy viewing experience for the audiences, given the theater’s intimate setup. Somehow, Santos finds a way to make the play feel more like a therapy session that viewers will leave invigorated.

Jamora’s direction also makes sure the audience does not act as mere bystanders. The audience become witnesses and participants in a journey that is both personal and resonant. 

Set designer Mark Dalacat also proves he can do more with less. Embracing the demands of the story, Dalacat crafts a set that is deliberately sparse yet deeply thoughtful. Instead of drawing attention to itself, the set design supports the storytelling that unfolds. The lights design by Kiefer Sison also do not overwhelm. One brilliant use of the lights is during a sudden blackout, which enhances that scene’s impact. 

Adaptation and authenticity

The brilliance of the text lies in its message. Luarca’s translation of the play transplants the heart of the play into a context that feels familiar and resonant to Filipino audiences. Some references are localized, some jokes are tweaked, but the emotions hit just as hard. 

What could have been a straightforward, clinical adaptation instead feels lived-in and organic. The use of the word ‘bongga,’ a Filipino slang word that translates to ‘excellent’ or ‘stylish,’ captures the spirit of the text itself. It honors the original text while allowing Filipino sentimentality and warmth to come through. More importantly, the adaptation never loses its authenticity. The list and its contents may be translated, yet the play still evokes universal feelings.

Bawat Bonggang Bagay is the millionth and one reason that makes the world a better place. It reminds us that even in the face of grief and uncertainty, joy still finds a way to sneak in. By listing the most bongga things in life, the play gently nudges us to start our own list and keep adding to it.

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