Over a game of cards, the moon suddenly turned red. It can only mean one thing: something bad is imminent. 

Set in 1993 at the Marag Valley, declared a no man’s land due to being the communism capital, Anino sa Likod ng Buwan is a tense thriller that amps up the tension as one thrill after thrill is introduced on stage.

This rerun of Anino sa Likod ng Buwan largely remains the same as its run in early 2025. However, it’s still a delight to watch, thanks to riveting dialogue from Jun Robles Lana and stellar performances from its three-member ensemble.

Engaging depiction of masculinity and sacrifice

Written by a 19-year-old Jun Robles Lana in 1993, the award-winning script is about a married couple and a soldier who all bond over sardines and cards in an isolated hut. Their conversations, however, reveal something far more sinister.

The play is centered around a philosophical question: who is the real enemy? And why do both the communists and the soldiers believe they’re the ones on the right side?

While its use of machismo may prove to be scintillating, Lana does well in exposing the fragility of masculinity through the pervasive equation of masculinity to manhood. What society often glorifies as strength is a fragile construct built on fear and repression.

Yet its central theme of sacrifice is what makes the play resonate. Sacrificing your body, family, and self, all for the kilusan. It’s what makes the play so engaging and rewatchable – watching these three characters deal with the extent of what they’re willing to go through for a cause that demands everything. 

Same actors, equally commanding

The outstanding script needs to be paired with outstanding actors.

Thankfully, the same actors from its first run – Elora Españo, Martin del Rosario, and Ross Pesigan – rise up again to the gargantuan task marvelously. 

Elora Españo (who alternates with Denise Esteban) displays her brilliance once again as Emma, the wife of Nardo. 

Despite being the only character who is on-stage for the play’s entire 1hr 45m duration, Españo never falters. As Emma goes through a swath of feelings, ranging from heartbreak to euphoria and surprise to fury, it’s Españo’s intense dedication throughout that keeps the audience’s attention on her. Españo is simply a magnetic presence who you can’t help but be truly astounded by, even if you’ve already watched the play or the movie beforehand. 

Martin del Rosario (who alternates with Edward Benosa) is commanding once again on stage as Joel, the soldier Emma and Nardo struck up a friendship with.

Joel’s volatile nature kept tensions high, thanks to del Rosario’s commitment to the demands of the source material. His desperation is also wholly believable, and his rage truly terrifying. 

Ross Pesigan (who alternates with Vincent Pajara) gives an assured performance once again as Nardo, the husband of Emma.

Vulnerable yet assertive, Pesigan shines best when his Nardo is at his most furious. The character’s outbursts never feel excessive, even with their warranted excess. It is a layered, lived-in performance that Pesigan excels in giving.

Overpowering the political

While the play has an especially strong script rooted in deception, disguise, and distrust, this current staging tends to sensationalize.

This is evident in the play’s intimate scenes, which completely captured the audience. Too stunned to speak, perhaps. Even with its presence being necessary to advance though, its more pronounced depiction here as compared to the last run felt regressive. At times, it seemed like it leaned into nudity just for the sake of being the talk of the Philippine theatre community.

The play shines best when it’s all dialogue. Tuxqs Rutaquio, the director, succeeds in translating the script for the stage – apparent in the various reactions that certain pieces of dialogue elicited from the audience. 

Translation to the stage

Originally a play turned Gawad Urian-winning film in 2015, Anino sa Likod ng Buwan was then adapted back for the stage in 2025. 

The film adaptation, which was edited to make it seem like one long take, proved engaging because of this presentation. The play captures that uninterrupted spirit, thanks to the absence of an intermission.

Its absence may prove to be daunting, but its absence is very much merited. For a play that builds on and on to previous conversations, an intermission will no doubt ruin the tension. It’s immensely fun to watch everything play out on stage. 

As a result, everything feels more urgent and more hasty. Rutaquio’s direction kept audiences drawn in. 

Rutaquio’s set design, a humongous tree and simple furniture, is static. This forces all the attention on the actors, which is very much needed for a script that showcases an actor’s acting chops. 

John Batalla’s lighting design, in hues of purple and blue, cultivates a sensual atmosphere dissimilar to the film’s stark absence of color. These accentuate Rutaquio’s vision very well. Its soundscape, particularly the rapid gunshots in the background, was appropriate and alive, thanks to sound designer TJ Ramos. 

The play is tense and thrilling, full of life, thanks to its talented team.

Despite the extensive conversations, it is never boring. It becomes much less boring when del Rosario comes back to the hut with a single tooth; there is a confrontation.

Further information

Anino sa Likod ng Buwan will run from 17 October to 9 November 2025 at the PETA Theater Center. Matinee shows are at 3:00 PM and evening shows are at 8:00 PM. Tickets cost PHP 1456 to PHP 2464. Tickets may be availed via http://ticket2me.net/AninoSaLikodNgBuwan or http://tiny.cc/AninoBuyers.

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