Popularized during the Great Depression, the American Dream has been a recurring theme in works of art. This concept is rooted in a simple desire to live a life where the grass is greener, but the concept’s identity is also centered on promising prosperity as a reward for perseverance. In this Filipino staging of ‘Yemaya’s Belly’ by first-gen American Quiara Alegría Hudes, the epiphany comes after a first sip of cold Coca-Cola.

With director Ed Lacson Jr. at the helm, 9 Works Theatrical leaves a lasting impression with ‘Yemaya.’ It brings to life the Filipino translation of playwright/translator Eljay Castro Deldoc, but it keeps Hudes’s work right in a community reminiscent of Cuba. In doing so, this ‘Yemaya’ emphasizes that the idea of the American Dream is universal. And what Lacson manages to showcase in the Black Box at Proscenium is simply amazing. 

A fully-realized feast for the senses

Immediately catching one’s eye as they enter the theatre is not just the narrow thrust stage, but also the abundance of props hanging from above. Impressively, the signs are able to make their way down to the literal sandbox or back up to the ceiling with a confident fluidity. Its production team also transports heavy props, like a small wooden cart, with the same fluidity. Adding to this amazement is the stage that is a sandbox, where JM Cabling’s direction of movement ensures the actors of ‘Yemaya’ walk, run, and dance on its sandbox with lived-in energy. 

The awe-inducing stage design by Lacson and Wika Nadera is half of the world-building. The other half is Teresa Barrozo’s sound design. Down to nature’s thunder and waves plus the life that makes up the clucking of chickens and overlapping voices of humans, Barrozo also makes sure ‘Yemaya’ is a vigorous feast for the senses. The auditory component of ‘Yemaya’ greatly helps in reminding audiences of the beauty that already surrounds us, that the grass will be greener when you water it. 

Yet the epiphany that Jesus (played by Tommy Alejandrino, alternating with Benedix Ramos) experiences is immediately understandable, thanks to the lighting design of Jethro Nibaten. The lights, which develop the allure of simple joys like Coca-Cola and add to the mystique of Yemaya (played by Bituin Escalante) herself, make for a captivating experience that underscores the wonder this staging inspires. Nibaten’s lighting design is largely subtle and gradual, although deeply important in fulfilling Lacson’s directorial vision. 

Splendid and sincere acting

Serving as the core of this production is Tommy Alejandrino, who conveys his character’s optimism with a deep sincerity that is capable of persuading even the most hesitant audience member to go along with his pursuit of the American Dream. He embodies his character’s initial passivity very well, but his progression towards the palpable wonder in his eyes, especially after he adopts Mulo as his new name, is very believable too. 

It is apparent that Tico, a vendor also serving as a prophetic voice, has lived an eventful life by how Herbie Go brings a kind of energy that serves as a lightning bolt. But also the kind of presence that commands, and the kind of humanity that underscores the complexity of the human experience. Anthony Falcon is also mesmerizing as Jelin, whose assertive nature compels. The character strikes as familiar for people who know strong-willed men. Aside from making use of this familiarity, Falcon makes his scenes a joy to watch unfold.

Both women mainly appear in only one half of this two-act play. For the first, Sheenly Gener is delightful as Lila. Crucial to Jesus/Mulo’s eye-opening epiphany, Gener is radiant with how she conveys her character’s poised demeanor. For the second, Maya (played by Ness Roque, alternating with Sheena Belarmino) is a presence who disarms. Despite the tumultuous journey she embarks on, Roque presents Maya as worldly enough to remain unfazed by the uncertainty of it all. 

Taking on Inay and the titular Yemaya is Bituin Escalante. While the material limits her number of scenes, Escalante rises above with a splendid performance as Inay and a breathtaking performance as Yemaya herself. She leaves a stellar impression, much especially with a soothing melody that grounds Mulo.

Enlightening execution of abstract ideas

Coca-Cola and Spam provide physical nourishment, but also hint at the possibility of better futures. In real life, simple joys like these can also be the flashpoint. And while this may be quite far-fetched for some, Hudes uses this to build towards an odyssey that, in spite of the quite abstract nature it takes, will leave audiences reeling from its artistic depth.

The book is relatively straightforward with its first act. Hudes creates the world that ‘Yemaya’ is set in, and she gets the job done. But she also already plants the seeds here. With scenes like Tico’s grief over his late wife, Hudes is already hinting at not just the imbalance of the human experience, but the difficulty of attaining one’s dream. And in the second act, largely set at sea, Hudes juxtaposes memory with reality to subtle yet powerful effect. 

Lacson’s direction proves fitting for the material. The direction is quite the contrast from the minimalist material, but he succeeds in making the foreign material a universal, resonant work of art. With Lacson’s decision to make the sounds of the outside convey what Mulo feels on the inside, he emphasizes the sheer scale of life. Adding to this is the skillful use of the space in set and in lights. With him as director, he makes ‘Yemaya’ into an enlightening yet visually fulfilling time at the theatre. 

Lasting impact

While ‘Yemaya’ may prove to be dense in its material, it is no doubt a play that will linger long after its curtain call. It does present the American Dream as a dream difficult to attain, but the play provides enough to ponder over time. Whether it’s the what-ifs with the world out there, or why we equate freedom with foreign treats that aren’t so familiar to us, the play proves to be stunning. Not just because of the set design that one can’t help but pray its signages and furniture won’t fall down at an inappropriate time, not just because of Tommy Alejandrino’s quiet yet evocative acting, but also because of how fully realized this staging is as a work of art. 

Further information

‘Yemaya’ is produced by 9 Works Theatrical. It will run on all weekends from June 13 to July 5, 2026 at The Black Box at the Proscenium Theater in Rockwell, Makati. Tickets are available via Ticket2Me.

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