Set in the world of sideshows and vaudeville, this staging of Side Show by The Sandbox Collective finds renewed resonance. 

We have come a long way from ogling over ‘freaks’ and exploiting our fellow human beings for our own gain. However, director Toff de Venecia still urges us about the importance of seeing and recognizing one’s humanity.

Side Show is loosely based on the lives of conjoined twins Daisy and Violet Hilton. Considering we are almost a century removed from their experiences, one might expect their story to be fairly distant. That is not the case here.

Overnight Sensation

A sung-through musical (where dialogue is sparse), Side Show is a glamorized critique of exploitation. Like what happened with the Hiltons, the show also makes a spectacle out of them. 

Daisy and Violet Hilton are Siamese twins/stage performers who find fame and notoriety in the 1920s vaudeville circuit. Their notoriety gets the attention of aspiring musician Buddy Foster and talent scout Terry Connor. Drama then follows.

Book & lyrics from Bill Russell walk the tightrope between spectacle and sincerity. The lyrics draw power from repetition, ensuring several songs are reminiscent of classic Broadway tunes. The book, however, leaves more to be desired. Some transitions are abrupt, but the show overall is engaging enough. 

Music from Henry Krieger gives Russell’s book soaring melodies. Given that Krieger also wrote music for Dreamgirls, there is no surprise that the musical numbers themselves carry the same emotional wallop and the show-stopping quality and intensity of it all. What’s also beautiful about Krieger’s music here is that his lush compositions merely elevate the narrative, not overpower.

Artistic director Toff de Venecia chose to stage the original 1997 production of Side Show here in Manila. Like previous musicals staged by The Sandbox Collective, the production has two sets of cast members. 

Who Will Love Me As I Am

The tragedy in the Hiltons’ lives become more apparent with Krystal Kane (as Daisy) and Molly Langley (as Violet) at the lead. 

Both actresses were remarkable presences who evoke pathos with their affecting performances. The actresses channel desire and the yearning with clarity, the audience cannot help but feel with them. Kane and Langley also notably soar with their rendition of the musical’s “Who Will Love Me As I Am.”

CJ Navato, who effortlessly plays the role with charisma, sells Terry Connor and his ambition well. He is slick, and it gets easy to be swept up in his charm. Joshua Cabiladas is incredibly sincere as Jake, and you really get to feel for him. His portrayal could have fallen into melodramatic territory, but his vulnerability saves it from doing so.

Vien King is a revelation as Buddy Foster. King infuses the role with emotional nuance, and he is wholly charming as Buddy. When certain scenes call for it, he does not blink; he remains as still as a stone. This gives more power to the character; Vien King is enchanting. 

Also read: Sandbox Collective Announces Full Cast of Side Show

Together, the five actors, all commendable, deliver stellar performances that thrive off of each other. It is this unified emotional clarity that gives Side Show its resonance and soul.

I Will Never Leave You

Marynor Madamesila (as Daisy) and Tanya Manalang (as Violet) give strong vocal performances. With them as leads, the euphoria that the showstopper “I Will Never Leave You” provides at the end of act two is amplified. Their acting is tender and sympathetic.

Reb Atadero delivers as Terry Connor. Atadero’s vocal performance is assured, and his portrayal affecting. Tim Pavino delivers the charm expected from Buddy Foster, and what’s good about his acting here was the subtle shifts in his tone and physical gestures. Marvin Ong, as Jake, elicits sympathy that makes the character’s feelings deeply felt. 

Together, the five actors mark this production as a showcase of technical skill. The grandeur is balanced with their intimacy.

Rare Songbirds On Display

The production is brimming with talent. It is so remarkably alive, thanks to its ensemble led by Jon Santos. 

Alternating between film producer, cameraman, and the intimidating The Boss, Jon Santos proves his versatility. The ensemble play several roles – freaks, news reporters, flappers – and they succeed. It’s amazing, how they’re all perfectly in tune with each other. 

The show is so, so full of life. Massive respect to the ensemble — Arion Sanchez, Chan Rabutazo, Fay Castro, Daniel Wesley, Ian Hermogenes, Mikee Baskiñas, Pamela Imperial, Pappel, Raflesia Bravo, Red Nuestro, Reine Paisley, and Rhap Salazar — for making a difficult job look easy! 

One of the show’s standout numbers is “Say Goodbye to the Freak Show.” The sorrow was felt in the theater.

We Share Everything

For now, Side Show is the last directorial stint of Toff de Venecia for The Sandbox Collective. It’s a great production to end with, and what a high note it is!

In certain musical numbers, the lead actors are pushed and pulled on a platform, but they still deliver all the singing without faltering. Abstract and dreamlike sequences, which sever the twins from each other, emphasize each twin’s individuality. 

This production employs traverse staging, where the audience sits on two opposite sides of the theater. Long benches serve to separate the audience from the stage; the performers sit, sing, and stand on these benches. 

The twins go from place to place. In showing this, set designer Mark Dalacat succeeds in shifting from sideshow to New York, among many others. As compared to the minimalism of de Venecia’s Next to Normal, this production has a lot more happening onstage. Yet unless one prefers being close to the action, the setup can be too overwhelming for those seated in the first few rows. 

Lighting designer Gabo Tolentino does a fantastic job emphasizing the glitz and glamour. The use of lights are abundant yet appropriate. Costumes by costume designer Carlos Siongco for the twins were extravagant and excellent. The suits, coats, and gowns, among many others, capture the time period. 

Ready to Play

de Venecia uses video projections on both sides of the theater. The show is told in chapters; video projections signal the start of new chapters. As cameraman, Jon Santos holds up a camera to the twins, and it is played onto the screens. Reminiscent of Jamie Lloyd’s take on Sunset Boulevard, a highlight is when the camera follows the twins to the theater’s dressing room, where they sing the fun number “Leave Me Alone.”

However, while these video projections are a great directorial choice (it can be interpreted as a modern metaphor for exploitation), the playback was not smooth. The video projections tend to freeze and lag, but appreciation can still be had for de Venecia’s decision! 

Staged in the Power Mac Center Spotlight Black Box Theater at Circuit Makati, there may be worries about the sound quality. Thankfully, audiences can fully appreciate Krieger’s music and the cast’s strong vocal performances, as the sound is clear and appropriately loud. 

Come Look At The Freaks

The show kicks off its 2hr 30-minute (with a 15-minute intermission) runtime with the ensemble (as freaks) roaming around. Some of them would even converse with the audience members, but then the screens play footage of what’s to come for human beings like them. It’s scary, and the footage does wonders in reminding us of how we used to treat the ‘othered.’

As the twins start to reach new heights, a newspaper headline is projected onto the screens. DOUBLE THE TALENT, DOUBLE THE APPLAUSE, it said. 

Given the two sets of cast members for this show, it’s nothing but fitting. 

Further Information

Side Show will run from July 26 to August 17, 2025 at the Power Mac Center Spotlight Blackbox Theater in Circuit Makati. Tickets cost PHP 2500 to PHP 2900. Tickets may be availed by either messaging The Sandbox Collective’s showbuyers or through ticket2me.net/sandboxsideshow.

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