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Side Show

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<div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1754034685929IMG_0020.jpg" style="width:950px" class="fr-fic fr-dib"/>Marynor Madamesila and Tanya Manalang-Atadero star in &#x27;Side Show.&#x27; Loreta Arroyo, The Sandbox Collective</div>Once upon a time, between the 1920s and 1930s in the U.S., the vaudeville “sister act” of Daisy and Violet Hilton, Brighton-born conjoined twins, was both celebrated and exploited. They rose to fame and performed with Bob Hope, Charlie Chaplin, and Harry Houdini, and even appeared in the films &quot;Freaks&quot; (1932) and &quot;Chained for Life&quot; (1951).In 1997, their story was loosely adapted for Broadway, with book and lyrics by Bill Russell and music by Henry Krieger, who also composed &quot;Dreamgirls.&quot; Though Tony-nominated, &quot;Side Show&quot; closed after only 91 performances.Now playing at the Power Mac Center Spotlight is a reinterpretation of that 1997 Broadway show, directed by Toff de Venecia for The Sandbox Collective. This version is sung-through, meaning there are no spoken lines at all. The songs from the original are intact, and the story remains faithful.At the media conference before the premiere on July 26, I asked De Venecia how this version might connect with Filipino audiences. He described his approach as “Brechtian theater,” a style known for being political and instructive, breaking theatrical illusion to provoke critical thinking and raise social awareness. He added that this staging would focus on marginalized Filipinos.But the 1997 Broadway version tells a tragic, emotional story about exploited twins in search of love and acceptance in a world that saw them only as “freaks.” Delivering a political, moral, or social lesson on top of this deeply melodramatic tale is a bold artistic choice, one that may not entirely fit the material. In this staging, the political framing did not seem to align with or enhance the emotional core of the story.<div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1754034886077IMG_0501.jpg" style="width:950px" class="fr-fic fr-dib"/>Come see the freaks of &#x27;Side Show.&#x27; Loreta Arroyo, The Sandbox Collective</div>For this production, De Venecia used an Alley Stage, a long, narrow stage with the audience seated on opposite sides, facing each other. Along the edges of the stage is a narrow raised platform, used in JM Cabling’s choreography, where actors step or walk during certain numbers. It evokes a tightrope, like a symbolic circus element.Audience seating is arranged in elevated rows, which likely offers a better view from the back. I was seated in the front row, left side, and had to constantly turn my head left and right, like watching a street parade from the sidelines. It was difficult to follow the action, and I lost track of movement and focus.This is a clearly minimalist, budget-conscious production. Most set pieces are mobile, rolled in and out easily. It begins with a meta-theatrical opening, with actors transitioning from themselves to their characters in front of the audience. There are projections on narrow overhead screens, with video footage, including a political montage that features the voice of former President Rodrigo Duterte. But beyond this opening, the political thread feels disconnected from the actual story. Also, at the July 26 matinee media preview, the screens experienced technical glitches, buffering, blackouts, and lapses.There is no live orchestra, only pre-recorded music. The sound from the speakers sometimes drowned out the actors’ voices, possibly because of where I was seated. I’m not certain. Musical direction is by Ejay Yatco, whose arrangements follow the original score but were impacted by the balance between recorded music and live vocals.<div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1754035037235IMG_0465.jpg" style="width:950px" class="fr-fic fr-dib"/>Jon Santos in &#x27;Side Show.&#x27; Loreta Arroyo, The Sandbox Collective</div>What truly lessens the emotional pull of &quot;Side Show&quot; is the absence of dialogue. Spoken scenes are critical for character development and emotional nuance. With only one song after another, it feels more like a staged concert than a rich piece of musical theater.In the set I watched, the twins were delicately played by Marynor Madamesila and Tanya Manalang-Atadero (the other set features Krystal Kane and Molly Langley). Jon Santos is a strong presence as their manager Sir, bringing flamboyance and swagger.Terry Connor and Buddy Foster, the twins’ love interests, were played by Reb Atadero and Tim Pavino, in this set. The role of Jack, the twins’ protector and loyal friend, was played by Marvin Ong.Ong’s performance is the highlight of the show. He was heartfelt and human, with a soulful, powerful voice. His solo “You Should Be Loved” deserves a standing ovation. Even in quiet moments, Ong never seemed to act or perform. He simply lived the role.<div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1754035117118IMG_0533.jpg" style="width:950px" class="fr-fic fr-dib"/></div>Marvin Ong steals the show. Loreta Arroyo, The Sandbox CollectiveBrechtian theater usually includes speech, narration, or commentary, sometimes even direct address to the audience. This version is all songs, which may distance viewers who need dialogue to connect emotionally.Still, &quot;Side Show&quot; is not a failure. It is heartfelt and earnest, with fantastic voices from the ensemble, clever use of set pieces, and committed performances. There are symbolic moments when the twins are physically separated to suggest the lives they long for, independent yet impossible. These moments nearly tug at the heart.De Venecia manages to stage a different kind of “freak show,” a style that may not deepen the story’s pathos and yearning but is inventive in its own way.<div> </div><div>&quot;Side Show&quot; runs until August 17 at the Power Mac Center Spotlight, Circuit Makati.</div>

🎭 Sandbox Collective’s ‘Side Show’ dares to reimagine the Broadway cult musical with a minimalist, sung-through staging that’s visually inventive but emotionally distant. Still, standout performances — especially Marvin Ong’s — make this ‘freak show’ worth watching.

🎭 Sandbox Collective’s ‘Side Show’ dares to reimagine the Broadway cult musical with a minimalist, sung-through staging that’s visually inventive but emotionally distant. Still, standout performances — especially Marvin Ong’s — make this ‘freak show’ worth watching.

Theater review: Minimalist ‘Side Show’ sings but doesn’t speak

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Theater review: Minimalist ‘Side Show’ sings but doesn’t speak

ABS-CBN Lifestyle,

Stephanie Mayo

Published Aug 01, 2025 04:06 PM PHT

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theater review

Side Show

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