Icee Po

Theater for the People to Resist in a Turbulent Society–Filipino Theater Group PETA

March 31, 2026

Photo: Akihito Abe

Icee Po

Icee Po is a Senior Artist-Teacher and the Managing Producer at the Philippine Educational Theater Association (PETA), one of the Philippines’ leading theater institutions dedicated to theater for social transformation. A multidisciplinary theater practitioner, she has worked locally and internationally as an actor, singer, facilitator, and community organizer, creating works that engage communities and advance the role of the arts in education and social change. She previously served as Membership Head and Welfare Fund Head, where she helped strengthen artist support systems and foster a culture of collaboration and empowerment within the organization.

One often hears from young Filipino artists that their parents were involved in the People Power Revolution (1986), which overthrew the dictatorship. The children of that revolutionary generation worked alongside various communities: those living in impoverished areas, those affected by natural disasters, and those who have faced abuse and discrimination. They seemed to have the conviction that such engagement would lead to social change. They came from elite backgrounds with a high degree of education, but also had the resilience to endure the tumultuous realities of Filipino society, along with a playful spirit that allowed them to rise above challenges with laughter. One name frequently mentioned in conversations with them was PETA (Philippine Educational Theater Association). Since its founding in 1967, PETA has sought to create theater for the people. Its ideas and practice have also had a significant influence on Japanese theater workshop culture. Icee Po says that her life was transformed by her encounter with PETA. Through her story, we explore the history of Filipino theater—deeply intertwined with colonialism—and examine the current state of performing arts in the Philippines.

Interview and Text by Chikara Fujiwara
English Translation: Yume Morimoto, Ben Cagan (Art Translators Collective)

What is art? An unforgettable learning experience

First, can you tell us about your first encounter with the performing arts?

I was born in Infanta, Quezon, a region where people mostly depend on farming and fishing for their livelihoods, and I grew up in a family with little connection to theater. My mother allowed me to take piano and voice lessons, but I never imagined pursuing a career in the arts. In the Philippines, it is widely believed that art doesn’t pay.
However, when PETA came to my school, my life completely changed. PETA partners with the local churches to conduct theater activities for young people. One day, my school teacher told me to get on the stage, so I did what I was told. There, a senior teacher at PETA, Wilson “Bong” Billones, handed me some lyrics, and told me I would be singing as part of the performance. When it came to the actual performance, my voice cracked… but everyone applauded and I was told, “This is the story of everyone in the region, so don’t worry. Use the power that you have to tell everyone’s stories from now on.”
After that, I went to a university in Manila to study dentistry, thinking that my involvement with art would come to an end. However, PETA invited me to help with the youth program. I knew I still wanted to remain connected to art in some way, so I decided to take the opportunity—and it turned out to be an unforgettable workshop. I was assigned to a small community in the Visayas, where clashes between the military and anti-government groups were ongoing. At night, you could hear gunshots. Despite this, children continued studying at a small local school, and we conducted a workshop and staged a performance for them. The experience made me realize how fortunate I am, but it also awakened a deeper understanding that I am in a position to empower others through art. One day, a child approached me and said, “Miss, please take me to Manila. I really want to study. I will work for you.” Of course, PETA has its rules, so I told the child to speak with the team leader and encouraged them to continue studying. Even now, I have tears in my eyes as I talk about it.
But that was the moment I knew: this is art. I realized that these people were the audience—this is who we must work for. I felt that this was where I wanted to be, and that this was what I wanted to do for the rest of my life.

Lingap Sining: PETA’s arts-based support program for disaster-stricken and marginalized communities.

After that, I became an artist-teacher and also performed on stage. I sang in musicals and performed in comedy pieces that engaged with social issues, community narratives, children’s rights, and other human rights concerns. Over time, I developed a passion for producing. I came to realize that bringing people together and creating something collaboratively is, in itself, a form of artistic expression. Currently, I serve as a managing producer at PETA, where I work to build systems that enable artists and creative staff to work in better environments and receive fairer benefits. My dream is for work in the arts to become sustainable in the Philippines.
I am also involved in community organizing, such as hosting festivals with local participation. I believe that collaborating with others is the path to becoming a voice for the voiceless. For me, the performing arts are not just about staging a production. It is a space where people can truly see one another, find the courage to speak, and create a better future together. I hope to help build a movement of art and expression that connects us with Asia and the global arts community.

Padayon: A platform for performances and showcases developed from PETA’s Lingap Sining.

Filipino performing arts and the founding of PETA

Could you tell us about the development of performing arts in the Philippines, from your perspective?

Before colonization, there were shaman-like figures commonly known as babaylan who conducted prayers for rain, and people would gather to participate in rituals and chanting. After that, during the process of Spanish colonization (mid-16th century to 1899), the format of theater was introduced. This was when the distinction between performer and audience first emerged. However, the Spanish were always the ones performing, and the Filipinos were always the audience. Colonization was also linked to the spread of Christianity, so there were religious plays such as Moro-moro and the Senakulo. In the process of the imported lyrical opera zarzuela developing into sarswela, Filipinos also began to take on performing roles. I believe the first sarswela created by Filipinos was Walang Sugat (*1) in 1898.
During the American occupation (1901–1942, 1945–1946), English education, as well as vaudeville—called bodabil in the Philippines—arrived, and the latter became popularized during the Japanese occupation (1942–1945). The Japanese authorities viewed bodabil purely as entertainment, without any serious political ideas. In reality, however, people embedded messages of resistance within this form of expression.
After the war, the Philippines became independent and began searching for its own identity. In 1966, the Cultural Center of the Philippines (CCP) (*2) was established under the Marcos regime. By creating a building, or a theater, as one structure, I think it gave artists who had been active in various regions the consciousness of gathering in one place, influencing them to form their own theater companies.
However, although　Imelda Marcos(*3), who drove the creation of the CCP, did put effort into the arts, this predominantly involved inviting international artists to stage productions. It’s clear if you visit the CCP building that the theater was created not for the people, but for the elite to see theater—a place for the wealthy to attend in their gowns.
On the other hand, in 1967, two theater companies emerged. The first was Repertory Philippines (*4), which staged works in English, and the other was PETA. PETA put on productions in Filipino languages, telling the stories of the people and engaging with pressing social issues. As its name might suggest, PETA’s main site of activity was the streets. Utilizing the space’s various elevations in structure, the Rajah Sulayman Theater in Intramuros (*5), where José Rizal (*6) was once imprisoned, was used to put on stage productions. Performances were cancelled when it rained, and the company also had to work with surrounding noises. Apparently, there were times they even aligned the start of performances with the sound of the bells from the Manila Cathedral.

Rajah Sulayman Theater

It sounds like their work was very site specific. Was Imelda Marcos also an influence in the founding of these companies?

Regarding PETA, if there was any influence at all, it was oppositional, since PETA resisted the Marcos regime’s martial law by staging street performances. Gatherings were prohibited, so when government military forces arrived, they would temporarily disperse and then reconvene in another location—that was their tactic. Some members were imprisoned for participating in street demonstrations. They danced while waving flags and ignited a fire in the people, saying, “Now is the time to take to the streets and rise up!” The founder, Cecile Guidote-Alvarez, was placed on a blacklist of anti-government figures and had to go into exile. I feel it must have been a truly difficult era. Artistic expression itself was forbidden—this was a time when art was seen as something for the elite, and not for the people or the youth.

Walang Sugat

First staged in 1898, Walang Sugat is a zarzuela written in Tagalog by the playwright and revolutionary Severino Reyes. It depicts the struggle for independence from Spain through separated lovers.
CCP

In 1965, presidential candidate Ferdinand Marcos’ wife, Imelda Marcos, expressed her desire during the election campaign to build a national theater. The following year, The Cultural Center of the Philippines was established, and the theater building was completed in 1969. It includes the Main Theater (1,821 seats), the Little Theater (421 seats), and the Batute (250 seats).
Imelda Marcos

Imelda Marcos was the wife of Ferdinand Marcos, who ruled the Philippines under a dictatorship until the People Power Revolution in 1986. She is also the mother of current president, Bongbong Marcos, who was inaugurated in 2022. Although she supported the arts with initiatives such as founding the Philippine High School for the Arts (PHSA), she is also widely known for her extravagant lifestyle, including her extensive shoe collection.
Repertory Philippines

Repertory Philippines was founded in 1967. Its first performance was staged in Tagalog. However, it is said that the company later began staging works in English because the cohort who could afford to attend the theater tended to prefer English-language plays, and the company struggled to attract audiences.
Intramuros

Intramuros refers to the fortified city built by Spanish governor general López de Legazpi in 1606. It is located in the center of Manila and was reduced to ruins by intense fighting during World War II between American and Japanese forces.
José Rizal

José Rizal is considered a national hero of the Philippine Independence Movement, known for his novel Noli Me Tangere. He was arrested by Spanish authorities and executed in 1896, at 35 years of age.

Times of mutual influence—comparison across theater worlds

I heard that PETA also engaged with Black Tent Theater. With director Makoto Sato’s significant involvement in the opening of Setagaya Public Theater (*7), I’m sure Japan was also influenced in the development of theater workshops with local community members too.

The former executive director of PETA, Beng Santos-Cabangon, was one of the people who was actually a part of those interactions with Black Tent, and I have heard a great deal about them. In terms of the relationship between Japan and the Philippines, Black Tent was a very significant counterpart. Technical influences were also important; For example, with PETA’s black box theater format being inspired by Japan’s methods of utilizing space to its fullest capacity.
Because in the Philippines we have very limited resources to begin with, we have learned from our exchange partners and maximize those relationships. I also gained many insights at the 2025 YPAM (Yokohama International Performing Arts Meeting). For example, there are performances in Japan that surprised me with how they operated with only the most minimal elements. It made me realize, “This is all you need for theater!” Our attention is constantly pulled into the direction of securing funding, which can lead us to make things bigger, as spectacle. However, since we have our own theater as well, it made me think about returning to a simpler, more experimental spirit.

PETA and Black Tent Theater’s joint production of ROMEO AT JULIETA: ISANG KOMEDI (1998).

I have personally been deeply moved by how Filipino artists get creative with limited resources. Even when sudden rainstorms stopped performances mid-way, they kept a playful spirit and enjoyed that time and space. Do you think that this kind of mindset was pioneered by PETA?

In good ways and bad, the people of the Philippines are able to find possibilities in any situation—I feel they have that sort of resilience. I think each group has developed its own methods and identity in order to adapt and navigate various situations.
At PETA’s workshops, we incorporate a playful spirit, and place value on moving our bodies and experiencing joy. We also advocate the “Gold Mine Theory,” which holds that everyone possesses skills and talent. There’s no need to compare yourself to others. Any movement that you make can be considered creative, and by combining our individual elements, we mutually complement one another. We also make a point of creating a safe space for creation and ensuring that we do not harm others.

I once accompanied a theater workshop organized by the NGO Cordillera Green Network (*8), where participants went to various villages deep in the mountains. NGOs play an important societal role in the Phillipines—does PETA also collaborate with such organizations?

Yes. For example, when we have a community project, if we leave the location without a local partner, the initiative will not continue. One of PETA’s strategies is being conscious to connect with NGOs that are active in the area. That way, they can continue building the legacy that we create. Furthermore, in order to understand the locality as well, cooperating with local organizations is essential. As I mentioned in the beginning, in the region where I grew up, PETA had a connection with the local church. The church stays even after the project is over.

Do you place importance on staging works and conducting workshops in local languages, rather than in English?

The Philippines has many languages. PETA believes in “theater for the people, by the people,” so we place value on local languages, as they make it easier to empathize, connect with emotions, and express oneself more freely.
However, the influence of the American occupation has made English terms a part of our daily lives, with English, Filipino languages, and Taglish (a combination of Tagalog and English) mixing and existing alongside each other. Tricycle taxi drivers, for example, can also speak English, even if not entirely fluently. There are also people who acquire English through social media. And in the capital Manila, you rarely see performances being staged in pure Tagalog.
In any case, what we must first confirm is who we are trying to communicate with. It is important that the art you create is understood by the audience you have in mind. There are times when we use experimental or abstract methods of expression, but it is important that this does not end up as unilateral self-expression—that we try to make it a two-way exchange.

PETA’s current facility
PETA’s current facility

Performing Arts in the Philippines now

After COVID, what is the current landscape of performing arts in the Philippines?

During the pandemic, performing arts were categorized as non-essential. Even after various lockdown restrictions were gradually lifted, the performing arts were only allowed to resume much later. However, once people were able to connect again, theater flourished.
Many small independent theater companies and groups have emerged, and existing groups are staging a wide range of productions, from musicals and classical plays to experimental works and pieces that use Bekimon, a language of the gay community. Theater adaptations of films have also become popular, to the extent that it could be said they were among the first things everyone did after the pandemic. There are also many works invited from abroad.
These movements after COVID were referred to as “revenge theater,” and people are still eager to do theater, feeling that the time is now. That also means the competition is tough, but from the audience’s perspective, the range of works to choose from has increased, and regardless of the scale of the production, there truly are many interesting works currently being staged.

Are there any artists or festivals that Japanese readers should know about?

Maribel Legarda, the former artistic director of PETA, is a director who is still referred to as a hit maker. The current president of PETA, Melvin Lee, is a talented actor and excellent at acting instruction. In terms of young, up-and-coming directors, Ian Segarra (*9) is receiving a lot of attention.

Maribel Legarda
Melvin Lee

Among others who have left their mark on the history of performing arts in the Philippines, I would like to mention Chris Millado , who mainly works out of CCP; the playwright Malou Jacob (1948–); National Artist Tony Mabesa, who was inducted into the Order of National Artists of the Philippines (1935-2019); film director Lino Brocka (1939–1991), who pioneered crossovers by inviting famous actors to perform in theater; and Soxie Topacio (1952–2017), whom we always called “Mother.”
At CCP, there is a tradition of festivals, including Virgin Labfest, which presents new works, and Pasinya, which is dedicated to staging short works of around 15 minutes by emerging groups.
PETA also organizes a festival every July called Changing Narratives, which aims to offer alternative readings of the dominant narratives around us. For example, Rak of Aegis, a work directed by Maribel Legarda, whom I mentioned earlier, is set in a community stricken by floods. However, it does not depict the residents as poor victims, but positively re-reads them as people who bring things into existence. The audience is encouraged to see them as agents of hope.
PETA not only creates theater for the people, but also emphasizes theater with the people. It’s only our third year running the festival, but we plan to continue it. I would also love to collaborate with people in Japan too, and search together for the narratives that surround us.

In the Philippines, there is a custom of addressing elders as ate (older sister) or kuya (older brother). In my conversations with the younger generation, PETA seemed to come across as a dependable elder—an ate or kuya. Yet from my conversations with you, I also feel that PETA itself goes through cycles of generational change. While grounded in firm values and history, it continues to evolve by nurturing new people and collaborating with local communities and international partners. Thank you for your time today.

Setagaya Public Theater

Setagaya Public Theater was opened in 1997. For more on its relationship with the Philippine Educational Theater Association and how it came to value theater workshops, see the report by Asami Nakamura below.
https://setagaya-pt.jp/bf2022/lecture/archive/archive_c_2010_03_01.html
Cordillera Green Network

Mariko Sorimachi founded Cordillera Green Network in 2001 in Baguio. Based in the Cordillera region of northern Philippines, the organization works on environmental conservation and improving the lives of Indigenous peoples through theater workshops and other initiatives. These activities are carried out in cooperation with actors such as Setsu Hanasaki, who are familiar with the development of Black Tent.
Ian Segarra

Segarra’s work, Walang Aray, a translation of Walang Sugat, was staged at PETA as the first theatrical production after the pandemic. It won in eight categories at the 14th Gawad Buhay Awards, with Segarra winning Outstanding Stage Direction for a Musical. Recently, he has been involved in ongoing collaborations with Keiko Yamaguchi/BRDG, including the work Sari-Sali Portal Cafe.

From left: Alison L. Segarra (The Japan Foundation, Manila), Icee Po, and Chikara Fujiwara.

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