The Metaphor of Baye-baye in the Plays of 033 Playhouse

By Noel Galon de Leon

The five-play lineup of 033 Playhouse emerges as an unexpected yet fitting gift for the 2025 Women’s Month celebration, offering more than just narratives centered on women; it is a theatrical reimagining of femininity across time, circumstance, and cultural memory. These plays do not merely showcase women’s stories; they interrogate, reconstruct, and challenge existing representations of women in the past and present. As a new force in Iloilo’s theater landscape, 033 Playhouse asserts the necessity of dramaturgy that not only foregrounds women’s voices but also elevates the works of Filipino playwrights, ensuring that the local stage remains a space for both artistic innovation and cultural resistance.

This theatrical production holds significance beyond the celebration of Women’s Month. The plays Poste by Ron Matthews Espinosa and Alexandria Lacson from Imagination of USA Little Theatre, Better by Lyka Laspinas and Joem Ledesma from Shookt of USA Little Theatre, Between Hellos and Goodbyes by Eric Divinagracia from Passion Fruit Shake (Musical) of USA Little Theatre, Socialite and Asawa by Chris B. Millado from Buwan at Baril sa Eb Major, and Breathe by Elaisha Pomida from Shookt of USA Little Theatre constitute a vital body of narratives that not only document history from the perspective of women and children but also assert their agency in shaping national discourse. These plays go beyond mere representation; they function as acts of resistance and participation, positioning women as active agents in engaging with critical social and political issues. In doing so, they contribute to the formation of a more meaningful national consciousness and a future that is inclusive, progressive, and attuned to the aspirations of the next generation.

The performances of the women in these plays are equally remarkable, particularly the commanding portrayals of Quezzy Claire Pedregosa, Gian Bermudo, and Elsie Flores-Gancia. Their deep, emotionally charged interpretations of their characters underscore the gravity of a woman’s voice navigating the trials imposed by the demands of her time. The variations in their approach to characterization, their nuanced textual analysis, distinct performance styles, and ability to embody their roles before a live audience not only highlight the complexity of the female experience but also carve out a space for theatrical discourse that extends beyond representation. Their thoughtful and rigorous engagement with their monologues demonstrates a mastery of craft that transcends performance as mere entertainment; instead, they fulfill the artist’s role as a conduit for critical awareness and social reflection.

Equally compelling is Ruth Lazaro’s storytelling through dance. Her expressive movements, executed with striking precision, amplify the depth of the monologue, creating an additional layer of meaning that transcends linguistic articulation. Her facial expressions and choreographed steps serve as a dynamic counterpoint to the spoken word, transforming the performance into a vehicle for unspoken truths. Lazaro’s exacting physicality unfolds like an extended narrative, one of displacement, disorientation, and the inevitable journey back to what was left behind, offering a meditation on absence and return through the language of movement.

As a spectator and advocate of Western Visayan cultural narratives, I find the title Baye-baye particularly fitting for this theatrical production. The performance as a whole encapsulates the themes of perseverance, solidarity, and communal effort, values deeply embedded in the process of making baye-baye, a traditional Iloilo delicacy crafted from ground pinipig or glutinous rice and freshly grated coconut. The creation of baye-baye requires continuous grinding and mixing, a labor-intensive process that mirrors the patience and dedication necessary to achieve one’s goals. This metaphor finds striking resonance in Socialite, where the protagonist, portrayed by Bermudo, embodies resilience and determination. She wields her strength as a woman to champion the cause of marginalized communities, recognizing that the struggles of the oppressed, regardless of gender, are also her own. Her commitment to giving voice to those silenced by the state becomes proof of the power of persistence and activism.

Baye-baye serves as an apt metaphor for the concept of unbreakable unity. Its primary ingredients, pinipig and coconut, must be thoroughly mixed to adhere and form a cohesive whole, symbolizing the interconnectedness of individuals within a community or family. Despite their distinct qualities, they blend together to create something both substantial and sweet, much like the collective bonds forged through shared struggles. This theme is poignantly explored in Asawa, brought to life by Flores-Gancia. Her performance conveys a profound self-awareness, portraying a wife who is not merely defined by her marital role but also by her steadfast belief in the power of resistance, even at the cost of her own life. The play underscores a crucial reality: in the end, it is the community that benefits from the sweat, voices, and sacrifices of activists in the streets. Thus, it compels the audience to recognize the importance of engagement, empathy, and collective action, to stand for and with one another in the ongoing pursuit of justice and change.

Baye-baye is a local delicacy passed down through generations, embodying a living metaphor for our cultural heritage and traditions, practices that must be nurtured and sustained, much like the values and wisdom inherited from our ancestors. This realization crystallized for me after witnessing the entirety of the play. The initiative of 033 Playhouse as a community theater is not merely a creative endeavor; it is a vital cultural undertaking that continues the rich and dynamic tradition of theater in Western Visayas.

Despite its simplicity as a confection, baye-baye possesses a depth of flavor, a delicate balance of sweetness and softness. It mirrors the idea that true significance is not found in extravagance but in the care and enrichment devoted to something. In the same way, individuals need not be ostentatious to be valuable; their worth lies in how they cultivate and preserve what matters. It is with this understanding that I hope 033 Playhouse will sustain its commitment to staging works by Filipino playwrights, ensuring that the vibrancy of local dramaturgy remains alive and thriving for future generations.

The ingredients of baye-baye, rice and coconut, are among the most common agricultural products in rural communities, making them a fitting metaphor for valuing local resources and embracing homegrown artistry as an integral part of Filipino identity. This analogy underscores the importance of supporting local creative endeavors in any way we can, ensuring their sustainability and growth.

The efforts of 033 Playhouse and the entire Baye-baye production serve as tangible proof that Iloilo’s theater culture remains vibrant and evolving. Their work signals not just the endurance of performance traditions in Western Visayas but also the promising future of Philippine theater as a whole. It is a manifestation to the power of community-driven artistry and the need to cultivate spaces where local narratives continue to thrive onstage.

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Noel Galon de Leon is a writer and educator at University of the Philippines Visayas, where he teaches in both the Division of Professional Education and U.P. High School in Iloilo. He serves as an Executive Council Member of the National Commission for Culture and the Arts-National Committee on Literary Arts.