These plays define the beginning steps in the mounting of productions. Beginning, not exactly, because these evolve from the imagination incited by creativity rooted in the source – the playwright.

An environment that nurtures the playwrights evolves in them an understanding of reality and its deficiencies to Humankind. A play, therefore, embodies a playwright’s advocacy, a view of how things are, or how realities may be improved. The play embodies sentiments, emotions that approximate those of humans because sympathy and empathy are requisite in any play’s success. Response denotes connectivity.

The play is the medium between reality’s views and the advocacy and the community it strives to strengthen.

Imagination is an inciter for all creative pursuits. However, beyond the creative talents lies a pressing need where the play becomes the medium for defining what the playwright wants.

Three generations of a powerful Morofamily face head-on the forces that threaten their survival. Mired in the
conflicts of tradition and the loyalty
to the clan, the characters confront
changing expectations in their quests
for liberty and love.

Late 1600s, Mindanao. Pirate raids occur so often in the various Christian settlements. Successful raids abduct boatloads of men who are sold to work as slaves and women, both as domestic slaves and mistresses of the raid sponsors and the leaders. Not all raids are successful, however, as Christian settlements with the support of the colonial Spanish government have formed defenses to repel attacks and even defeat the Moro marauders.)

The commerce of deception: one sells, another buys. One connects, the other cuts. One is the greater deceiver than the other. Corruption in the academe sizzles in scandal, sex, and subterfuge.

It is 1986. The new government has taken over. Lovers Lea and Art are embroiled in peccadillos of the previous government that threaten their careers. But one of them yields the power to overturn events and remain unscathed.

From one to the other: Patas.