REVIEW: ‘Para Kay B’ is ultimately for the male writer

REVIEW: ‘Para Kay B’ is ultimately for the male writer

The show explores love through five interconnected tales, framed by the proposition that of every five people who fall in love, only one finds true happiness.

This adaptation of Ricky Lee’s “Para Kay B” presents five wildly different love stories that ultimately feel more like vehicles for the central male character’s development than fully realized narratives in their own right. While the production offers engaging performances and creative staging, the disparate storylines—ranging from incest to same-sex awakening to a fantasy “loveless” world—receive surprisingly similar treatment, with little deeper examination of their complex implications.

“Para Kay B” explores love through five interconnected tales, framed by the proposition that of every five people who fall in love, only one finds true happiness. The stories include Irene, a woman with perfect memory waiting for a childhood crush who no longer remembers her; Sandra, engaged in an incestuous relationship with her brother; Erica, who escapes a loveless town to experience overwhelming emotion elsewhere; Ester, an older woman discovering her attraction to her younger female household helper; and Bessie, a free-spirited woman adored by the reserved writer Lucas.

The metafictional twist reveals that Lucas has authored all four preceding stories as a gift for Bessie, whom he loves unrequitedly. This framework, while clever, underscores how the female-centered narratives primarily serve Lucas’s character arc and romantic aspirations.

Nicco Manalo delivers a standout performance as Lucas, embodying the introspective writer with convincing depth. His portrayal becomes particularly compelling during the confrontation between Bessie and Brigs, where Manalo skillfully transforms from quiet observer to someone visibly shaken and emotional. Jay Gonzaga complements this tension as Brigs, bringing an effective menacing intensity that contrasts with his lighter role in this same production.

Ava Santos brings magnetic energy to Bessie, creating a character whose allure makes Lucas’s obsession believable. Santos and Manalo share authentic chemistry that anchors the production’s emotional core. Meanwhile, Matel Patayon tackles the challenging incest storyline with unwavering–if excessive–earnestness.

Via Antonio demonstrates reliable comedic timing as Erica, providing entertaining moments throughout the production. Martha Comia convincingly portrays Irene’s childlike innocence, while Liza Diño delivers a solid if somewhat less layered performance as Ester.

The set design effectively creates the impression of being “on a page,” with writing scattered across the floor and walls. This visual concept particularly resonates when Lucas sits at his desk, physically separated from the action, suggesting his role as creator of the other narratives.

Characters appear in costumes adorned with text, reinforcing their status as fictional constructs within Lucas’s manuscript. Despite minimal set pieces, the stage feels dynamic and full, enhanced by an active ensemble, expressive choreography, and some projections that add visual texture.

The first half of the production skillfully intertwines the four love stories, cutting between them at a pace that maintains momentum and audience engagement. However, the second half—focused more heavily on Lucas and Bessie’s relationship and the meta-narrative—feels comparatively protracted. The need to develop Lucas’s character, reveal his history with Bessie, and wrap up all storylines while incorporating writerly commentary results in a somewhat messy final act.

“Para Kay B” presents several taboo or controversial narratives—treating incest, same-sex relationships, and fantasy elements as equally radical. This equivalence creates a disorienting effect, particularly as the production presents the incestuous relationship in a straightforward manner that invites suspension of judgment without addressing the troubling questions it raises.

Similarly, the storyline involving an older woman falling for her younger household helper introduces potential power imbalance issues that the production never explores and merely romanticizes. 

While the show occasionally nods to its own inconsistencies and randomness—such as when Erica questions why she needed to be from a fictional place—it never deeply examines how arbitrary or underdeveloped certain elements feel. The production also hints at political commentary but keeps it as background rather than anything of focus. 

While acknowledging that all stories stem from Lucas’s imagination, the show doesn’t meaningfully confront how female protagonists are ultimately utilized primarily for male character development.

 

Tickets: PHP 1800 – 2500
Show Dates: March 14-30, 2025
Venue: Doreen Black Box Theater, Ateneo De Manila University
Running Time: approx. 3 hours (w/ 15-min intermission)
Company: L.A. ProdHouse, Fire and Ice LIVE!
Creatives: Eljay Castro Deldoc (playwright), Yong Tapang Jr. (director), Nicco Manalo (assistant director / dramaturg), Raflesia Bravo (assistant director / choreographer), Raven Ong (costume designer), Hershee Tantiado (associate costume designer), Julia Pacificador (set designer), Arvy Dimaculangan (sound designer), and Joyce Garcia (video designer)
Cast: Nicco Manalo, Ava Santos, Liza Diño, Olive Nieto, Matel Patayon, Sarah Garcia, Martha Comia, Via Antonio, Yesh Burce, Gold Aceron, AJ Benoza, Vincent Pajara, Esteban Mara, Kath Castillo, Gino Ramirez, Jay Gonzaga, Divine Aucina, Aldo Vencilao