These days, there is no denying the draw of tea. Not the liquid kind but rather, the whispered or furiously-typed-in-the-chat-group kind. And there’s nothing to be ashamed of it at this point.

The New Yorker writer and podcast host Alexandra Schwartz writes, “To be human, as (Virginia) Woolf knew, is to talk about other humans. We all gossip, and those who don’t are either lying or dead.”

To talk about other people (regardless of intent) is universal. And though our image of those who enjoy gossip, aka the marites, may usually be the housewives in their dasters standing by the corner of the street, hands on their hips in the mid-afternoon, who’s to say high society is free from it?

The juiciest (or funniest) stories sometimes come from the most exclusive circles. The things we overhear at society events, like from collectors at Art Fair, or from the table of titas daydrinking at brunch, are proof of such a colorful tapestry of stories.

In Theatre Titas’ “Dedma” twin bill, featuring the plays “Let’s Do Lunch” and “The Foxtrot” both by Chesie Galvez-Cariño, we’re given a clearer look into the lives of society women. But it’s more than just hearing stories of who said/wore/did what at whichever event or place. It’s not the banal gossip; it’s intriguing in its intimacy, but carrying the complexities of the human character.

In “Dedma,” we are welcomed into these character’s very living rooms, their happy places, where the stories become more than just stories but, rather, are given depth. In “Dedma,” the oft aspirational or unreachable becomes real, vulnerable, and honest.

“Let’s Do Lunch”

The first play in the twin bill follows the conversation between two long-time friends, Val (Naths Everett) and Issa (Issa Litton). It is Val’s househelper Bebang (Ash Nicanor) who literally sets the scene: Through a few sleight of hand tricks, she prepares the table for the two friends. Issa then arrives, dressed smartly and with luggage in tow—making you think she might’ve come straight from a business trip. Val emerges in chic athleisure (as you might expect of a wife of such status and free time), and they begin to catch up.

The conversation is filled with relatable references (you’d know by the amount of laughs from the audience), but things take a tense turn as Issa starts pushing her true agenda—selling insurance. Issues creep up and as each woman holds her ego high, they start slinging truth bombs at each other.

Litton’s Issa carries herself with grace, a bit of obstinacy as she keeps trying to prove her worth, holding onto her pride as she grapples with feeling like she’s being patronized. Everett as Val, meanwhile, represents the out of touch society woman, bearing a contradicting sense of kindness, her charity a contrasting mix of pity and care.

While Val’s and Issa’s exchange is heated, Bebang keeps it from being heavy. Though on the lower end of the social ladder, she plays an interesting role in the exploration of power dynamics.

It’s interesting to see how Issa rejects Val’s offers for help because her ego keeps her from wanting to be seen by the one who used to be her equal as a charity case. But when it is Bebang who offers aid—magically coming up with her Grab money and her takeout—she willingly accepts. It makes us wonder why we might feel insulted or ashamed of being “helped” by those of a higher or equal stature but feel “served” by those “lower.”

“Let’s Do Lunch” is snappy and sassy, with enough humor and drama, the punches all in perfect timing. Litton and Everett’s exchanges are sharp, enjoyable, keeping you glued to their conversation. And of course, Nicanor, always sweeping in in perfect comedic timing and flourish. “Let’s Do Lunch” makes for the perfect appetizer for this twin bill.

“The Foxtrot”

Things get a little more heated in “The Foxtrot,” where the conflict is less about ego and class differences. Here, they dance around tension—the push and pull of having different desires.

“The Foxtrot” is more than just a rich middle-aged woman and her dance instructor. It’s about the tension of love and passion, of wanting to boast and brag to the world about something you’ve built, but at the same time wanting to keep it to yourself. Of wanting to excel, but not having to step out into the world. Of wanting to dance, but with just one person. Of wanting to be with someone, but not necessarily giving up or letting go of the rest of your life or your other commitments.

Diego (JC Santos) and Anna (Jackie Lou Blanco) dance around their different desires, showing the complexity of the human heart—that sometimes, the things we want also contradict.

Santos reprises his role, fully and convincingly stepping into the shoes of the passionate dance instructor Diego, whose charisma overflows just as much as his talent on the dancefloor. Blanco meanwhile takes over as Anna, and her character’s demeanor, from teasing and playful to hurt and distraught, flows and shifts much like the dynamic rhythm of the play’s namesake dance.

In “The Foxtrot,” Diego and Anna flirt with possibilities, dancing around worlds and lives beyond the dancefloor, even if, ironically, the only place they want to be is there.

This second staging, incidentally now inside a dance/rehearsal studio—and much more intimate than its CCP black box debut—amps up the tension. Now, we’re more than just a detached audience to this intimate not-really-an-affair. We’re now more like flies on the wall, witnesses to how Diego and Anna grapple with the life decisions that threaten to throw their established rhythm off.

***

I’ve been mulling over why the plays were collectively called “Dedma.” I think it’s because at the core, these characters all have something they choose to ignore, even for just a while—something they “dedma,” so to speak—in order to be authentically themselves. Sometimes, we might not agree with these convictions. But we have to admit, the ability to dedma is admirable.

Through the two one-act plays, “Dedma” succeeds in giving audiences a more intimate look into the lives we might often just hear about (unbelievably, perhaps) in passing. It succeeds in giving the stories a bit more weight, honesty, and life. And honestly, it’s these colorful kinds of lives that are hard to ignore.

“Dedma,” featuring the plays “Let’s Do Lunch” and “The Foxtrot” by Chesie Galvez-Cariño, runs until April 13 at The Mirror Studio Theater, Makati. “Let’s Do Lunch” is directed by Maribel Legarda, starring Issa Litton, Naths Everett, and Ash Nicanor. “The Foxtrot” is directed by Paul Alexander Morales, starring JC Santos and Jackie Lou Blanco.