“All the world’s a stage,” they say, and in 2025, that “world” includes social media. No matter how personal or private you think a post is, it’s out there, for at least some part of the world to see. Or, for better or for worse, to make a spectacle out of.
Once you hit “post,” your words (and reactions!) are no longer yours, but for the world to interpret. And perhaps for half the things that go viral nowadays, it’s taken out of context—divulged beyond circles you intended it for, or, your main message overlooked altogether in “favor” of a trivial point given more weight.
Everyone’s watching everyone, and depending on how you think of it—or how you experience it—it can be both democratic and othering. In a way, the world now is our “side show”—and many, if not praised as stars, are deemed freaks.
In this age of social media when opinions can be quickly (read: mindlessly/carelessly) published and judgments can be harshly, and just as quickly, made, The Sandbox Collective’s “Side Show”—a version of the Broadway musical from 1997—is even more timely.
“Side Show” follows conjoined twins Daisy and Violet Hilton. Working at a side show that treats them as freaks, they struggle in pursuing their very human dreams—to find fame, and to find love, respectively—all while trying to fit into a still-judgmental society. Though set in the 1930s, it doesn’t feel too different from today. We don’t have “side shows” now, but we do have social media. And frankly, it’s pretty close.
While “Side Show” doesn’t attempt, storywise, to bridge the setting to the present, its sensibilities are anchored in this era’s own concerns. And I think that’s what makes it a brilliant show.
It doesn’t force itself to be “modern” in a way that’s jarring—though it is a modern staging, in that it creatively makes use not just of the stage and the actors, but of the current available technology, enriching and enhancing the storytelling further.
What I also appreciated about this version of “Side Show” was how its interactive bits weren’t gratuitous; nothing was done just for the sake of. It felt intentional—nary an element like a mere gimmick. From the cast coming out just minutes before the show starts (to warm up on stage, pre-set costumes, greet the audience), and even the intermission “exhibit,” where the “freaks’” costumes are put on display and audiences are invited to step on stage to see them up close, it all served to highlight a key message of the musical: showcasing not the “freaks,” but the humanity and the stories in these characters.
By letting the audience see the actors before they completely don their characters’ costumes, we are already being reminded that beneath the exterior, there are people. People like you and me. And by putting the “costumes” on display during the show’s midway break, we are again shown that these characters—these people—are the way they appear to be because they each carry their own stories.
This impactful storytelling was also made possible by the impeccable cast, in the show I saw, led by Marynor Madamesila and Tanya Manalang, who star as the Hilton twins. Madamesila and Manalang soared vocally and brought to life both similarities and stark differences of their characters, highlighting their individualities and breaking the misconception that twins are always the same.
They were joined by Reb Atadero as the charming and smooth-talking press agent Terry Connor, and Tim Pavino as the affable, if not somewhat naive and people-pleasing musician Buddy Foster. Among the powerful performances, Marvin Ong stands out in his portrayal of Jake, the “Cannibal King,” devoted friend and protector of the twins. His command of the stage was so strong, and his delivery of his songs so compelling, for a moment you can’t help but root for Jake instead.
What’s also impressive about this version of “Side Show” is how it delivers on the side of spectacle, making productive use of all areas of the black box theater (even the dressing room, an area audiences are normally not privy to), but it doesn’t rest on just that. Yes, there is much to see and awe at in this show, but it also succeeds in baring its heart. It succeeds in warning us about being blinded by the glitz and vague promise of fame; and it shines the spotlight on the importance of seeing deeper, in seeing the humanity in each one.
“Side Show” is extending their run for one more day, with their last two shows on Aug. 24. Running at the Power Mac Center Spotlight Black Box Theater, Circuit Makati. Directed by Toff De Venecia with musical direction by Ejay Yatco, assistant direction and set design by Mark Dalacat, costume design by Carlos Siongco, lighting design by Gabo Tolentino, and choreography by JM Cabling.
Starring Marynor Madamesila and Tanya Manalang, and Krystal Kane and Molly Langley as Daisy and Violet Hilton; Reb Atadero and CJ Navato as Terry Connor; Tim Pavino and Vien King as Buddy Foster; Marvin Ong and Joshua Cabiladas as Jake; Jon Santos as The Boss; Arion Sanchez, Chan Rabutazo, Fay Castro, Daniel Wesley, Ian Hermogenes, Mikee Baskiñas, Pamela Imperial, Pappel, Raflesia Bravo, Red Nuestro, Reine Paisley, and Rhap Salazar as the ensemble.
