Show the painful reality of the gig economy, but make it powerful, relevant, and engaging even for the present-day GenZ audience.
That’s how the stage adaptation of Endo turned out to be based on its premiere showing, Wednesday night, April 8, 2026, at PETA Theater Center in Quezon City.
Endo was originally written and directed by Jade Castro in 2007.
It premiered at the Cinemalaya Film Festival, where it won a Special Jury Prize award and a best actress award for Ana Feleo. Its male lead, Jason Abalos, later earned the Best Actor award at the 2008 Gawad Urian.
Endo—short for “end of contract”—offers a stark glimpse into the painful realities of the gig economy, where multiple side hustles barely cover basic needs, let alone healthcare.
Its message remains deeply resonant, perhaps even more so today, as the global energy crisis continues to weigh heavily on Filipinos.
At the heart of this theme—echoing the uncertainty of the gig economy—is a love story that underscores the difficulty of sustaining long-term commitment when survival itself is a daily struggle.
This new version, directed by Melvin Lee and adapted by Liza Magtoto, just might give the original a run for its money with an equally powerful cast led by Jasmine Curtis-Smith, Royce Cabrera, and Iana Bernardez.
The trio headlined the media preview, but the play also stars Rissey Reyes-Robinson Esteban Mara, and Kate Alejandrino.
JASMINE CURTIS-SMITH AND ROYCE CABRERA HAVE GOOD CHEMISTRY
From the moment they stepped onstage, Jasmine, Royce, and Iana immediately commanded attention, fully embodying their characters.
Their engaging portrayals drew the audience in, sparking a genuine curiosity to learn more about their journeys and how their choices would shape their fates until the very end of the play.
The trio barely missed a beat throughout the performance, sustaining their energy and precision for roughly an hour and a half without intermission.
Royce brought to Leo the physicality and stamina of a traffic enforcer and delivery rider, grounding the character in lived-in authenticity.
He moved with ease onstage, making his performance feel effortless—almost like “no acting” at all.
Through subtle choices, he convincingly portrayed a family breadwinner caught in the grind, working tirelessly yet directionless, unsure of where all his effort is leading.
He effectively conveyed Leo’s frustration and quiet helplessness—the weight of working hard, taking on any job available, and still not earning enough to make ends meet.
Jasmine, for her part, succeeded in depicting a bubbly dreamer who also works multiple jobs, including working at a BPO with side hustles as a promodizer and English tutor.
She was not just endearing in her optimism, she also provided humor with her punchlines and pick-up lines for Leo.
It was entertaining to watch their love story unfold, even as their characters depicted contrasting reactions to their hard-up lives.
What's also admirable about the play is the way Jasmine and Royce did love scenes in a very tasteful manner, conveying intimacy with synchronized body movements, making it appear more like a dance with a perfect choreography.
Clearly, both actors prepared well not just for their lines but even for their physique and endurance for a live stage performance.
Another standout is Iana Bernardez, who makes her theater debut in Endo.
She proves credible as Candy—the grating vlogger and social-climbing girlfriend of Leo—bringing just the right mix of charm and irritation to the role.
It’s frustrating, in the best way, to watch her take advantage of Leo’s feelings, fully aware of how easily she can wrap him around her finger.
Despite being a newcomer to the stage, she moves with confidence and control, infusing her character with spunk and sass that belie her being a theater first-timer.
ENDO SUPPORTING CAST
Even supporting actor Raphne Catorce gave a notable performance as the funny but well-intentioned friend who knocks some sense into Leo when he's about to make bad decisions.
The subplot about his secret life adds another layer to the dark side of the gig economy and how the concept of padrino (reliance on connections) creates an exploitative working environment.
Hats off as well to the dancers/talents who performed well-choreographed movements.
They played a big part in making the play interactive and in setting the mood for every scene.
Like, how do you show a scene about two people sending messages to each other? How do you build anticipation for it?
The dancers pick up on the emotions of the characters, and showcase what they're going through with body movements and minimal props.
Coupled with the right musical scoring, Endo was able to keep the audience's interest glued from start to curtain roll.
Endo is showing at PETA Theater in Quezon City from April 10 to May 10.
Royce, Jasmine, and Iana will headline the 8PM show and on Friday, April 18; Royce, Rissey, and Kate for 3PM and 8PM on Saturday, April 19; and Esteban, Jasmine and Iana on Sunday, April 20.
Tickets are available via ticket2me.net.