Champorado by James Roque
James Roque is a Filipino artist from New Zealand who now lives in Canada. His humor is as multi-dimensional as his identity. His stand-up comedy show, “Champorado” is a hilarious insight into Roque’s personal and social identities. Over the course of one hour, he takes his audience on a ride packed with difficult facts and nuanced humor. The complexity of his geopolitical identity naturally informs his crowd work–he quizzes white men on Filipino culture and tickles fellow Filipinos with insider jokes.
James Roque’s “Champorado” is a delightful blend of sweet and salty humor, offering a comedic yet poignant take on life’s big questions. Roque masterfully navigates the personal and the universal, using his Filipino heritage as a springboard to connect with a diverse audience. The contrast between deeply personal anecdotes and broader cultural commentary keeps the energy high, while his seamless transitions between accents invite the crowd into his world. His effortless roasting of the predominantly white audience, combined with his clever use of accent-switching, adds a sharp, witty layer to the show. Roque’s comedy is uniquely Filipino yet surprisingly relatable for all. This laugh-out-loud performance, awarded “Best of the Fest” at the Vancouver Fringe, proves Roque’s ability to turn even a Filipino breakfast dish into an exploration of what truly matters in life.
Alia Ceniza Rasul: Moro Girl
Alia Ceniza Rasul’s “Moro Girl” is an intimate, heartfelt performance that delves into the complexities of identity with both humor and grace. Presented in a low-sensory setting, Rasul paints vivid portraits of her life as a Filipina Muslim navigating her half-Christian upbringing in a very Catholic culture. Her family’s quirks, humor, and struggles are brought to life through occasional clips of recorded Zoom conversations, making the audience feel as if they’ve been invited into her home. The show brilliantly addresses the traumas of the Moro people through humor, culminating in a strikingly powerful, censored slideshow—a creative and exaggerated commentary on how violence is often minimized or concealed. With its perfect blend of comedy and cultural introspection, “Moro Girl” transcends representation, sparking essential conversations about identity and belonging.
God’s A Drag
“God’s A Drag” is a delightful play featuring an ensemble cast. Set in Mission, BC, the teenage protagonist, Neveah, is in the process of discovering her gender and sexual identity. She has a supportive community including her mother and a genderqueer pastor, Luz. But, the arrival of a conservative relative ruffles up some old feathers. The ensuing story is both heartwarming and poignant, showcasing the joy of unapologetically celebrating one’s identity as a form of divine expression. The show is peppered with drag performers who deliver prayerful rituals and cheeky dialogues that counter hateful, queerphobic talking points. The collision of fantasy and reality as Neveah meets her drag muses is a dazzling highlight.
Playwright Jessica Lemes da Silva tackles deep themes of queerness, religion, and community with an infectious energy. The plot confronts dogmatic queerphobia with soulful queer affirmations. The colorful musical numbers and larger-than-life drag saints provide an unforgettable experience, making it a joyous exploration of what it means to be both holy and queer.
Young Widow
“Young Widow” is a powerful and evocative solo performance that takes audiences on an emotional rollercoaster through the raw, visceral experience of grief. Over the course of an hour, actor Cecelia O’Day shares the story of losing her loved one, Zac to a rare form of aggressive cancer. He was in his 20’s. The narrative involves multiple anecdotes, told from more than one perspective. A cathartic sharing of Zac’s memories is complemented with witty audience interactions. The scenes recreate the harsh uncertainties that come with such an intensely personal loss without devolving into a cryfest.
“Young Widow” is intensely personal, blending dark humor into moments of vulnerability as the young widow recounts the bizarre aftermath of her husband’s death. The layered use of visuals, sound, and live performance brings a multi-sensory depth to the storytelling, immersing the audience in the widow’s world.
While the pacing is filled with punchy moments, jumping between various settings and times, allowing the audience to pause and contemplate between emotional beats could enhance the reflection on grief. The show’s lighting, text and sound effects teeter on the verge of sensory overload, potentially causing overwhelm for someone in the throes of similar emotional distress. That being said, O’Day is a master of emotional delivery–she swings deftly between humor and solemn reflections. Ultimately, “Young Widow” strikes a balance between sorrow and absurdity, offering both catharsis and unexpected joy.
– Nathalie De Los Santos & Annapoorna Shruthi