From One Millennial To Another

By Alexandra Castillo - 9:39:00 AM



A couple of days ago, my mom and I were having a conversation in the car on the ride home, and i asked her, "Ma, why do you think our generation isn't that into working in offices? Like, we always try to find a work/life balance, unlike people from your generation [that are kind of comfortable with that]?"
She replied,"Well, it's because you have the liberty to choose to do that now. During my time, we had to go with the job that paid the most. In Lolo's time, it was immediately after the war, so it was all just about getting the economy back up, and anyone with a job was just happy they had one. You can do that now because the previous generations set it up well for you to be able to do what you want."
Now, although the last part sounded a little bit like a lecture, it did help shed some light on one of the many random thoughts this millennial has about life; the same way #SandboxNoFilter did, when I saw it over the weekend with my friend, Kristelle Batchelor, during its extended run at the Carlos P. Romulo Theatre in the RCBC Plaza.

            Photo courtesy of The Sandbox Collective via their website


Through a series of monologues, dialogues, and a couple of simple, yet beautiful multimedia production aspects, The Sandbox Collective was able to tell the story of a whole generation through the voices of five people in their latest theatre production, No Filter: Let's Talk About Me, an original play written by millennials, for millennials, about millennials.
From finding your passion, to following your dreams, job interviews, religion, relationships, intimacy problems, disconnection, social media activism, social media, itself, moving out, and coming of age--every topic was covered in the most raw and candid of speeches.
One of my favorite parts of the play was the retelling of the story of Icarus, as told by (during the show that I saw) Micah Munoz's [character], who I felt delivered the scene brilliantly; seeing as he added a lot of emotion and depth to what he was saying.


In his monologue, he told the story of Icarus as we all know it: the boy who flew too close to the sun and died because of 'disobeying' his dad. He then related the story to his own father and brother's relationship, and how it kind of resembled what Icarus and his father had. What amazed me though, was the realization that there were two sides to the instructions Icarus' dad gave him: 1) "don't fly too close to the sun," and 2) "don't fly too low." We seem to always forget the latter...and more often than not, parents usually use the former as a lesson for their kids about being obedient--pushing aside the idea that maybe the story isn't about doing what your parents tell you to do, but more so using the wings they gave you to find the balance between the good times and the bad in life.
At the end of the scene, Micah Munoz, said the line, addressing it to parents, "don't cut off your child's wings, because they were meant to fly." This was the first hint that the playwright made at depression, a topic I felt needed to be addressed in this day and age. I'm not going to pretend to know what it's like to be a depressive, but I do know that it is not a place you would wish anyone to be in, and I feel that the first step that we can prevent anymore people from falling into darkness, is by removing the ignorance out of our systems.


It wasn't all that dramatic though. The show had a perfect balance between drama and humor. Some of the lighter scenes that I found the most iconic were the transition scenes; particularly, F*ck, Marry Kill(Fish ball, Kwek Kwek, and Kikiam was the best deck HAHA), the Apps That Need To Happen (DILFIT [Do I Look Fat In This?], Nasaan si crush?, and Junkstagram are my personal favorites ;) ), and Scenes From A Millennial. 
Everything about the play was very relateable; whether it was Saab Magalona-Bacarro's (alternate of Lauren Young) frustrated monologues about social activism, or the panicked voices inside Jasmine Curtis-Smith's head during a job interview, or the slightly lost soul in Micah Munoz's (alternate of Mikael Daez) confession, or the quirky lines Khalil Kaimo would say to break the ice, or even the pissed off, yet comical monologues of Cai Cortez about the struggles of dating and Tinder--you feel very much connected to the story because evwrything that they're saying is directed at you. Almost like catching up with an old friend. :)    


Massive props to The Sandbox Collective and their writers (Wanggo Gallaga, Jam Pascual, Regina Belmonte, Margarita Buenaventura, Anna Canlas, Audrey Carpio, Jonty Cruz, Jace Espino, Gian Lao, Samantha Lee, Anna Oposa, Paolo Lorenzana, Petra Magno, Gabbie Tatad, B.P. Valenzuela) for this amazing production. Also, credits to Toff De Venecia, who, as director, was able to creatively and inventively present what it means to have No Filter the way it's supposed to be understood.
I left the theatre feeling a mixture of emotions; happy, sad, nostalgic, and a little older than I was. But overall, I felt proud to be part of a generation that was open-minded, passionate, hella creative, and filled with out-of-the-box thinkers.


It's nice to know that the world is just as weird as you are. As Toff Devenecia said, letting your creativity flow and drawing from your passion--"it's not [being] millennial, it's actually being human."

What can I say? I'm in pretty good company. :)




  • Share:

You Might Also Like

0 comments