Yasmina Reza’s

ART

Translated by: Christopher Hampton

Director: Victor Lirio

Production Designer: Miguel Urbino
Lighting Designer: Miriam Nifola Crowe
Composer and Sound Designer: Fabian Obispo
Projection Designer: GA Fallarme

Assistant Director: Uriel Villar
Associate Scenic Designer: Julia Pacificador
Associate Costume Designer: Paul Adrian Martinez
Assistant Scenic Designer: Shaira Carandang
Production Stage Manager: Jayvee Carreon and Janix Bernardino
Production Manager: Hazel Gutierrez-Marges
Technical Director: Joseph Matheu

Set Built by: Rene Cubar & Sinag Arts Foundation
Paintings Executed by: The Hope Project, BJMP Lipa City Jail, Julia Pacificador, Shaira Carandang
Serge’s Jacket Built by: Nato’s Tailoring, Embroidered by Paul Adrian Martinez and Miguel Urbino

Cast: Martin Sarreal, Brian Sy, Freddy Sawyer

Repertory Philippines and The Bridge Project
Eastwood Theatre
June 2025

Production Photos by Joel H. Garcia

Full Stage Production Photos by Miguel Urbino

PRESS

“The play is set in a Paris apartment. Miguel Urbino, production designer, captures the sophistication expected from someone refined. The apartment, while minimalist, is deliberate and sleek with its neutral tones and carefully curated furniture. Its lack of clutter allows the actors and Reza’s dialogue to truly shine on the stage of the REP Eastwood Theater. The overall elegance and restrained design enhance the play’s modernist edge.”

-David Nigel Co (HelloMNL)

“Like the artwork at its center, the mounting of the play is also minimalist, with production designer Miguel Urbino opting for neat setups and a subdued stage palette. The beams and columns that give the impression of the Panthéon are lofty but unadorned, the costumes are smart casual, and the backdrop alterations are reduced to a minimum […] The result is an astonishing comedy of manners within a lean context,”

-Lé Baltar (PhilStar Life)

“…its clean and un-intrusive Parisian apartment setting (designed by Miguel Urbino) [chases] the kind of complexity that the all-white painting gives off with ease: not too outlandish, not amateurish, and welcoming any and all interpretations.”

-Emil Hofileña (Theater Fans Manila)

“Visually, the production does not try to pile it on. The set evokes the play’s themes, which are spare, modern, sterile, even: the notorious white painting, which is itself both prop and punchline. Simple costumes allow us to remain focused on the disintegration of the characters’ dynamics.”

-Jonathan Subido (Together Manila)

“I felt this was the best expression of the Bridges Project which aimed to have a cross-continent exchange of theatrical know-how which extended to the technical part of the play as well. High arched [walls] with Hope Project artwork made by inmates at the Lipa City Jail showed how well-off the three men are without any exposition.”

-Jeeves De Veyra (ABS-CBN)