This Broadway season is witnessing a remarkable moment in history, with seven talented performers of Filipino descent gracing the stage.
Highlighted among these artists are Tony nominees Darren Criss, starring in “Maybe Happy Ending,” and Nicole Scherzinger in “Sunset Boulevard.”
Other notable performers include Lea Salonga, Eve Noblezada, Kay Sibal, Claire-Marie Hall, and Tatianna Córdoba, each contributing their own artistry to the esteemed theater scene.
While these achievements are indeed reason to celebrate, current headlines are tinged with sobering realities.
Undocumented individuals and families continue to face significant hardships, a theme poignantly explored in the new play by gender non-conforming, first-generation Filipinx American theater artist Gaven D. Trinidad.
“Learning How to Read by Moonlight,” now premiering in Boston, tells the emotionally stirring story of a young boy named Eddie, portrayed by Elijah Estolano Punzal.
Eddie navigates life in an undocumented family, supported by his imaginative friend, Jimmy, played by Jude Torres, who helps him learn English amidst the challenges of poverty and the fear of deportation.
The play follows Eddie and his mother, Nanay, played with warmth by Christine Armenion, as they strive to maintain their cultural heritage while battling societal adversities.
Taking place in a multilingual format, the performance showcases both English and Tagalog dialogues, accompanied by subtitles that enhance accessibility.
Under the sensitive direction of Natsu Onoda Power, audiences are invited to engage deeply with Eddie’s journey, sharing in the emotional weight of the story.
An innovative aspect of the production is the inclusion of a guest narrator for each show, adding a unique perspective to the narrative.
Recent performances featured Dianara Rivera, a queer, mixed-race Pilipina Puerto Rican and the Director of Narrative Strategy at the Asian American Resource Workshop.
The ensemble cast further enriches the experience, with Nicholas Papayoanou portraying Missus Josie and Alfredo Reyes as Tatay, Eddie’s father in Manila who connects with his family through phone calls.
Jeffrey Song’s musical direction adds depth and texture, seamlessly reinforcing the various emotional landscapes within the play.
Puppet designer Amanda Gibson has crafted charming puppets that embody the spirit of youth, capturing Eddie’s indomitable nature.
In addition to directing, Natsu Onoda Power has designed a vibrant multi-level set that integrates contrasting colors and textures.
Collaborative efforts from props designer Kelly Smith and lighting designer Ashley Ting Yung, alongside Grace Kroeger’s projection design, create an immersive theatrical environment.
Following its initial run at the Boston Center for the Arts, the production transitions to the Pao Arts Center in Chinatown until June 1, before heading to the Umbrella Arts Center in Concord from June 5 to 8.
This movement reflects Chuang Stage and Company One’s mission to extend their pay-what-you-want ticketing model, making theater accessible in diverse Boston neighborhoods.
Photo caption: Elijah Estolano Punzal and Nicholas Papayoanou in a scene from “Learning How to Read by Moonlight”.
Photo Credit: Ken Yotsukura.
image source from：https://www.broadwayworld.com/boston/article/Review-Chuang-Stage-Company-One-Theatres-LEARNING-HOW-TO-READ-BY-MOONLIGHT-20250601
