Malacañang Made Us | Queensland Theatre Company
Image: Morgan Roberts
Malacañang Made Us is a play that connects a key moment in Filipino history with contemporary Brisbane. In 1986, brothers Martin and Ernie climbed the wall of Manila’s Malacañang Palace, as part of the national protests against an exiled Dictator. Almost forty years later, there is a sense of history repeating: Ernie flies in to live with his brother at the moment when Marcos’ heir is ‘poised for election,’ and Martin’s teenage son Leo is demanding change. It appears that only the truth will set each man free, and help the young Leo to make the right choices about his own future.
It is easy to see why Jordan Shea (Writer) won the Queensland Premier’s Drama Award for Malacañang Made Us. The play is a beautifully observed, culturally rich, coming of age exploration of the pull of home, and of the need for truth-telling within families as well as within communities.
If your knowledge of Filipino history starts and ends with knowing that the exiled dictator’s wife had a lot of shoes, then don’t worry. Malacañang Made Us gives you a quick run-down on the ‘spicy history’ and provides insights into Filipino Australian cultures. If you are Filipino or Filipino Australian, I am sure you will pick up on some of the in-jokes, including the frequent references to the nursing profession, because it’s not all serious stuff. Shea gives us some great one-liners, and has an excellent ear for generational and cultural linguistic differences—from the Filipino Australia references to the nursing profession, through to cohorts literally communicating differently (perhaps we need a ‘#oldpeopledon'tunderstand’ here …).
Director Kenneth Moraleda has attracted a strong cast for this new work. For me, Mark Paguio (Leo) and Marcus Rivera (Ernie/@Gwapoboi) were two standouts. Paguio is fantastic as the teenage Leo, giving a fabulous portrayal of a young person who is trying to forge their own way in the world, to grapple with their heritage, and to make the right choices about ‘where to’ next. Paguio is a captivating performer: funny in the hashtag-emoji-ridden discussions with his network, conflicted in the decisions as to whether he really can lead local protests and make a difference, and grappling with all the ‘usual challenges’ of being a Brisbane teenager who is trying to find their place in the world.
Equally, Rivera portrays Ernie, as a compelling, complete, caring, and fabulous younger brother to the responsible Martin. The gradual reveal of Ernie’s story is a central part of this play but, in the interests of not providing any spoilers, all I can really say is that we probably all need an Ernie in our lives. I also liked the casting of Mike Zarate (Martin/@NotaNurse03) as the responsible older brother and father, who sacrifices his own dreams to ensure that Leo has the best possible opportunities in their adopted home.
Image: Morgan Roberts
If there were to be any future development of this work, my only suggestion is that I would prefer to have seen a little more of the experience of the brother’s younger selves. Marty Alix and Miguel Usares convey the highs and lows of the 1986 event, and I particularly loved the ways in which they portrayed the close relationship between the youthful brothers. However, I would have liked to see more of a contrast with the build-up to Leo’s own advocacy and protest—perhaps by focusing more on the week leading up to the protest of the Young Ernie (Alix, also cast as @Bunsoybby) and Young Martin (Usares, also cast as @SisigKween).
Moraleda’s creatives also play an important part in the success of this Queensland Theatre Company (QTC) production. The set and costumes (Jermey Allen, Set and Costume Designer, supported by associate designer Madeleine Barlow) work well. The Malacañang Palance walls dominate, and their use as a backdrop for the video projections (Nevin Howell, Video Designer) ensure that the past and present blend seamlessly together. And the costumes are a key part of the story, with Martin’s Queensland Rail uniform, Leo’s bright colour choices, Ernie’s Filipino casual, and the on-trend clothing worn by each of Leo’s contemporaries. Finally, the best lighting and sound design is often where my plus-one doesn’t come away with any complaints. Christine Felmingham (Lighting Designer) and Sam Cheng’s (Composer and Sound Designer) skilful design work ensured we were easily transported across the two time periods.
Malacañang Made Us is a must-see show: great writing, clever design, and a strong cast. And I also love the way in which this show normalises and integrates queer identities and culture. Malacañang Made Us is a great choice for the Queensland Theatre Company program, and is certain to be on many top three lists from the 2025 Melt Festival. Go and see it if you can.
Malacañang Made Us, played 18 October-1 November 2025 at QTC’s Billie Brown Theatre, South Brisbane. 90 minutes, no interval. The reviewer attended the Saturday 25th October performance (7:30pm).
Image: QTC
