Citations / Reviews

What the critics are saying:

“If you're in the mood for a good laugh, get tickets for a fun night at the One Acts Playhouse. The seats in the back are good, but the seats up front are for the very, very brave theatergoer.”

“Koiné deserves to be recognized, not only in entertaining and training people, but also in their belief that the common person can entertain no matter what one's background may be. They have proven that theater is always the best place where you can find good character acting and story telling, just as long as you are true to the art and to yourself.”

“It was so intimate that the passion transmitted from the actors was immediately felt throughout the drama studio. We laughed at the comedy of texting. The actors did their jobs well. But more than the humor, the play[SubTEXT] mirrored our own selves.”

“Subtext…is a trio of ingenious, oh-so-real scenes on the layers of meaning conveyed by words… His literal play of words moves from text misunderstandings to unspoken, heartfelt messages discovered by chance.”

“Subtext […]showed a sensitivity, humor, preciseness, and innovative use of language one would expect from an artist much older.”

“ I have seen and felt Jesus in the one-act play, Jesus Cries, uniquely inspiring for the work of God at hand […] it portrayed Jesus as a psychiatric case due to excessive leadership of love…brought to insanity, nailed and tormented by sheer love for us…anguished by his longing for our human fullness, which we can't have without our wanting it.”

“De Mesa delivers a comic twist to these two plays [Red Carnations and The Case Of the Crushed Petunias], which would otherwise be interpreted much differently in the hands of a conventional director. It would be interesting to see what other works he can re-envision as comedies.”

“Over and Over was magnificent in its own way[…]Old Apologies is witty, light, and real.[…] Both plays are personal and real[…]It covers covers the nitty-gritty details of a relationship that we usually make fun of and showing how the ego clouds a person's judgement makes Koiné truly exceptional in terms of the arts.”

“What makes ‘Call Me Flory' engaging, albeit its basic plot, is director Niel's idea of casting kids who are perhaps even younger than 12 years old. Although these two stories revolve on simple plots, the actors' exceptional acting made these presentations ultimately absorbing. We're hoping to see more of these artists in more productions…”

“Win-win plays on the guilty pleasures of the eavesdropper[…] In this case however, it makes for good entertainment allowing the other members of the audience a guilty snicker or two.[…] Tatlo-tatlo, on the other hand, offers a more filling bite. […] Laugh out on this one I went home with a smile.”

“I am a sucker for simple storylines, but with an exceptional visual presentation. Death By Obituaries was simply done and yet it still presented the point of the story: most people would always consider the easiest way out of their problems and that is to end it all. Laika and Trisha executed their lines as if they were pros in the business. Deus Ex Machina is a bit radical […but] Visual setting aside, the story is poignant. The stage was small and without frills but that's the point of One Act plays: you need to focus on the characters and their dialogues—and understand the story itself. ”

In Koiné, you won't just buy a ticket, you'll get an experience! For over four years now, the Koiné Theater Foundation has been the only theater company specializing in staging One-Act plays in their intimate theater at Kamuning Rd. , Quezon City with monthly regular shows, every Friday and Saturday, all year long. With a refreshing, friendly and more approachable theatrical atmosphere, they were able to produce highly original, inspiring, award winning plays (like Subtext- 1 st Prize Don Carlos Palanca Awards 2002, Favorite Theater and Best Stage Play of 2004- Nokia Nocturnal Awards, I Laugh You- 3 rd Prize Don Carlos Palanca Awards 2003) written by prolific writers like Niel de Mesa, Tennessee Williams, Rene Villanueva, Glenn Hughes, Tad Mosel, Wilfrido Ma. Guerrero, Tony Perez, Susan Glaspell, Jihan Estrella etc. Their plays usually dabble on issues that are pertinent to yuppies and older adults without compromising the whole point why you're watching theater: Entertainment . Their consistently critically acclaimed plays is an experience that you will never get from just watching movies. So come and reserve their limited tickets now before they run out of seats, call 410.4485 or text (0916)5251038. Find out what's cooking at the One Acts at clickthecity.com, Fudge Magazine, Beat Mag, 24/7 Nocturnal Navigator, Inquirer, and Starweek Sunday magazine.

PAST ONE ACTS PRODUCTIONS:

Anton Chekhov's Ang Pamamanhikan
Tony Perez's Wayside Café
Wilfrido Ma. Guerrero's
The Eye Of A Needle
Niel de Mesa's
Sampung Minuto Bago Makaraos
Ronaldo Carcamo's Pal
Niel de Mesa's Subtext
David Ives' The Philadelphia
Niel de Mesa's December Hints of Mistletoe
Tad Mosel 's Impromptu
Mary Miller's Ferris Wheel
Niel de Mesa's I Laugh You
Tony Perez's North Diversion Road
Rene Villanueva's Tatlo-Tatlo
Niel de Mesa's Mine Ice
Niel de Mesa's Jesus Cries
Niel de Mesa's Win-win
Niel de Mesa's Huling Ensayo Para Sa Iyo
Wilfrido Ma. Guerrero's Call Me Flory
Niel de Mesa's Starring Miss Lea Salonda
Glenn Hughes' Red Carnations
Tennessee Williams' The Case Of the Crushed Petunias
Jihan Estrella's Death By Obituaries
Niel de Mesa's Deus Ex Machina
Niel de Mesa's Over and Over
Niel de Mesa's Old Apologies and Nothing But the Truth
Jihan Estrella's Stealth Mode
Susan Glaspell's Supressed Desires
Jihan Estrella's SAWI Single Ako Warning Ito
Niel de Mesa's Bangungot ng Isang Magandang Panaginip