Boy Abunda is a household name in the Philippines, synonymous with media mastery and celebrity discourse. Known as the “King of Talk,” he has spent decades commanding the country’s attention, whether through probing interviews with the nation’s biggest stars or by offering his candid perspectives on pressing social and political issues.
With a reputation for sharp wit, thoughtful commentary, and fearless engagement with public discourse, Abunda has become an enduring figure in Philippine entertainment and journalism.
Yet, behind the polished persona that dominates television screens, there lies a chapter of Boy Abunda’s life that few fans know: theater. Long before he was a media icon, Abunda honed his craft on stage, learning the ropes behind the curtains of some of the country’s most esteemed productions.
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A Return to His First Stage
This month, Abunda makes a deeply personal return to the theater world—not as an actor, but as a producer—reviving the acclaimed one-act play Ateng, a Carlos Palanca Memorial Award-winning work written by Vincent de Jesus and directed by Rem Zamora.
“This is my way of paying a debt of gratitude,” he shared candidly. “I started and worked in theater for a long time. This world was kind to me. It’s where I grew wings.”
Abunda’s early theater days were spent sweeping backstage floors at the Metropolitan Theater and serving as an assistant stage manager for many landmark productions. He recalls working under the guidance of legendary figures like Conchita “Tita Conching” Sunico, learning the discipline, creativity, and dedication that would later define his media career. “And this is my way of saying thank you,” he added.
Ateng: Queer Narratives Reclaimed
Ateng, first staged in 2005 during CCP’s inaugural Virgin Labfest, returns two decades later, retaining its sharp wit and raw emotional core. Set against a backdrop of growing social hostility toward the LGBTQ+ community in the early 2000s, the play explores themes of survival, familial tension, and queer identity.
This revival is staged at the Rampa Drag Club along Tomas Morato Extension in Quezon City, an intentional choice highlighting the evolution of queer spaces and the importance of reclaiming marginalized narratives.
Abunda plans for Ateng to be the first of several theater projects this year, signaling a return not only to the stage but also to the medium that first nurtured his talents. For him, this is more than a production; it is a homecoming, a chance to honor his roots, and a testament to the enduring power of theater to shape, challenge, and inspire.
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