Diseases are caused by persevering bacteria and unflagging viruses, but epidemics are brought about by the consequences of human choices – be they deliberate or not. And what happens in an epidemic is what PETA's UNDER MY SKIN thrives on sharing. There are varying stories of characters living amidst widespread stigma and systematic discrimination.

Jonathan is diagnosed with HIV, and with an emotionally absent partner in Greg, he reaches out to Syd, his former lover, and friend. It is now up to Syd how he'll manage to juggle his love for Jonathan, for Mario – his current boyfriend, and himself.

Another case is that of young Dino, a non-stop DOTA player who generally depended on the kindness of gay men in his community to finance his gaming addiction, however, at the expense of his body. Upon receiving his confirmation after an HIV test, Dino and his mother will journey together to recall the past and face a new life ahead.

Mary Rose, a mother of three, just discovered she has HIV and had transmitted the virus to her children. She learned that she acquired it from her husband, who has been injecting drugs and engaging in risky behaviors.

And then we have a comedy-bar comedienne, a gay hairdresser, and a bunch of (arguably) discreet gay men, who – in snippets – tell us their struggles as they wander through society's fossilizing stigmas and discrimination.

Rody Vera's material weaves all these intersecting tales while having Dr. Gemma Almonte at its center. Dr. Almonte is an infectious disease specialist and an advocate, and she guides us through Vera's multi-charactered plot, narrating each journey  – both tragic and redeeming.

And Vera's text can be very unapologetic. Here, Vera thrives so wonderfully through its frankness. His discourse is straightforward, unambiguous, and responsible. He

sprinkles a few expletives here and there, but only when necessary and only if it establishes character and society.

But what's most striking is how Vera interconnects these stories with how wildfire epidemics marginalize communities and, ultimately, societies. Vera exhibits how cure and compassion can also use such source lines as how diseases spread and how pandemics rise. UNDER MY SKIN creates this feeling of undeniable interconnectedness and fond interdependence.

Benjamin Padero and Carlo Tabije's design for the stage visualizes the seemingly invisible yet ever-present. In its center is a dynamic symbol of what could be an infinite virus that kills, or that glory hole we strive for, or that moment of wishful ecstasy through gratified penetration. In its foreground is the flowing plasma of bodily fluids – delicious, delicate, dangerous. Gorgeously matched by Steven Tansiongco's video projections, this production's vision to teach and reach explodes incredibly.

Rody Vera's UNDER MY SKIN. Photo By Erickson Dela Cruz

Yet how to sustain interest is Director Melvin Lee's arduous task. Here, Lee efficiently juggles the varying discourses on epidemics: the tales and the myths, the tragedies, and redemptions, without underselling essential facts and figures. What's most interesting is how Lee carefully choreographs the usual sexual innuendos through physical agility – dismissing the unnecessary, blistering run-of-the-mill soft pornography so common in materials such as these.

And it is through this agility does Lee depict the underlying dangers of unsafe and risky behaviors. Through aerial silk, we see the shaky symbolic balance between love and betrayal, truth and lies, and ultimately life and death. That, dear Jellicle Readers, is an example of theatrical triumph.

Roselyn Perez is a familiar face on stage, more so that she portrayed Dr. Emma Brookner in The Necessary Theater's production of A NORMAL HEART to great acclaim. But her Filipina Dr, Almonte, is closer to home, and her nuances are familiar. She's the matriarch of the characters around her, a loving mother and a formidable woman in the center of a plague.

Dudz Teraña breaks the solitude as the comedy bar comedienne. Here, Teraña exceeds presence and exhibits excellent control as he tells his character's story to be much of the audience's delight.

Eko Baquial balances heartbreak and compassion with utter fondness and endearment as Syd. Gio Gahol, as the character Greg, can be both adoring and repelling, while Mike Liwag's Jonathan personifies the disease, fear, and self-pity its seeds in the human mind. And Gold Villar, as Mary Rose, projects the initial uncertainty of mother and her family's future now that a lifelong syndrome has struck her family and home.

While UNDER MY SKIN is still political material, it presents a critical issue that we must hear and discuss. Vera's material interestingly digs further, examining the Filipino psyche during a plague. The material is keen on enumerating actual symptoms and their effects, not just in the body but also in the mind. It probes the temporary threats of medicines, yet it highlights its promise for a better life. In it are more exact details on the journey of people living with HIV and the people around them.

This production clearly shows how far we've come fighting HIV and AIDS and what a beautiful story it is. However, our culture and preconceived judgments alter a good denouement. Science has started a winning fight against the virus but can only do so much. Our Hearts, with their acceptance, compassion, and empathy, can go a very long way, especially in places where Science cannot.