Msgr. Agustin Ancajas, playwright and director of Mga Dula sa Paglaum, believes theater is more than just performance—it’s a powerful vessel for truth, where stories come alive to inspire, challenge, and transform. | Photo courtesy of the Teatro de San Pedro Calungsod/Facebook
CEBU CITY, Philippines — Evangelization doesn’t always begin at the pulpit.
Sometimes, in a darkened theater, everything goes quiet.
The crowd settles, the lights dim, and there is only silence for a moment. Then, as the curtain rises, the story begins—drawing everyone in, making them feel, think, and experience something real.
For Msgr. Agustin Velez Ancajas, playwright and director of Mga Dula sa Paglaum (Plays of Hope), the stage is sacred ground, where beauty, goodness, and truth gently open hearts to grace.
As Cebu marks its Jubilee Year 2025, his latest work, Mga Dula sa Paglaum, offers audiences entertainment and an encounter—a space where faith speaks through art, and hope is visible on stage.
During a press conference held on April 30, Ancajas shared the inspirations behind his work, revealing the deep spiritual vision that fuels his writing and direction.
READ: Jubilee Year 2025: Cebu theater brings hope with ‘Mga Dula sa Paglaum’
Who is Msgr. Agustin Velez Ancajas?
To many, he is ‘Msgr. Ting’ — a priest, a playwright, and a passionate storyteller. He pursued the priesthood after completing a degree in Communication at Ateneo de Manila University.
But before he wore the collar, Msgr. Ancajas was already steeped in the world of stories. He grew up surrounded by the voices of radio drama, where characters came alive through sound and silence, and where the imagination had no limits.
“I grew up with radio dramas, it was so powerful in creating images for the imagination. It’s just like having a movie in the mind or theater in the mind,” Ancajas said.
In that theater of the mind, it was there that the seeds of his creative gift were planted.
“This is how I developed my skill to imagine,” he added.
In 1993, Msgr. Ancajas began writing plays, marking the start of a prolific journey.
“I took up drama and poetry under the late Msgr. Rudy Villanueva for a semester. And we were taught about the fundamentals of playwriting. So after that, nag sige nako ug suwat, I also immersed myself in reading a lot of plays,” he said.
Through every line of dialogue and every scene on stage, he seeks to draw people closer, not just to the story, but to the more profound truths beneath it.
READ: Angelica Barot: Tuburan local finds voice in Cebuano theater
A lifelong passion for writing and theater
Msgr. Ancajas has long embraced writing and theater not only as creative expressions but as a personal vocation.
Msgr. Agustin Velez Ancajas
With more than 40 written works to date, he sees his art as a medium through which grace can be shared and nurtured.
“More than 40 na gud ni ako gipang suwat (I’ve already written more than 40 plays). There was a time that every year, I made sure to write a play before my birthday,” he said.
Writing, for him, is deeply personal. Each year, he makes it a point to write a new play as a meaningful gesture to himself.
“It was a gift I gave to myself. Ang akong gift is the play na ako gisuwat (the play that I wrote was a gift to myself),” he shared.
Despite the time and effort involved, Ancajas does not seek compensation for his work.
“I don’t ask for any charge sa akong (in my) theater works, I don’t get anything. Because ang ako ra jud gipangayo sa (all I really ask from the) Holy Spirit is to give me the gift of writing,” he said.
His devotion to both faith and the arts is evident in his continued efforts to contribute to Cebuano literature and the Church.
“They allowed me to write more, allowed me to leave something and contribute to Cebuano literature and for the church, arts, and culture. This is my passion, and this is my special ministry,” he added.
This passion extends beyond the written word to the stage. His most recent theater production, ‘Mga Dula sa Paglaum,’ involves a large and diverse cast.
“Our theatre group has more than 70 actors. Whenever we have a new set of plays, amo ni siya ipa audition (we hold auditions for them). Ara man gud namo makita ang interest (That’s how we really see who’s interested),” he said.
Even though the actors volunteer their time and talent, Ancajas ensures they are recognized and supported.
“[They are] volunteers, and are given honorarium in every production. Aside from that mo hatag mi ug plete ug andam ug pagkaon para nila (We provide transportation fare and prepare food for them),” he said.
Staying true to the script
Sticking to the script is essential.
Msgr. Agustin Velez Ancajas
Msgr. Ancajas doesn’t allow his actors to improvise or adlib, believing that any change to the lines can disrupt the performance and break the connection with the audience.
Theater, for him, is more than just acting — it’s about telling a truthful story, where beauty serves a higher purpose.
He explained that the emotional reactions from the audience happen only when the actors’ performances are real and authentic.
“These reactions can only happen if you watch something authentic. I require my actors to act from their core. What they think and feel affects their emotions, and that’s when the audience reacts,” he said.
Authenticity, he believes, is something actors must work for, not something that just happens. That’s why he discourages improvisation.
“In theater, it’s about keeping the flow, and the actor has to stay true to their character. If they add a new word or line, it can make them self-conscious and take them out of character,” he explained.
He also pointed out that changing lines affects not just one actor, but the whole cast.
“It distracts the other actor who knows their lines well. You need to respect the playwright’s words because they chose them carefully. I’m very strict about my actors memorizing the lines I wrote,” he added.
For Ancajas, real beauty on stage only happens when actors stick to the script and perform with discipline, clarity, and emotional truth. Anything that takes them away from the script risks breaking that connection.
A tribute to Pope Francis
Deeply inspired by the teachings and pastoral vision of the late Pope Francis, Ancajas sees his creative work as a means of evangelization, using beauty to lead others toward truth.
Ancajas hopes that his plays serve as an extension of that evangelizing mission, reflecting the very values Pope Francis championed—particularly the idea of harnessing “beauty” to proclaim the Gospel through the arts, including theater.
“Pope Francis suggested a new approach to evangelization through the way of beauty. For us, beauty can also bring us to truth. So what is this beauty all about? Anything that attracts people, which is through the objective arts,” Ancajas explained.
He views theater as a compelling way to reach hearts and minds, offering a space where faith can be encountered in a meaningful and accessible way.
“Theater is an entry point for people to listen and immerse themselves. Instead of a sermon for two hours, we present a play and have them reflect. It is hard to please people when teaching about the faith. But once they watch the play, they get engaged because they can relate to the story, and through that, they appreciate the beauty of theatre arts that leads to evangelization,” he said.
Pope Francis’ passing was a moment of personal reflection for Ancajas, affirming his artistic mission.
“After Pope Francis’ death, I said to myself that this is my gift to him. What he preached is the basis of why I write plays. This is our response to the invitation of elements that Pope Francis taught for this year of jubilee. I feel like this is my tribute to him.”
Still, he remains hopeful that the Church’s direction under new leadership will carry forward the same pastoral creativity and openness.
“I think whoever is the next pope will continue to advocate for new ways of evangelization — something attractive for people, with the teachings of truth embedded in them.” /clorenciana
